followed with their petroglyphs. In other words, Morrisseau created a "visual bridge from the culture of the Anishnaabe to art " .
Morrisseau family, or grandparents in particular (whom Morrisseau was mainly raised by) had a substantial influence on him. His grandfather was a Shaman, while his grandmother was a pious Catholic. They both encouraged Morrisseau to find the essence and the spiritual aspects of different things in life. Morrisseau had undergone many ups and downs throughout his life. He encountered sexual abuse at the Catholic residential school he briefly attended: a life-threatening but ill-defined illness cured by an Anishnaabe medicine woman (who bestowed on him the name (Copper Thunderbird); tuberculosis at age 26; horrific burns; alcohol and drug abuse; jail time; brief patronage from the mob;
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When learning about a new aspect in life, no matter what it was, logic suggests that we should refer to the main resources to impart from. Morrisseau played a great role in being one of the recent resources on the nature of the Aboriginal Canadian Tribe – the Ojibwa – that people refer to, to know more about the indigenous culture that lived in the Anishnaabe region. This had been evidenced by the fact that his paintings were not hung in museums for their artistic value, but rather for their ethnographic worth. Morrisseau documented the culture from many perspectives and aspects thoroughly, which is illustrated on actions of different authorities (museums and schools) to refer back to his work. He was the only artist for the "first solo first solo exhibit of an Aboriginal person 's art in the history of the National Gallery of Canada" . He was one of three Canadian artists to get invited and exhibit their artwork at the "Centre Georges Pompidou in Paris as part of the French Revolution Bicentennial celebrations" : the French journalists lionized him as the "Picasso of the North" emphasizing the elegance of Morrisseau 's work portraying his