Art of Remembrance

More than a century after their creation, two paintings documenting the aftermath of the First World War have been given a new home where they can be appreciated by all Canadians. 

In 1919, Canadian artist Mary Riter Hamilton was commissioned by the Amputation Club of British Columbia — now known as the War Amps — to paint the battlefields where our soldiers had fought, including Vimy Ridge, Passchendaele and Ypres. Hamilton sent some of the art to the Amputation Club but donated the majority to the Public Archives of Canada, now called Library and Archives Canada (LAC), in 1926. 

Now, LAC’s collection of Hamilton’s battlefield paintings has expanded by two — Devastated Ablain St. Nazaire (above left) and Untitled (above right) — thanks to a recent War Amps donation. 

Between 1919 and 1922, Hamilton created more than 300 battlefield artworks. Travelling alone through the devastated landscapes of France and Belgium, she documented battlefields and war-torn regions where men and women risked their lives. Hauling her supplies through the still-muddy former combat grounds, she created a visual record of the war’s aftermath. Her paintings captured not only destruction but also resilience, renewal and the enduring environmental cost of war. 

“The War Amps has been connected to Mary Riter Hamilton’s work for more than a century,” says Merrill Loeppky, a War Amps board member. “Donating these paintings to Library and Archives Canada helps ensure that this important chapter of Canadian history is preserved and shared for generations to come.” 

As Remembrance Day approaches and Canada honours the sacrifices of past generations amid a world still shaped by conflict, Hamilton’s work remains deeply relevant. Her remarkable paintings show us how history can be preserved through art that bears witness to loss and recovery.