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Abstract
This article examines the contested commemoration of the self-taught Digby County painter Maud Lewis (1903-1970) by focusing specifically on the fate of her Marshalltown home. Following Lewis’s death in 1970, the “painted house” became a site of contest between the local community, government stakeholders, and corporate interests. The eventual installation of the house at the Art Gallery of Nova Scotia in Halifax demonstrates that the corporate influence on the AGNS and the history of neoliberal development in Nova Scotia filled the gap in federal and provincial arts funding that would have once provided assistance for such community-level initiatives as the Marshalltown conservation of the painted house.Copyright for articles published in this journal is retained by the author(s), with Acadiensis being granted a non-exclusive licence to each and every right in the work throughout the world. After publication of the work, the author(s) shall have the right to self-archive the work and to reprint the work in whole or in part in books authored by or edited by the author(s) without the payment of any fee. In these other formats, however, the author or authors are required to acknowledge the original publication of the work in the pages of the journal. In the case of any requests to reprint the work, Acadiensis will require a standard permission fee -- to be divided equally between the journal and the author. In the event that such requests are received by the author(s), the author(s) shall direct such requests to the journal.