Recent Posts

Pages: [1] 2 3
Impressionist Art / David B. Milne - Canadian
« Last post by Linda Lovell on November 18, 2019, 02:43:04 PM »

David B. MilneDo you like flowers? So do I, but I never paint them. I didn't even see the hepaticas. I saw, instead, an arrangement of the lines, spaces, hues, values and relations that I habitually use. That is, I saw one of my own pictures, a little different from ones done before, changed slightly, very slightly, by what I saw before me.'"

For David Milne, painter, printmaker, and writer, the process of art and not the content was paramount. His austere work and his pure aesthetic depended on the formulation and solution of certain formal, artistic problems and the consistent development and concentration of his inner self. In simple terms, Milne sought to reduce a painting to its essentials.
At the age of twenty-one, Milne left Canada to study art at the Art Student's League in New York from 1903-05. He supported himself by doing commercial design and painted in his spare time. In 1917, he joined the Canadian army and was sent to Europe. After the war, he painted camp scenes and deserted battlefields for the Canadian War Records. He returned to New York State for another ten years. In 1929, Milne returned permanently to Canada, first settling in Temagami, then Weston, then at Palgrave, Six Mile Lake, Toronto, Uxbridge, and finally at Baptiste Lake near Bancroft, Ontario. A change in place for Milne always resulted in a change of colour, form, and theme in his work.
By 1934, with the patronage of Alice and Vincent Massey, Milne's work was seen by Alan Jarvis ( later he would become the Director of the National Gallery) and Douglas Duncan who became Milne's agent. Through Duncan, the work of this recluse and individual painter became better known in Canada.
Milne was strongly influenced by both American and French Impressionism, especially the work of Claude Monet and by Henri Matisse. Milne integrated these influences into his own special way of seeing and painting. He painted the simplest subjects - houses, barns, flowers, trees and still lifes - but it was the landscape that dominated much of his production. Milne was also an exceptionally gifted writer and used words as a part of the process to unfold his vision. His journals and painting notes reveal his observations and thoughts about his painting method, and artistic process.
In the last 15 years of his life, Milne began to paint a series of fantasies. These may have been inspired by children's paintings and possibly by the birth of his only child in 1941.
Impressionist Art / Percy Woodcock - Canadian
« Last post by Linda Lovell on November 18, 2019, 02:39:57 PM »
Percy was born in Ontario to Reverend Eli Woodcock, an Episcopalian minister, and Phoebe Ann Wiltse in 1855.
He studied art at Albert College in Belleville in the 1860's. In 1878 he married Aloysis Pratt, a Canadian from Montreal. In 1881 he moved to Paris where he continued his study of art at L'Ecole des Beaux Arts. He held an exhibition at the Paris Salon in 1883. He then studied under Benjamin Constant, and studied in England and Holland before moving to Brockville, Canada, in 1887. In 1888 he became Principal of Brockville Art School, and served in the position until 1890 when he began travelling across North America and Europe to exhibit his paintings.
In the early 1900's Percy discovered the Bahá'í Faith, likely when he exhibited art in Chicago in 1903, and he associated with Bahá'ís in Chicago and Montreal. He, his wife, and one of their children, May, became Bahá'ís. In 1908 he temporarily lived in New York, while maintaining a residence in Brockville. In 1909 he reportedly spoke to Moses True, husband of Corinne True, about the Faith and received an informal declaration.[2] He went on pilgrimage to the Holy Land in 1909.[3] In 1910 he spoke on the Faith at Howard University, and in 1911 he and his family attended that years Green Acre Summer School.
In 1911 he and his family moved to Montreal. He was elected to the Bahá'í Temple Unity in 1911, an administrative body for the North American Bahá'í's which was organizing efforts to construct a Temple in the US. In December 1911 he visited Egypt where he met ‘Abdu’l-Bahá in Ramleh.[4]
In 1912 he traveled to Europe with his wife and daughter and met with ‘Abdu’l-Bahá in Naples, and they traveled with him and his party on their voyage to the United States on the Cedric.
Percy lived in Montreal for the rest of his life, and passed away there in 1936. He had outlived his three children.
Impressionist Art / Robert Harris-Canadian
« Last post by Linda Lovell on November 18, 2019, 02:36:37 PM »

Robert Harris"As for the likeness alone, that's easy, but all other parts are ever so much more difficult to get." – 1871

A famous portrait artist and painter, Robert Harris is best known for his work The Fathers of Confederation.
The third of nine children, Robert Harris spent his early years on his father's farm before his family immigrated to Charlottetown, Prince Edward Island, in 1856. He was determined to be an artist from a very young age, and he went to Boston to study painting in 1873. He financed his studies by painting portraits and by working as a surveyor and cartographer in Charlottetown. A few years later, he left for Europe to study with Alphonse Legros at the Slade School of Art in London, and with Léon Bonnat at the Atelier Bonnat in Paris, where he learned to paint landscapes in the French impressionist style. He then travelled throughout Europe and the United States perfecting his art. When he returned to Canada, he settled in Montreal and produced illustrations for publications in Boston, Halifax, Montreal, and Toronto.
In 1883, Harris was selected to produce a painting illustrating the conference at Quebec in 1864, Meeting of the Delegates of British North America to Settle the Terms of Confederation. The resulting canvas, which became very famous, was destroyed during the fire that devastated the Parliament buildings in Ottawa in 1916; the cartoon (no. 26955) is in the Gallery's collection. This work made him the most important portrait artist in Canada. He painted portraits of more than 200 major figures of his times, including Sir John A. MacDonald and Lord Aberdeen.
Drawing on his childhood memories, Harris drew inspiration from his meeting with Kate Anderson, a rural schoolteacher in Long Creek, Prince Edward Island, in August 1885 to portray the young woman's confrontation with the men sitting on the school board. The painting is A Meeting of the School Trustees.
Robert Harris spent much of his life in Montreal, where he taught at the Art Association of Montreal. He was a founding member of the Royal Canadian Academy of Arts (RCA) in 1880, then the Pen and Pencil Club in 1890. Elected president of the RCA in 1893, he held the position for 13 years and took on the mission of promoting young Canadian artists by making sure that they were represented in all the major exhibitions of the time.
Impressionist Art / HELEN GALLOWAY McNICOLL-Canadian
« Last post by Linda Lovell on November 18, 2019, 02:32:49 PM »
The eldest of eight children and deaf from a childhood bout of scarlet fever, Helen McNicoll was an artist known for her plein air, Impressionist style of painting. About 1885, after her father had become general passenger agent of the Canadian Pacific Railway, the family moved from Toronto to Montreal; by 1903 David McNicoll would be first vice-president of the CPR. Helen began her first serious art training under William Brymner* at the Art Association of Montreal. Brymner’s advocacy of outdoor painting and the Impressionist style clearly would play a critical role in her development as a painter who, an obituary would note, “in striking contrast to the prevailing type of feminine painter constantly applied herself to new problems of light, line and beauty.” Unlike her contemporary Emily Carr*, McNicoll enjoyed financial security and, as one critic observed, “was not obliged either to potboil or make extravagant bids for attention in order to secure a living.” From 1904 to 1906 she pursued her studies at the Slade School of Fine Art in London and at St Ives, Cornwall, under Algernon Mayow Talmage. Afterwards she took a studio in France. There, according to a contemporary Montreal newspaper, she worked “incessantly . . . taking tours through the countryside for fresh material.” The first public acknowledgement of her skill as a painter occurred in 1908, when at age 28 she was awarded the first Jessie Dow Prize for Painting from the Art Association of Montreal. She returned to England, where she shared a studio and painting expeditions in Yorkshire and London with her close friend, British artist Dorothea Sharp. A member of the Royal Society of British Artists and vice-president of the Society of Women Artists, Sharp may have played a role in McNicoll’s election to the Royal Society of British Artists in 1913. The modernity of McNicoll’s high-keyed palette and painterly style was not universally accepted by the Royal Society. Writing to her family, she recounted that “the older members . . . didn’t like my things,” but another member had said that “it will be a bitter pill for some now that . . . [Helen McNicoll] is elected.” Between 1913 and her death two years later McNicoll exhibited 11 paintings with the Royal Society of British Artists.
In 1914, at age 34, McNicoll was elected an associate member of the Royal Canadian Academy of Arts. Throughout her sojourn in England and Europe, she had continued to exhibit annually with the Royal Canadian Academy and with the Art Association of Montreal. The Art Association would exhibit her paintings posthumously in 1922 and 1925.
Her sudden death from diabetes at age 35 was a loss noted in Saturday Night and Beck’s Weekly (Montreal). No memorial exhibition took place until 1925, however, when the Montreal Museum of Fine Arts mounted for one week a retrospective exhibition comprising 141 paintings and sketches drawn primarily from the collection of the McNicoll family. In 1970 the Granite Club of Toronto arranged an exhibition and in 1974 the Jerrold Morris Gallery in Toronto offered 28 works from the McNicoll estate.
Primarily a painter of working women and maternal themes in outdoor settings, McNicoll drew her subject-matter from the tradition of Impressionist women painters such as Berthe Morisot and Mary Cassatt, while acknowledging the “new woman” of the modernist age. Works such as Under the shadow of a tent (c. 1914) and Young mother in the shade (c. 1914) are especially effective in representing intimacy and bonding between women and the changing representation of maternity. A reviewer in the Family Herald and Weekly Star noted that “her style is broad and simple and she follows the modern school of sunlit effects without any affectation, but absolute sincerity.” Contemporary women artists such as Florence Carlyle, Laura Muntz Lyall, and Emily Carr serve to position McNicoll’s art within the broader community of serious female artists whose exploration of female experience, nature, and techniques of painting have been largely marginalized within the history of Canadian art.
Impressionist Art / Laura Muntz Lyall-Canadian
« Last post by Linda Lovell on November 18, 2019, 02:22:22 PM »
One of the first women artists in Canada to receive international recognition, Laura Muntz's evocative paintings of children and childhood have been exhibited worldwide. In this overview of Muntz's life and work, Joan Murray captures the breadth and sophistication of Muntz's oeuvre.Trained in France and inspired by the Impressionists, Laura Muntz (1860-1930) imbued her paintings with a striking, atmospheric treatment of light. Energetic and determined, Muntz created a large number of canvases, watercolours, pastels, and drawings that communicate a deep sympathy with her subjects - most often children or women with children. As she continued her career in Toronto and Montreal, her works revealed flair, inventiveness, and a rich sense of colour and layering. Muntz lived and painted in Canada to the end of her life, exhibiting widely to considerable renown.Laura Muntz Lyall: Impressions of Women and Childhood provides an extensive chronology and exhibition history, as well as the artist's own words in a selection of previously unpublished correspondence. Reproducing more than ninety paintings in colour, this book offers new insight into the work of one of Canada's important artists.
Impressionist Art / Peleg Franklin Brownell-Canadian
« Last post by Linda Lovell on November 18, 2019, 02:16:30 PM »
Peleg Franklin Brownell, painter, teacher (b at New Bedford, Mass 27 July 1857; d at Ottawa 13 Mar 1946). After studying at the Boston Museum of Fine Arts, he went to Paris to study under Robert-Fleury, Bouguereau and Bonnat. In 1886 he became principal of the Ottawa Art School and subsequently headed the Woman's Art Association of Ottawa (later Ottawa Art Association), retiring 1937. He also painted in the West Indies, the US, the Gaspé and the Gatineau. Besides highly keyed landscapes, he produced portraits, flower studies, marine and genre scenes in oil, watercolour and pastel.A founder-member of the Canadian Art Club (1907), he was represented in the exhibitions of several art associations and showed internationally at the 1893 Chicago World's Columbian Exposition; the 1900 Paris World's Fair, at which he won a bronze medal for his RCA diploma work, The Photographer, 1896; the Louisiana Purchase Exhibition, St Louis, 1904; and the British Empire Exhibition, 1924-25. His paintings are found in major Canadian collections. Perhaps his best-known canvas is The Beach, St. Kitts (1913).
Impressionist Art / William Blair Bruce-Canadian
« Last post by Linda Lovell on November 18, 2019, 02:13:14 PM »
William Blair Bruce was one of this city's finest painters. Born in Hamilton on October 10th, 1859
As a young man, Bruce attended classes in law at the Hamilton Collegiate Institute and then joined his father's enterprise, the Hamilton Writing Institute, and worked there for several years as a mechanical draftsman.
His family knew he had talent and wanted him to succeed in his chosen career as an artist, and in the summer of 1881 Bruce set off to study in Europe. Bruce's aim as a student was to exhibit his works, especially in the Paris Salon, the Royal Academy in London or the Munich Academy. What Bruce wanted to exhibit was the colour and form "one sees in nature" for him, the only truth. Bruce believed his peculiar gift was the design of outdoor effects. In 1885 he wrote to his father, "How I would like to do honour to our Canada, the noble Dominion, to our ambitious little City, to the family."
Following his death at the age of 47, Bruce's family bestowed a substantial collection of his works to the City of Hamilton with the proviso that a permanent gallery be built. His Paintings which include The Long Cloud, Sunset in Clouds, The Rag Picker, Moonlight in Canada and The Phantom Hunter are all part of the permanent collection of the Art Gallery of Hamilton.
His paintings which had a significant influence on the establishment of the Art Gallery of Hamilton mark his induction into the Gallery of Distinction as a "Distinguished Hamiltonian".
Impressionist Art / Marc-Aurèle de Foy Suzor-Coté-Canadian
« Last post by Linda Lovell on November 18, 2019, 02:03:52 PM »

Marc-Aurèle de Foy Suzor-Coté

“I have worked hard and applied myself wholeheartedly as a painter can when he loves his art, is totally absorbed by it and makes it the purpose of his life.” (1901)
Marc-Aurèle de Foy Suzor-Coté was a painter, sculptor, and church decorator. He is regarded by many as French Canada’s most versatile artist. Known for his landscapes of the thawing winter rivers of Arthabaska, his topics also include genre, history, portraits, and the female nude.
Suzor-Coté showed a talent for drawing from an early age. As a young man, he apprenticed with painter-decorator Joseph-Thomas Rousseau. Together, they created intricate decorations in several churches in and around Arthabaska. Looking to further his art education, Suzor-Coté made his first of many trips to France in 1891. He took lessons in rendering the human form at the École des Beaux-Arts and began to sketch the countryside en plein air.
Inspired by French painters like Jean-François Millet, Suzor-Coté began to focus on local farmers in paintings such as
Return from the Harvest Field
, 1903. He began his sculptural work in 1907, where he continued the theme of daily life, as in Caughnawaga Women, 1924. In 1909, he received a commission to paint the portrait of Sir Wilfred Laurier. Suzor-Coté received many awards and distinctions, including the bronze medal at the 1900 Paris World Fair. He was also a member of the Royal Canadian Academy of Arts.
Impressionist Art / Maurice Cullen- Canadian
« Last post by Linda Lovell on November 18, 2019, 02:01:30 PM »

Maurice Cullen
At some hour of the day the commonest subject is beautiful."
- Maurice Cullen, cited in 'Maurice Cullen', essay by Cullen's stepson, the artist Robert W. Pilot, in Maurice Cullen 1866-1934 (Art Gallery of Hamilton, 1956)Cullen depicted Canadian landscape in accordance with local terrain, light and colour. He composed his landscape paintings and pastels in keeping with European and Canadian tradition. His innovative use of luminous, Impressionist-influenced colours influenced the next generation of Canadian artists, especially the Group of Seven.
From 1884, Maurice Cullen trained in Montreal under Abbé Chabert at the Institut national des Beaux-Arts et des Sciences, and with the sculptor Louis-Philippe Hébert. Cullen moved to Paris in 1889, studying painting with Jean-Léon Gérôme and Elie Delaunay at the École des Beaux-Arts. He enrolled in the studio Julian and studio Colarossi, meeting James Wilson Morrice and William Brymner. In Paris, Cullen learned traditional French academic painting, but encountered Impressionism and the Barbizon School. He returned to Montreal in 1895. He revisited Europe in 1895-1902 and 1925, painting in France, Italy, the Netherlands and North Africa, and served as a war artist in 1918-1919 (Huy on the Meuse, 1919). In Québec and Beaupré, Cullen painted out-of-doors in all seasons, often with Morrice and Brymner.
Maurice Galbraith Cullen grew up in Montreal, studying art privately. After attempting a commercial career, he studied sculpting. At 22, he enrolled as a student at the Ecole des Beaux-Arts, Paris. There he met many Canadian art students, and changed to landscape painting. Returning to Montreal in 1895, Cullen spent his summers painting in the Québec countryside and his winters painting city views (Winter Evening, Quebec, c. 1905). He visited Europe (Customs Port, Venice, 1901), Africa (Biskra, 1893) and (in 1930) the Rockies. His winter landscapes (The Ice Harvest, c. 1913) were especially admired. He exhibited in Paris and with many Canadian arts organizations, and taught from 1891 to 1920 at the Art Association of Montreal. In 1900, he became the stepfather of the artist Robert W. Pilot.
Impressionist Art / William Brymer -Canadian
« Last post by Linda Lovell on November 18, 2019, 01:58:42 PM »

William Brymner

“There are other kinds of beauty besides that of a pretty face or form, or the brightness of a sunset. The beauty of the arrangement of spots of colour and light and shade, or even of lines, are not often thought of.” (1897)
William Brymner was an influential art teacher and painter of figures and landscapes. He painted directly from nature, in the style of the French Barbizon school. Always experimenting with different techniques and viewpoints, he often chose Canadian subjects, such as rural Quebec.
Brymner studied at the Académie Julian in Paris. He settled in Montreal in 1886, where he taught for thirty-five years at the Art Association of Montreal. Among his students were painters A.Y. Jackson and Clarence Gagnon. Brymner strove to create spaces where artists of all disciplines could gather and exchange ideas. He served as president of the Royal Canadian Academy for nine years. He also worked with the Canadian Art Club, the Pen and Pencil Club of Montreal, and the Arts Club of Montreal. He travelled frequently through Europe and Quebec’s Eastern Townships, setting up a studio in Saint-Eustache with fellow artist Maurice Cullen.
A Wreath of Flowers, 1884
was Brymner’s diploma piece for the RCA. Painted at Runswick Bay, the work demonstrates his narrative interests and his ability to paint figures and landscape. In 1892, Canadian Pacific Railway commissioned Brymner to produce a series of paintings promoting the scenic views of the Canadian West. He won a gold medal at the Pan-American Exposition in Buffalo in 1901, and silver at the Louisiana Purchase Exposition in 1904. In 1916, Brymner was made a companion of the Order of Saint Michael and Saint George.
Pages: [1] 2 3