Text source: Library and Archives Canada Who is this great artist who has lived in Sutton for 25 years?
After retiring from the NFB in 1975, Evelyn Lambart has purchased a parcel of land in Sutton where stands today a house she designed herself, surrounded by a beautiful garden always maintained by the current owners. The exhibition will focus on his work in collaboration with Norman McLaren's famous, but also on his own achievements, including his films, his garden and wall hangings.
Evelyn Lambart was born in Ottawa July 23, 1914, daughter of Howard and Helen (Wallbridge) Lambart, parents of four children. Suffering from hearing problems at an early age, thanks to this deficiency it has focused its interest on the visual world, using it as a mode of communication. To encourage him to paint and draw, he was offered regular paint boxes. His father, an avid photographer, he also gave cameras when she was young. Evelyn, his brothers and his sister were raised without preconceived ideas of what they could accomplish. As she said in an interview after his retirement, "By the way I was raised, I learned to think of myself as a person having the obligation to use his talents every way possible. Being a woman or man made no difference. "[Translation] (Munn, p. 64)
Having attended Lisgar Collegiate Institute in Ottawa, Mrs. Lambart followed his interest in art by studying for five years at the Ontario College of Art, where she graduated in 1937. She had originally intended to go pursue his studies in England, but the outbreak of the Second World War put a stop to his plans. Instead, she spent a year and a half working on the illuminations and lettering of the first Book of Remembrance, located in the Peace Tower in Ottawa.
The experience of painstaking work had gained during the preparation Mrs. Lambart Book of Remembrance was encouraged to apply for a job at the National Film Board (NFB), located at the time in Ottawa, where she began working in 1942. First attendant lettering, Mrs. Lambart soon moved to creating maps, contributing to various films such as Global Air Routes (1944) and Fortress Japan (1944) of the series World in Action . In 1947, she was already working to achieve his first film, Map impossible / The Impossible Map , being thus faced with the difficulty of presenting good images of world maps on flat surfaces. Given that the funds were too scarce to buy real globes, she used as an aid visual grapefruit on which she had painted maps. She co-directed the film titled Family Tree / Family Tree (1950) (about Europeans in North America), with George Dunning. She has also contributed to sections of movies such as Alert: Science against Cancer / Challenge: Science Against Cancer (1950) and The Fight: Science Against Cancer (1951).
It was around this time that Norman McLaren asked for the first time to assist in drawing heraldic devices for one of its animated films, which marked the beginning of a working relationship that lasted until the late sixties. Although he approached shortly after his arrival at the NFB, it was not until 1949 that their collaboration was actually materialize in the context of achieving Film Begone Dull Begone Dull Care / . She has worked with McLaren on a total of twelve films, including There was a chair / A Chairy Tale (1957), Short and Suite (1959), Horizontal Lines / Lines: Horizontal (1961), Vertical lines / Lines: Vertical (1962) and Mosaic / Mosaic (1965). His participation in these works has taken various forms: it has done color correction, led some sections (particularly in terms of Short and Suite ), suggested ways to incorporate the product elements such as dust (for Begone Dull ) and even manipulated the chair in It was a chair . Only many years later that has fully recognized the merit of her work with Norman McLaren, although it has stressed the power and value of their collaboration in 1965, while that we paid tribute to Mrs. Lambart, displaying his films at the Festival Annecy Film, which celebrated the work of Mr. McLaren.
In the early 1960s, McLaren began looking increasingly to films about ballet, about which awakened no interest in Evelyn Lambart. She began to seriously consider working alone. Although it took him some time and much effort to get used to working independently, and have the freedom to make their own decisions on creation, it has produced its first animated film, Fine Feathers in 1968. She subsequently completed six others: The Hoarder (1969), Paradise Lost (1970), The story of Christmas / The Story of Christmas (1973), Mr. Frog Went A-Courting (1974), The Lion and the Mouse / The Lion and the Mouse (1976) and The rat and house the country mouse / The Town Mouse and the Country Mouse (1980). (Mrs. Lambart has done the last two freelances for NFB after his retirement.)
Unlike precise calculations and lines drawn directly on film methods while working with Norman McLaren, Evelyn Lambart told stories using animated figures. It created the first appearance of each character using forms (facial features, body and other parts) cut from construction paper. When she was satisfied with the basic form, it's cut from a sheet of zinc and painted details on the metal. She then manipulated these characters against a black backdrop to give life to history. She was able to use a color lighter than it used to when she worked with Mr. McLaren, using shades of blue and red instead of cooler colors that he favored. Even the stories she told using this technique were different. To abstract concepts, Mrs. Lambart preferred linear stories, especially fairy tales. In fact, many of his works include animals.
Upon retirement (Note: Sutton), she continued to freelance (especially for the NFB) and became interested in gardening, needlework and other types of crafts. This work includes wall hangings that served as prizes at the International Festival of Cinema and Television Ottawa Animation, 1982. She was also honorary president of the festival in 1988. Evelyn Lambart died April 3, 1999, she was 84.
Reading
ASIFA Canada . Vol. 15, No. 3 (January 1988). Issue devoted to articles about Evelyn Lambart. Articles in French and English.
King, Annabelle. "Is Airy Studio Artist's Special Room. " Montreal Gazette . (September 15, 1983), p. D1.
"Lambart, Evelyn Mary. In Canadian Who's Who . Kieran Simpson et Elizabeth Lumley, éditeurs. Toronto : University of Toronto Press, 1995. Vol. XXX (1995), p. 660.
Lee, Jerry. « The Job of Film Animator Still Very Exciting to Her After 19 Years at the NFB. » Montreal Star . (27 mai 1961), p. 12.
Lee, Jerry. « Merging Film Artist and "Constructor". » Montreal Gazette . (31 juillet 1974), p. 35.
Mazurkewich, Karen. Cartoon Capers: The History of Canadian Animators . Toronto : McArthur and Company, 1999.
Mazurkewich, Karen. « Tribute to Eve Lambart. » Take One . (Été 1999), p. 52.
Munn, Felicity. « Creativity Heightened by Change in Career. » Ottawa Citizen . (30 novembre 1982), p. 64.
National Film Board of Canada . "Evelyn Lambart. " www.onf.ca/portraits/fiche.php?idcat=86 (accessed September 15, 2004).
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