That Ego Thing

It's a tradition, one that has a lengthy history, though doubtless few people are aware that officially commissioned portraits of governors-general meant to hang at Rideau Hall, are paired, albeit in a different gallery, with personally-commissioned-and-paid for portraits of their spouses.  Why bother, one might think; the appointment of the Queen's representative in Canada is specific to one individual; his or her partner represents just that.

But Adrienne Clarkson's academic husband never did consider himself a hanger-on.  Rather he thought of himself, and made no secret of it, as a royal consort, notable in his own right; no mere accessory.  John Ralston Saul was as much a fixture at Rideau Hall and at all official gatherings as his Governor-General wife.




A historian-biographer of some great repute, he also wrote some middling-to-awful adventure novels.  He was the professional academic, a man aspiring to gravitas and dignity and equally at home exploring Canada's far North with his professional-journalist wife-turned Governor General.  She endeared herself to Canadians by her exemplary performance in that role, and he was tolerated as her lesser half.

But when commissioning his portrait to hang at Rideau Hall he exercised brilliant judgement.  His penchant for doing things somewhat out-of-the-ordinary reflected his wife's own personality in that arena.  Choosing a Metis artist known for his provocatively naughty painting style, the finished product represents a respectful nod to the country's heritage.

 

It's a masterful painting.  A very clever one.  Extraordinary in its casual depiction of a quasi-royal consort casually manipulating a kayak in preparation for embarking on an adventure.  Their allotted time as a vice-regal pair represented an adventure for Canada as well as for themselves, irrespective of the manner in which Ms. Clarkson from time to time got carried away....

The painting is money well spent (not by the public purse, but by themselves) and it will be a delightful addition to the more staid, formal and rigid paintings that represent the office and its other-halfs.