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Lawren Harris: 1885-1970

October 23, 2016 By Susan Benton

Lawren Harris

Lawren Harris, April 25, 1926, photographed by M.O. Hammond

Lawren Stewart Harris (1885–1970), one of Canada’s most important and influential painters, was also the driving force behind the famous Group of Seven, and the founding member and first president of the Canadian Group of Painters. Through his life and work, he inspired three generations of artists to paint unbridled by convention, and along with his contemporaries, changed the art of a nation.

A Child of Privilege
Lawren Harris was born on October 23, 1885 in Brantford, Ontario, into a well-to-do and well-connected family. “The unusual name Lawren was the consequence of parental compromise: his mother wanted to call him Lawrence; his father preferred Lorne.” His grandfather had founded a farm machinery business which merged in 1891 with a rival company and become the giant manufacturer Massey-Harris Co. Ltd. His father, Thomas Morgan, worked as the secretary of the business and his mother Annie was a minister’s daughter. The family was Baptist and Lawren’s childhood was spent in an affluent and religious household.

When Lawren was just nine, his father died of kidney failure and the family moved to Toronto. Lawren attended St. Andrew’s College, a private boy’s school, Central Technical School and the University of Toronto. From his early years he had a penchant for art and during his teenage years, and on, he painted incessantly, searching for his own style and meaning in art. In 1904, he travelled to Berlin, Germany to further his art studies. Over the next four years he took advantage of his liberty to pursue whatever attracted him and he took up the violin, sketched on the banks of the Spree, and went hiking in the Alps.

A Wealthy Young Man and Ardent Artist
In 1908, Harris returned to Canada, a young man confronted and grappling with profound juxtapositions.  He belonged to the wealthy establishment and yet railed against convention. He was raised as a Christian but had been introduced to theosophy in Germany. He saw his country as new and modern, and yet the art of the time was a traditional European-style. He was an artist dedicated to his craft, yet he did not have to struggle to survive as did many of his contemporaries. He was a rich man capable of collecting the best art on offer, but he strove to be an artist who could, through art, change the way his countrymen saw and depicted Canada.

For the next two few years, as always unrestricted by financial concerns, he sketched in the Laurentians, in  Haliburton and in Lac-Memphrémagog, Québec, as well as drawing and painting that which he knew well, the houses in Toronto. His Ward paintings became known for their hopeful and colourful depiction of the downtown homes that were in fact quite gray and rundown, many without running water or sewage systems. The area was a stark contrast to Lawren’s own life of luxury. While “working” as an artist, he mingled as a social equal with bankers,  industrialists and doctors, and met his future wife. Beatrice “Trixie” Phillips was a young socialite, the daughter of a millionaire, and the pair wed in 1910 and had three children—Lawren Jr., Margaret and Howard.

Scandinavian art at the Albright Knox Art Gallery 1913One of Lawren’s favourite places was the newly formed Arts and Letters Club, essentially an elite boys’ club for Toronto society. Many of Toronto arts establishments were conceived at the club and it was a magnet for writers and artists. One of those artists was Jim MacDonald, who launched an exhibit of oil sketches of the Canadian North which attracted Harris’s interest. He and MacDonald became fast friends and shared their mutual interest in the American transcendentalists (MacDonald had named his son Thoreau). MacDonald introduced Harris to his illustrator colleagues—Arthur Lismer, Franklin Carmichael, Frank Johnston, Fred Varley and Tom Thomson—names now associated with the Group of Seven. They also included A. Y. Jackson, a Montreal-native and fellow artist, who they met at the club. In January 1913, Harris and MacDonald took a train to the Albright Art Gallery (now the Albright-Knox) in Buffalo, to see an exhibition of contemporary Scandinavian art. That one exhibition would inspire them to create a new art for Canada, and influence their work for years to come.

lawren-harris-group-of-seven-studio-building-1913-national-gallery-of-canada-archives

Studio Building (1913) –  National Gallery of Canada Archives

The group met regularly and synthesized around the idea of a new art movement in and for Canada. In their midst was the man who had the means to support this bold and rebellious venture. The first step was providing a place for them to work and to live if necessary. In 1913, Harris hired the architect Eden Smith to build the Studio Building for Canadian Art. The building cost $60,000, and Harris along with his crony James MacCallum, a Toronto ophthalmologist and art collector, foot the bill.

“The work they (the group) produced was visceral, vivid and controversial.”  They became known in the press as the Algonquin School (because of their paintings of the north). Critics were extraordinarily harsh at first saying that they lacked skill and that their paintings were like “a gargle or glob of porridge” and dubbed “The Hot Mush School.” by art critic H. F. Gadsby.

The First Great War
The First World War paused the work of the group. Some became war artists and others saw active duty overseas. Harris’s heart condition kept him in Canada at Camp Borden in Barrie where he taught musketry.

Already deeply saddened by the unexpected death of Tom Thomson in 1917, the death of Harris’s only sibling, Howard, a decorated veteran, in France at just 31 years old, impacted Harris profoundly. On May 1, 1918, Harris was discharged from the Army, suffering from depression, chronic sleeplessness and confusion. He found a way out through the spiritualism that he had first discovered in Germany. He joined the Toronto Theosophical Society, quit drinking and smoking, and gave lectures on theosophy and art.

A Driving Force for Canadian Art

Group of Seven Exhibition Catalogue -1920 Art Gallery of Ontario (Art Museum of Toronto)

Group of Seven Exhibition Catalogue -1920 Art Gallery of Ontario (Art Museum of Toronto)

Within a month of his discharge from the army, Harris with renewed inspiration, organized the first of the “kitted-out boxcar” trips to Algoma, Ontario. Though born a privileged city boy, he loved and felt at home in the wilds of Canada. This love of the untouched landscapes reignited his passion for a new art for Canada. He fiercely believed that art could shape Canada’s identity. And to that end, he bankrolled the first official Group of Seven exhibition in 1920 at the Art Gallery of Toronto.

The last Algoma trip was in 1921, when Harris and A.Y. Jackson travelled to Lake Superior’s North Shore. Harris’s large spiritual paintings of a barren landscape, burned years earlier, became his trademark. “By the early 1920s, Harris had developed into a magnificent landscape painter… he reduced the shapes of mountains, shoreline, trees, lakes and clouds, always parallel to the picture plane, to their essentials for an austere, monumental effect.” And he was not alone in the philosophy and direction of his art. Kandinsky and American Transcendentalist writers such as Emerson and Whitman were inspiring artists internationally. “Harris’s landscapes now grew increasingly non-representational. By the late ’20s, he’d turned away from the style that made him famous and advocated on behalf of abstract art.”

In 1926, Harris joined the newly formed Société Anonyme, an organization founded by Katherine Dreier, Man Ray and Marcel Duchamp to promote avant-garde art. In their show, The International Exhibition of Modern Art, Harris’s work hung alongside that of Pablo Picasso and Georgia O’Keefe, and his was the only Canadian work included in the exhibition.

In 1930, in a letter to Emily Carr, a fellow painter, he wrote, “The true artist is outside of social recognition…. Society lives by rule, creed, what is and what isn’t done. The artist lives from within not without.” That same year Harris travelled and produced his famous paintings of the Arctic.

A Personal Scandal and Exodus
In 1934, after 24 years of marriage, Harris left Trixie to marry Bess Housser, a painter who had worked and exhibited with the group, and the wife of a school chum. The decision resulted in Harris never again residing in the place of his youth and great influence. To avoid the fallout of the scandal, the couple left Canada and moved to New Hampshire. Harris joined Dartmouth College as artist-in-residence.

In the spring of 1938 they moved again, this time to Sante Fe, New Mexico where Harris was part of the founding of the Transcendental Painting Group in 1939. In 1940, they returned to Canada, but four provinces away, to Vancouver, British Columbia. Harris visited Toronto in 1948 for a retrospective of his work at the Art Gallery of Toronto, the first ever for a living Canadian artist. Over the next three decades, his work in Vancouver continued to explore abstraction inspired by nature.

Lawren Harris died on January 29, 1970. His body is buried in a small cemetery alongside Bess, who died a few months earlier, and some of the other Group of Seven members, on the grounds of the McMichael Canadian Art Collection in Kleinburg, Ontario.

A National Legacy
In 1948 and 1963 Harris was the subject of two retrospectives. After his death, the Art Gallery of Ontario produced the exhibition Urban Scenes and Wilderness Landscapes, 1906–1930 in 1978 and in 1982–83, a national travelling exhibition of his drawings. In 2000, the first solo exhibition in the U.S. was at the Americans Society Art Gallery in New York. In 2015, a touring exhibition of Harris’ work, curated by American actor, comedian and writer Steve Martin, opened at the Hammer Museum in Los Angeles, California. Much of Lawren Harris’s work is in the collections of the National Gallery of Canada, the Art Gallery of Ontario, and the McMichael Canadian Art Collection.

Harris’s own work and the work done by the Group of Seven, supported and encouraged by Harris, is now considered to be the iconic art of Canada, just as Harris had envisioned. The group’s work is highly sought after by collectors and by the turn of the 20th century was already demanding millions at auction. The love affair with the Group seems to be ongoing. Harris’s 1930 painting “Mountain and Glacier” sold at auction for $4.6 million in 2015.

The film below, Where the Universe Sings, is an intimate portrait of the artist’s life and the expansive landscapes that inspired him. (White Pine Pictures in association with TVO)

Lawren S. Harris, Old Houses, Toronto, Winter, 1919. Art Gallery of Ontario
Lawren S. Harris Red House and Yellow Sleigh 1919 Art Gallery of Ontario
Lawren S. Harris Near Sand Lake, Algoma, 1921 National Gallery of Canada (no. 6965) © family of Lawren S. Harris
Lawren S. Harris Beaver Pond, 1921 National Gallery of Canada (no. 38020)
Lawren S. Harris Abstraction, 1939 National Gallery of Canada (no. 17161)
Lawren S. Harris Abstract Painting No. 20, c. 1943 National Gallery of Canada (no. 5016)
Lawren S. Harris Nature Rhythms, c. 1950 National Gallery of Canada (no. 17160) © family of Lawren S. Harris
Lawren S. Harris Maligne Lake, Jasper Park, 1924 National Gallery of Canada (no. 3541) © family of Lawren S. Harris
Lawren S. Harris North Shore, Baffin Island II, c. 1931 National Gallery of Canada (no. 5014) © family of Lawren S. Harris
Lawren S. Harris North Shore, Lake Superior, 1926 National Gallery of Canada (no. 3708) © family of Lawren S. Harris
Lawren S. Harris Untitled, c. 1968 National Gallery of Canada (no. 30032) © family of Lawren S. Harris

The images and videos in this post are for educational use only and may not be reproduced without the owner or copyright holder’s consent.

Sources: gallery.ca, macleans.ca,  50years.mcmichael.com, torontolife.com, mcmichael.com, thecanadianencyclopedia.ca

Filed Under: ART, Art History, Painting Tagged With: A.Y. Jackson, Albright Knox Gallery, Algoma boxcar trips, Algonquin School, American Transcendentalists, Arthur Lismer, Arts and Letters Club, Beatrice Phillips, Bess Housser, Canadian Art, Eden Smith Architect, Emily Carr, Frank Johnston, Franklin Carmichael, Fred Varley, Group of Seven, James MacCallum, Kandinsky, Lawren Harris, McMichael Canadian Art Collection, McMichael Gallery, Societe Anonyme, Steve Martin, Studio Building, Tom Thomson, Toronto Theosophical Society

Tom Thomson: 1877-1917

August 5, 2016 By Susan Benton

Tom Thomson 1910Thomas John (Tom) Thomson, arguably Canada’s most intriguing, and perhaps its most iconic artist, was born on August 5, 1877 in Claremont, Ontario, the sixth child of ten to John and Elizabeth Thomson.

The Thomson Family

The Thomson clan who moved to a farm in Leith shortly after Tom’s birth, were a musical family and at an early age, Tom played both the violin and the mandolin, as well a number of other instruments. His childhood days were spent with his eight brothers and sisters (the ninth sibling had passed away at just 9 months old) fishing, sailing, swimming, reading, dancing and playing mandolin and coronet in the village band. A favourite pastime was drawing caricatures for the amusement of his friends.

A fun-loving and pleasant child by all accounts, Tom was, as are many children of large rural families, independent and adventurous. He was apt to find his own way rather than following the constructs of the Scottish family traditions he was born into. The family farm was located beside Georgian Bay and Tom was drawn to the vast, beckoning water and rugged landscape. Though he had health issues as a child, in adulthood, the wilderness seemed to bring out his strength and stamina.

Tom’s Early Career and Fellow Painters

Tom had a restless start to his adulthood. Unsuccessful at enlisting for the Boer War in 1899 due to health reasons, Tom apprenticed as a machinist at Wm. Kennedy and Son’s Foundry in Owen Sound, but lasted only 8 months before he quit. Still undecided on a career, he briefly attended business school in Chatham. In 1901, he moved to Seattle, Washington to join his brother George at his business college.

George Thomson had arrived in Seattle in 1899, had studied law and then operated The Acme Business College. His brother Henry had joined George shortly after, followed by brothers Tom and Ralph in 1901. Tom studied at Acme and enrolled in penmanship, but left after six months to begin his career as a commercial artist, responsible for designing, drawing and lettering advertisements. George also attended the college, but later returned east to study at The Art Student’s League in New York. He like Tom, eventually devoted himself to painting, and exhibited his entire life.

In the gold rush town of Seattle, Tom also met and was smitten with the beautiful young Alice Eleanor Lambert, who by some accounts only giggled when the ardent young Tom proposed causing him to abruptly return home to Canada in 1905.

His first job on returning home was to work as a senior artist at Legg Brothers, a photo-engraving firm in Toronto. He acquired the strong design skills evident in his art (Northern River, 1914-1915), in the Toronto commercial art world. Thomson joined Grip Limited, Engravers, in 1909, a prominent Toronto photo-engraving house. This position proved to be a turning point in his life. Grip’s senior artist was J.E.H. MacDonald (1873–1932), who encouraged his staff to foster their talents by painting outdoors in their spare time—in the city’s ravines and the nearby countryside. Over the next three years Albert Robson, Grip’s Art Director also hired Arthur Lismer (1885–1969) and Fred Varley (1881–1969), both fresh from England, and Franklin Carmichael (1890–1945). Through MacDonald, Thomson also met Lawren Harris (1885–1970) at the Arts and Letters Club, a meeting place for men interested in literature, theatre, architecture, and art. Thomson was encouraged to paint by his colleagues, who saw an unusual and burgeoning talent in their colleague. When Robson moved to Grip’s main competitor, Rous and Mann Limited, in the fall of 1912, most of his loyal staff, including Thomson, followed him.

Algonquin Beckons

Tom Thomson at Tea Lake Dam Algonquin-Park 1916Tom’s love of the wilderness had taken him on his first visit to Algonquin Park in the spring of 1912 with a sketch kit in hand. He returned again that fall for two months. Thomson encouraged his Rous and Mann colleagues to join him, where they painted together and became known informally as the Algonquin School. Unfortunately, the progress of this informal group of artists would be interrupted by the outbreak of the First World War. They would not formally come together again until after Tom’s death to form Canada’s first national school of painting, the Group of Seven.

In May of 1913, Thomson went to Algonquin Park on his own and spent the spring and summer there. On his way back to Toronto, Thomson stopped in Huntsville and may have visited Winifred Trainor, whose family had a cottage on Canoe Lake, and who he may have spent time with in Algonquin Park. Later, she was rumoured to be engaged to Thomson for a marriage in the fall of 1917, but the records are not conclusive.

In 1913 Thomson also exhibited his first major canvas, A Northern Lake, at the Ontario’s Society of Artists exhibition. The Government of Ontario purchased the canvas for $250 a considerable sum at that time, considering Thomson’s commercial artist’s weekly salary was $35. That same year, Dr. James MacCallum, a prominent Toronto Ophthamologist and collector saw the “truthfulness” of Thomson’s early sketches and guaranteed Thomson’s expenses for a year (2014), enabling him to devote all his time to painting. MacCallum also introduced Thomson to A.Y. Jackson (1882–1974)—an artist who had recently returned from his third visit to France. Thomson would soon be sharing studios with A.Y. Jackson and then Franklin Carmichael at the Studio Building which Lawren Harris along with MacCallum were financial partners in the construction of to support a new movement in Canadian art – a new way of representing the ruggedness and wilderness of a relatively young country.

By 1914, Thomson had become enchanted with the north, preferring to spend his time fishing, painting and canoeing, sporadically acting as guide, firefighter or a park ranger (in subsequent years), in Algonquin Park, until the onset of winter would force his return to the city. He wintered in a fixed-up modest shack behind the Studio Building in the Rosedale area of Toronto. Working his sketches up into larger canvasses, he waited for early spring and the chance to return to Georgian Bay and Algonquin Park where he found a landscape which inspired him and offered the solitude he loved to paint in.

Thomson’s Work Gains Recognition

1914 was also a turning point for Thomson as an artist. The National Gallery of Canada, Ottawa, under new director Eric Brown (and advised by board member Lawren Harris), began to acquire Thomson’s work, first Moonlight, 1913–14, from the Ontario Society of Artists exhibition for $150; then Northern River, 1915, the following year for $500; and a year later Spring Ice, 1915–16, for $300. Such recognition was remarkable for an emerging, unknown artist, though the money he received was not sufficient to live on. Thomson, however, never paid much attention to managing his career. He didn’t even give titles to most of his paintings or date them.

Thomson’s work reflected his exposure to Arts and Crafts design, the work of his artist friends, and contemporary Scandinavian art, as seen by Lawren Harris and J.E.H. MacDonald in a Buffalo exhibition in January of 1913. His canoe trips resulted in many sketches of the light and seasons of Canada’s north. By late 1915, Thomson’s approach to landscape painting became more imagination-based. He often sought some natural feature corresponding to his pre-existing ideas, or painted landscapes in his Toronto studio from memory. Thomson’s design experience permeates his late canvases, which feature stylized tree branches and flat areas of strong colour (The Jack Pine, 1916-1917).

A Tragic End; An Incredible Legacy

On July 8, 1917, Thomson paddled across Canoe Lake and disappeared. His body was found 8 days later. Though ruled an accidental drowning, the cause of his death is surrounded by skepticism to this day.

When Thomson died, his iconic painting The West Wind, with its single tree bent against the strong prevailing winds, was found on his easel in his studio in Toronto. Some feel the painting is unresolved, unfinished, as was Thomson’s life. Others see it as representation of a determined, solitary spirit finding his place in the northern ruggedness of Canada.

Tom Thomson Memorial-Cairn-Hayhurst-Point-overlooking-Canoe-Lake-in-Algonquin-ParkIn September of 1917, J.E.H. MacDonald, Dr. MacCallum and J.W. Beatty (another painter and friend) built a stone memorial cairn on Hayhurst Point, overlooking Canoe Lake in Algonquin Park. The cairn’s inscription was composed by Thomson’s friend, painter J. E. H. MacDonald, and reads:

TO THE MEMORY OF TOM THOMSON ARTIST, WOODSMAN AND GUIDE WHO WAS DROWNED IN CANOE LAKE JULY 8TH, 1917

HE LIVED HUMBLY BUT PASSIONATELY WITH THE WILD

IT MADE HIM BROTHER TO ALL UNTAMED THINGS OF NATURE

IT DREW HIM APART AND REVEALED ITSELF WONDERFULLY TO HIM

IT SENT HIM OUT FROM THE WOODS ONLY TO SHOW THESE REVELATIONS THROUGH HIS ART AND IT TOOK HIM TO ITSELF AT LAST.

Thomson’s death was a tragedy for his fellow artists – they lost an inspiring colleague, a great friend and their guide to the north woods. This untimely loss prompted a clarification of their vision for Canadian art; it strengthened their resolve and gave rise to the formation of The Group of Seven in 1920. Though, Tom Thomson did not live to see the birth of the Group, his name became synonymous with the radical group of painters who would create and reflect a unique Canadian identity through painting.

Tom-Thomson-The Jack-Pine-1916-17-National Gallery of Canada
Tom-Thomson-Pines-Trees-at-Sunset-1915-Private-Collection
Tom-Thomson-Cranberry-Marsh-1916-National Gallery of Canada
Tom-Thomson-Northern-River-1914-15-National Gallery of Canada
Tom-Thomson-The-West-Wind-1916-17-Art Gallery of Ontario
Tom Thomson - Autumn Birches-1916-McMichael Canadian Art Collection
Tom-Thomson-First-Snow-in-Autumn-1916-National Gallery of Canada
Tom-Thomson-Fire-Swept-Hills-1915-The Thomson Collection-Art Gallery of Ontario
Tom-Thomson-Autumn-Algonquin-Park-1916-A.K.-Parkash-Collection
Tom-Thomson-Moonlight-1913-14-National Gallery of Canada
Tom-Thomson-Black Spruce in Autumn-1915-McMichael Canadian Art Collection
Tom-Thomson-Early-Spring-Canoe-Lake-1917-Private-Collection
Tom-Thomson-Nocturne-Forest-Spires-1916-Vancouver Art Gallery
Tom Thomson-Woodland Waterfall-1916-McMichael Canadian Art Collection
Tom-Thomson-The-Pointers-1916-17-Hart House Permanent Collection-University of Toronto

Sources: TomThomson.org, TomThomsonArt.ca, McMichael Canadian Art Collection , Art Canada Institute, National Gallery of Canada, Tom Thomson, The Silence and The Storm, Published by McClelland and Stewart Limited, McMichael Canadian Art Collection

Filed Under: ART, Art History, Painting Tagged With: Canadian Art, The Group of Seven, Tom Thomson

Canada Day: The Group of Seven

July 1, 2009 By Wendy Campbell

The Group of Seven (from art History Archive)Happy Canada Day all you fellow Canucks and fans of Canada out there!  I thought what better day to post about some of the most well known artists in Canadian history – The Group of Seven.

Most famous for its paintings of the Canadian landscape, The Group of Seven began in Toronto in the 1910s and initially included: Lawren Harris, Arthur Lismer, A.Y. Jackson, J.E.H. MacDonald, Frank Johnston, F.H. Varley, and Frank Carmichael. The paintings of friend Tom Thomson, who died before the Group of Seven was formed, were often included in their exhibitions as well. Emily Carr was also closely associated with the group, but was never officially a member.

The members were all professional artists, who met through friends or work (Grip Ltd design firm). Through conversations, sketching trips, and meetings at local art clubs, they discovered that they shared a  dissatisfaction with the Canadian art scene at the time.

Members of  the group were searching for a new way of painting that would allow them to express what they believed were the unique qualities of Canada.  Influenced by Post Impressionism, the artists rebelled against the limitations of 19th-century naturalism and Impressionism. They shifted emphasis away from imitation towards the expression of their feelings in their paintings, creating bold and vividly-colored canvases.

In 1920, they held their first exhibition as the Group of Seven and during their day, they dominated the Canadian art scene. However, The Group of Seven did not exist for very long. F.H. Varley left to pursue his own interests in 1926. He was replaced by water-colourist, A.J. Casson. In the early 1930s, two other artists, Edwin Holgate and L.L. FitzGerald, joined the Group, bringing its membership to nine.

The Group’s influence was widespread and by the end of 1931, they no longer found it necessary to continue as a group. As well, the death of J.E.H. MacDonald contributed to the dissolution. At their eighth exhibition in December of 1931, they announced that they had disbanded and that a new association of painters would be formed, known as the Canadian Group of Painters.

I remember learning about the Group of Seven in elementary school and making what seemed like an incredibly long trek up to Kleinburg, Ontario to see the works at the McMichael Gallery.  I also remember liking Lawren Harris’s works most of all, though at the time, I didn’t know why.  Today, he is still my favourite of the group.  I love his vivid colours and the spiritual element of the paintings. As well, my tendency to like abstract art, draws me to his work more than the others.

If you’ve never visited the McMichael Gallery, I highly recommend it.  It’s actually a short trip (from Toronto), they exhibit 100% Canadian art, and it is located on 100 beautiful acres of wooded conservation land overlooking the East Humber River Valley. I can’t wait to go back next time I’m in town.


Lawren Harris - Mount Robson From the Northeast - 1929


Sources: Canadian Encyclopedia, Wikipedia, Mount Alliston University  Images: Courtesy of Art History Archive

Filed Under: ART, Art History Tagged With: A.Y. Jackson, and Frank Carmichael., Arthur Lismer, Canada Day, Canadian Art, Emily Carr, F.H. Varley, Frank Johnston, Group of Seven, J.E.H. MacDonald, July 1st, Lawren Harris, Tom Thomson

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