Provenance
Acquired from the artist, date unknown;
Private collection, California;
Sale of Heffel Fine Art Auction House, March 2014, lot 109;
Private collection, Calgary
Related Literature
This image was inspired by the cover illustration Oscar Cahén produced for the April 14, 1956 issue of MacLean’s Magazine. A copy of the magazine is included with the painting.
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Traffic Jam is a wonderfully unique piece in the portfolio of Maud Lewis, and one the few works in which we can source the artist’s direct inspiration. Jeffrey Spalding, former Director of the Art Gallery of Nova Scotia and CEO of Calgary’s Glenbow Museum, was first to note the source for this series of works: a 1965 cover of MacLean’s Magazine, illustrated by Painter’s Eleven member Oscar Cahén (1).
The two figures in this painting read as ultra modern, with respect to the subject as Cahén’s original illustration had intended, but even more so in their playful rendition in Lewis’ signature painting style. Most of Lewis’ paintings depict a world of the past: oxen drawn carriages, fishing boats, small cottages set into green hillsides. Perhaps this is why Lewis was drawn to the image in the first place, the original illustration captures imagery that was already an expert in painting. Lewis scholar Alan Deacon noted in 2021 that this painting is one of the “very best” that he’s seen of the image (2). The artist’s attention to the details of her reference material are evident, from the careful line work of the convertible to the near exact design of the landscape.
There are no further examples at this time of Lewis taking such direct inspiration from media and popular culture for a series. When we consider the stories and myths around the artist’s isolated life, it serves to connect her with the broader cultural influences of her time period.
Maud Lewis (1903-1970) was born to John and Agnes Dowley on the Yarmouth and Acadian Shore of Nova Scotia. Although there is some debate about her exact birth place, recent research has revealed that Maud was born in the town of Yarmouth, NS. As a child, Maud spent most of…
Maud Lewis (1903-1970) was born to John and Agnes Dowley on the Yarmouth and Acadian Shore of Nova Scotia. Although there is some debate about her exact birth place, recent research has revealed that Maud was born in the town of Yarmouth, NS. As a child, Maud spent most of her time alone, mostly because she felt uncomfortable about her differences around the other children. She had been born with almost no chin and was always much smaller than everyone else. However, Maud seemed to be a happy child who enjoyed the time she spent with her parents and brother. Maud’s mother started her painting Christmas cards to sell and thus her career as an artist began.
Her life and only experience of the world extended to an area between her birthplace in Yarmouth County and her married home in Marshalltown, Digby County. In 1935 Maud’s father died and in 1937, her mother followed. As was typical at the time, her brother inherited the family home. After living with her brother for a short while she moved to Digby to live with her aunt. There she met Everett Lewis, an itinerant fish peddler, and married him shortly after in 1938.
Maud spent the rest of her life living with Everett in their house in Marshalltown. The two had what has been perceived as a formidable companionship, despite any character flaws neighbors found in Everett. Because of Maud’s worsening rheumatoid arthritis, she was unable to do housework. Everett took care of the house, and Maud brought in money through her paintings. The two were a pair that Maud was proud to be a part of.
The home they lived in was tiny in stature but large in character. Despite the lack of modern amenities like indoor plumbing and electricity, the house shows that Maud’s life in Marshalltown was full of enjoyment through her art. Those who stopped after seeing her roadside sign, “Paintings for sale”, found a quiet woman with a delightful smile. Her pleasure didn’t come from the pride of having done a painting, but the creative act itself and the enjoyment others seemed to get from her work.
Through newspaper and magazine articles, as well as television documentaries, Maud became well known and a reputation grew that’s still growing today.
