Brushes with greatness Celebrating 75 years, Charleswood Art Group offers artists camaraderie, inspiration, instruction By: AV Kitching Posted: 6:00 AM CST Tuesday, Jan. 27, 2026 Last Modified: 1:30 PM CST Tuesday, Jan. 27, 2026 Updates

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This article was published 27/01/2026 (188 days ago), so information in it may no longer be current.

Winnipeg has a number of art clubs dotted around the city — and one of the oldest, the Charleswood Art Group celebrates its 75th anniversary this year.

With a membership fee, capped roster, juried admission and waiting list that can sometimes extend to two years, the group might be mistaken for a secretive, fiercely sought-after society.

The reality, however, is far more pragmatic than mysterious.

Formed in 1951 by seven like-minded friends who would meet in a “cold, green army hut” on the corner of Laxdal Road and Roblin Boulevard, these days the group gathers at Gloria Dei Lutheran Church on Buckingham Road to paint, discuss techniques and attend workshops.

The annual membership fee of $275 covers rent at Gloria Dei, payments and honorariums to instructors and presenters, and rent of its annual spring show venue. Once the annual fee is paid, there are no further charges.

Numbers are limited to 50 owing to space constraints, not any deliberate air of exclusivity — in fact, no one can remember an applicant being refused entry throughout the group’s history.

Meetings take place every Monday from 10 a.m. onwards and there are often between 40 to 45 artists who attend regularly.

The opportunity to meet consistently is one of many reasons Angie Spearing, who joined last May, enjoys being in the group.

She had always been artistically inclined but rising work commitments forced her to temporarily set aside her paints and brushes. Early retirement due to health issues caused by a car accident led her back towards her passion.

“Art was therapy in my recovery,” she explains. “This group has brought me to a whole other level. I’m honing my craft, I’m creating, I’m showing up, I’m accountable and I’m collaborating. For me this group has become so much more — I truly feel like I’ve found my people.”

Admission to the collective wasn’t always decided by jury.

When Jeannette Hunter, 83, joined in 1996, she’d heard about it from her friend Nancy.

“It was word-of-mouth at that time. Thank goodness it wasn’t juried, otherwise I probably wouldn’t have got in,” Hunter says with a laugh.

She values the sense of camaraderie the group offers and enjoys learning new skills from her peers. Before joining CAG she would go to different art workshops throughout the city.

“You’d go for a day or weekend on 10-week courses, but it’s not like being in your own group, where you get to know each other and you’re not afraid to point things out to them,” she says “You’re not afraid to share the problems or the successes you’re having.”

Amanda Rogala Golden, 42, joined in September 2023 after being on the waitlist for two years.

Like Hunter, Rogala Golden had attended various art classes over the years, but was looking to connect with community members who not only shared her interest in art, but from whom she could learn.

“There is a strong sense of belonging in the group,” she says. “It’s a very supportive environment. We have critique days where we can bring in pieces we are working on and get help from each other.”

The group’s robust structure has helped it stand the test of time, and members are expected to volunteer to support the group’s activities.

Headed by chairwoman Deloris Long, a three-person executive oversees 12 committees that administer everything from updating the website to maintaining the archives and co-ordinating the annual Spring Show and Sale.

“I’m pleased that it’s so well-organized; they really know what they’re doing,” says Kim Salo, 73, who joined two years ago.

“The fact that they jury people is setting a standard for its members.”

The artist and retired pastor, who has been painting for about 50 years, was accustomed to working alone. He was surprised to discover he enjoyed painting and having conversations at the same time.

Joining the group has also strengthened his practice.

“Unless I’ve got a really strong reason to miss, I am there every week. Typically, I’m a plein-air oil painter but you can’t do either at the art group, because oils have got a lot of odours and also it’s indoors. So it’s actually made me branch out in my techniques in watercolour.

“It’s help me grow as an artist, no question. Frequent workshops on a wide variety of subjects — and I’ve presented two or three myself — is also good that way for growth.”

While the portfolio review process serves to maintain the group’s level of work, talent alone does not determine entry.

The CAG’s longevity depends as much on the values of its members as it does on their artistry.

“The remarkable nature of this is that people are committed to the group,” Spearing says. “It’s a testament to this group, to the commitment of its members. We don’t just look for the best art. It has to be a complete package.

“We want to have like-minded artists come together to build really good relationships, which allow us to teach and learn from each other and to promote fine art. You cannot have something that runs like this without people caring enough to step up when things need to be done.”

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