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Fishing scene in three levels: at top profile bird, profile human with implement, stone cairn; centre level has stone cairn, frontal woman holding leister, small cairn; bottom level has small cairn, one fish, frontal woman wearing goggles and holding leister and harpoon. Undulating sky, land and seascape background. Pencil inscription below image from side on left: Cape Dorset stylized red igloo seal, name of printmaker in Inuit syllabics, "Women at the fish lakes lithograph 9/75 Dorset Pudlo 1976," name of artist in Inuit syllabics, Canadian Eskimo Arts Council's blind embossed stamp.

History Of Use

Contemporary Inuit prints were first produced at Cape Dorset in 1957. Although precursors to printmaking can be seen in women's skin applique work and in men's incising of ivory, stone and bone, the impetus for printmaking was as a commercial venture. This venture was established jointly by Inuit artists and John Houston, the civil administrator for Cape Dorset. Other Inuit communities quickly followed the commercial success of Cape Dorset's West Baffin Eskimo Cooperative. Printmaking developed as a communal activity following a Japanese, rather than a Western, model of serigraph production. Each year the cooperatives produce a series of limited edition prints which are sold in the retail art market. In 1965, the Canadian Eskimo Arts Council was established from the Canadian Eskimo Art Committee to ensure high standards were maintained. Printmaking, along with stone carving, provide cash income for communities which have undergone rapid and significant change, during the late 20th century, from traditional hunting based societies to settled communities dependent on consumer goods. The prevalent images depicted in Inuit art are of traditional life, arctic animals and mythology. Recently, contemporary subjects have been depicted by a minority of artists.

Cultural Context

contemporary art

Item History

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