Sam Borenstein, born in 1908 in Kalvaria, Lithuania, was a Canadian painter whose life and art were marked by resilience, passion, and an unyielding commitment to his craft. The youngest of fifteen children, Sam faced immense hardships from an early age. His mother’s death during the 1918 influenza pandemic left a deep void, and his father’s preoccupation with work left Sam feeling isolated. These early experiences in a politically tumultuous and war-torn region left an indelible mark on him, shaping the intensity and emotional depth that would later characterize his art.
In 1921, at the age of 13, Sam emigrated to Montreal with his sister Sarah and his father, following four of his brothers who had already settled in Canada. The transition was not easy. Sam struggled in school, finding himself placed in classes with younger students to catch up. After a year, his family situation changed, and he was sent to Ottawa to apprentice as a furrier. For two years, he honed his skills there before returning to Montreal, where he found work as a cutter in a garment factory, a job he would return to periodically over the next fifteen years.
Despite his difficult circumstances, Sam’s intellectual curiosity and creative spirit remained undiminished. He taught himself English, became an avid reader, and even wrote poetry during his teenage years. However, a critique from a New York City poet led him to destroy his poems, an early indication of the intense self-criticism that would haunt him throughout his life. Sam’s lack of formal education also barred him from entering the prestigious École des Beaux-Arts in Montreal. Undeterred, he took night courses and sought out opportunities to develop his artistic skills.
Sam’s introduction to the world of art came through a series of chance encounters and self-directed study. He briefly studied sculpture under Professor Elzéar Sousy and attended Saturday sketching sessions with the Canadian painter Johnny Y. Johnstone. But it was the work of Alexander Bercovitch that ignited Sam’s passion for painting. Inspired by Bercovitch and influenced by European masters like Edouard Manet, Maurice Utrillo, Maurice de Vlaminck, and Vincent van Gogh, Sam began to devote himself fully to painting in 1930.
The Great Depression brought financial hardship, and Sam was laid off from his job at the garment factory. During this period, he faced homelessness, hunger, and the indignities of poverty. Yet, he remained committed to his art. He married in 1933, but the union was short-lived, as his wife’s desire for him to abandon painting clashed with his unwavering dedication to his work. Despite these challenges, Sam continued to paint and sell his work, albeit with limited success.
In 1937, Sam met Judith Aron, who became his second wife and greatest supporter. They married in 1938 and soon after embarked on a life-changing journey to France. In 1939, the couple moved to Paris and later to Douarnenez, Brittany, where Sam created fifty canvases of the rugged coastline and countryside. As the threat of war loomed, the Borensteins returned to Montreal, narrowly avoiding the fate of the S.S. Athenia, which was torpedoed after they had initially considered booking passage on it.
Back in Montreal, Sam’s first solo show at the Sidney Carter Art Gallery in 1939 did not result in sales, but it marked the beginning of his recognition within the Canadian art community. He continued to paint prolifically, focusing on the villages of the Laurentians, Montreal street scenes, and floral studies. His work, characterized by its vibrant colors and expressive brushwork, drew comparisons to the Fauves, particularly the work of Vlaminck.
The 1940s and 1950s were a period of growth and exploration for Sam. He painted throughout Quebec, capturing the unique character of the region in his vivid, emotional style. His circle of friends included prominent Canadian artists like A.Y. Jackson, Arthur Lismer, and Goodridge Roberts, who admired his work and supported his artistic endeavors.
Despite his success, Sam continued to face financial difficulties. To support his growing family, he briefly operated an antiques and art gallery, but the demands of running a business clashed with his artistic temperament. He eventually returned to painting full-time, continuing to produce work that was both deeply personal and universally resonant.
Sam’s later years were marked by a series of exhibitions that solidified his place in the Canadian art world. His works were displayed in major galleries across the country, and his reputation grew. In 1963, he purchased a schoolhouse in Lac Brûlé, where he spent his summers painting the landscapes that had become his signature.
Sam Borenstein passed away in 1969, leaving behind a legacy of over 1,400 paintings. His work was celebrated in a major exhibition at the Art Gallery of Hamilton in 1974, where critics praised his uncompromising honesty and the powerful emotional impact of his paintings. Walter Klinkhoff, in the exhibition catalogue, noted that Borenstein’s work could hold its own alongside that of the great European masters, a testament to his unique vision and artistic strength.
Sam’s influence extended beyond his lifetime through the efforts of his family, particularly his daughter Joyce, who created the acclaimed animated film The Colours of My Father: A Portrait of Sam Borenstein in 1991. The film, which won multiple awards and was nominated for an Academy Award, brought renewed attention to Sam’s life and work, ensuring that his vibrant, expressive art would continue to inspire future generations.
Today, Sam Borenstein’s paintings can be found in major public and private collections across Canada, Israel, and Germany, a testament to his enduring impact on the art world and the powerful, emotional resonance of his work.
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