The evolution of Anne Savage's career as a painter was paralleled by the development of Canadian pictorial identity. Of a discreet nature, she nevertheless established herself as an important feminine figure in twentieth-century Canadian art.

She began studying under the direction of William Brymner and Maurice Cullen at the Art Association of Montreal. In the 1920s, while Toronto had the Group of Seven, Montreal discovered the Beaver Hall Group. On January 20, 1921, one of the Seven, A. Y. Jackson, travels for the inauguration. In his opening speech, he encourages artists from the La Belle province to paint the country: "I would like each artist to paint, describe, express the region he lives in. (...) I would like us here to do the same thing for Quebec, and strive to make its landscapes, its appearance, its physiognomy, its very soul "(Newspaper La Presse, article dated January 20th, 1921).
    
In the aftermath of the First World War, this idea of making Canadian painting occupied all minds. Indeed, some artists "(...) returned from the war possessed of the desire to paint a country for which they had fought" (Anne McDougall) and reject the European tradition, too rigorous and academic. Anne Savage will contribute discreetly, but constantly, to this new movement.

"Her most significant production dates back to the 1930s and 1940s during which she participated in more than fifty exhibitions, including the New York World's Fair in 1939. In the sixties, her paintings reappeared on the walls. painter Anne Savage spans over a good fifty years,
from the 1918 Spring Exhibition at the Art Association to his 1968 retrospective at Sir George Williams University "(Anne McDougall).

1.  Newspaper La Presse, January 20th, 1921 (in french), via Banq numérique. Second page, left column.

2.  Anne McDougall (1977).  Anne Savage.  Vie des arts, vol. 21, numéro 86, p. 50-53
https://www.erudit.org/en/journals/va/1977-v21-n86-va1177657/54934ac.pdf

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