Moe Reinblatt

Early Life, Family and Training

Moe Reinblatt was born in Montreal in 1917, growing up in a household shaped by the experiences of his family. His parents, Manya and Joseph Reinblatt, raised him in a community with deep roots; his grandfather, Baruch, had immigrated to Canada from Russian Bessarabia. During his youth, Reinblatt balanced his developing interest in art with the practicalities of daily life, including working at his father's embroidery business.

His formal training began in the classrooms of Baron Byng High School. From 1932 to 1935, he studied art under the guidance of Anne Savage. This early period provided the foundation for his technical development. Following his time at high school, he continued to refine his skills at the Montreal YM-YWHA. Between 1935 and 1942, he studied under the painter Alexander Bercovitch, a period that helped shape his approach to his craft before his life took a different turn during the war years.

Military Service and War Art

In April 1942, Reinblatt’s life took a turn toward military service when he enlisted in the Royal Canadian Air Force. He was stationed at RCAF Station Mont-Joli, where his hands were more accustomed to the grit of mechanics than the softness of a brush. Working as an airframe mechanic, he focused on the technical realities of flight and machinery, eventually rising to the rank of leading aircraftman.

His role changed significantly in August 1944 when he was appointed an official war artist. This transition moved him from the mechanical maintenance of aircraft to the visual documentation of the conflict. He was sent to England, tasked with recording the Canadian war effort through his eyes and hands. This period allowed him to witness the direct impact of the war, providing him with a unique perspective on the human and industrial scale of the struggle.

Artistic Education and Teaching

After his time in the military, Reinblatt returned to his studies, refining his craft at the Art Association of Montreal's School of Fine Arts and Design. He spent those formative years learning under the guidance of Goodridge Roberts, Gordon Webber, Jacques de Tonnancour, and Eldon Grier. This period of formal study helped shape the technical foundation he would carry into his later career as an educator.

His connection to the School of Fine Arts and Design eventually shifted from student to instructor. Alongside Arthur Lismer, he began teaching drawing and printmaking at the institution. This was not a brief engagement; he remained in this teaching position for over twenty years, helping to guide many students through the intricacies of line and ink. His influence extended beyond the school walls as he organized art classes at the YM-YWHA between 1946 and 1957. Later, from 1967, he shared his knowledge at the Saidye Bronfman Centre for the Arts.

Key Works and Artistic Subjects

Reinblatt’s artistic interests were broad, moving between the quiet stillness of still life and the more active energy of figurative studies. He often turned his attention to the human form, capturing figures in moments of movement or repose. This interest in the body is seen in works like Acrobats, created in 1962, and Le Jongleur. He also explored more somber or solitary human subjects, such as in Mendiant nº 1 and Mendiant aveugle. His ability to capture character was further reflected in pieces like Figure qui tombe nº 1 and Forcenés.

Beyond the human figure, he found subject matter in the natural world and everyday scenes. His landscapes, such as Jour d'hiver, show a different side of his practice compared to his more structured figurative works. He also engaged with printmaking, producing works like the drypoint print The Drinker. In his later years, he continued to explore various themes, including compositions like Caïn et Abel and Une soirée à Montréal.

• Girl's Head with Bow (about 1958)
• Acrobats (1962)

Awards, Legacy and Death

Throughout his career, Reinblatt earned several honors that recognized his technical skill and his presence in the Canadian art community. In 1947, he was awarded the Rolph-Clarke-Stone Award for his drypoint print, The Drinker. His ability to capture the human form and movement continued to be recognized in later years, leading to the Adrian Seguin Memorial Award in 1958 and the C. W. Jefferys Award in 1962.

His contributions to the cultural fabric of his country were further acknowledged in 1968 when he received the Canadian Centennial Medal. This recognition came after decades of shaping the next generation of artists through his teaching and his involvement in the Montreal art scene. He remained a steady figure in the lives of his students and peers until his health declined.

Reinblatt passed away from cancer in Montreal on August 24, 1979. He left behind a body of work that spans figurative subjects, still lifes, and landscapes, much of which remains held in significant collections across Canada and abroad.

Where to See the Works Today

To experience the visual legacy of Moe Reinblatt, one can visit several significant institutions across Canada. His paintings are held in the collections of the National Gallery of Canada and the Canadian War Museum. Those interested in his connection to Quebec will find his art at the Musée national des beaux-arts du Québec. His presence in Montreal is also felt through the Montreal Museum of Fine Arts, where his works are part of the permanent collection.

His reach extends beyond these major urban centers. His pieces are preserved in the McCord Museum and the New Brunswick Museum, ensuring his perspective remains part of the regional history. Beyond the borders of Canada, his art is represented at the Bezalel Museum in Israel, showing the breadth of his influence and the places where his work continues to be held.