Canadian artists – my daily art display

Doris McCarthy-beautiful simplicity.

Doris McCarthy aged 96.

When I first saw the artwork of today’s featured artist, the phrase that first came to mind was “beautiful simplicity”. I hope you will feel the same when you peruse this blog. The artist I am showcasing today is Doris McCarthy, a Canadian painter, writer and educator and who is best known for her abstract landscapes.

Doris McCarthy was born on July 7^th 1910 in Calgary, Alberta. She was the youngest child of George Arnold McCarthy, an engineer, and Jennie McCarthy (née Moffatt). Doris had two older brothers, Kenneth and Douglas. Because of her father’s job the family had to make many house moves. In the Summer of 1912 the family moved to Vancouver, then Boise, Idaho that December. The following Spring they lived in Berkeley, California and in the Summer of that year they had re-located to Moncton in New Brunswick, where Doris’ paternal grandparents lived. Finally in the Autumn of 1913, at the age of three, Doris and her family moved to Toronto where she spent her youth living in the east end of the city, in a neighbourhood known as The Beaches, on the shores of Lake Ontario.

Doris’ schooling started when she was five-years-old at which time she was a pupil at Williamson Road Public School in Toronto. She remained there until she was eleven years of age. She then transferred to the middle-school of the Malvern Collegiate Institute in 1921. She remained at the Institute until she graduated in 1926. As she began to enjoy sketching and painting, whilst attending the Institute, she also enrolled in Saturday Junior courses at the Ontario College of Art (OCA). She showed such artistic aptitude during her time on these Saturday sessions that she was awarded a full scholarship to the college and started a three-year course in the Autumn of 1926. This was the start of her formal artistic training.

Hills at Dagmar, Ontario by Doris McCarthy (1948)

During her three-year stint at the college, she was mentored by some of the great Canadian artists such as Arthur Lismer, James McDonald and Lauren Harris who were founder members of the Group of Seven, also known as the Algonquin School of landscape painters, a group which was formed in 1920. These Impressionist painters loved to explore the uncharted areas of Canada continually recording through plein air sketches and paintings the beauty of their own country. It was from their works that other artists realised what was on offer to those who would make the effort to discover the history, culture and geography of their fine nation and question the reasoning behind going to Europe in search of inspirational beautiful scenery. Doris graduated from the college in 1930 and the following year she began to exhibit her work at the Ontario Society of Artists (OSA). She was accepted as a member of the OSA in 1945 and later went on to become OSA Vice President from 1961 to 1964 and later, President from 1964 to 1967.

Village Under Big Hills by Doris McCarthy

Was she influenced by these artistic luminaries? In an interview in 2004 she cast doubt on that assertion, saying:

“…I don’t think I was ever influenced by the Group of Seven’s actual paintings. I was influenced very strongly by the tradition of going out into nature and painting what was there. I bought it. And I still buy it…”

Sutton Village, Quebec Province by Doris McCarthy

Whilst at the OCA, Doris met and became great friends with a fellow student, Ethel Curry and the two would often go off together on painting trips together they spent many holidays painting in Haliburton Ontario. Haliburton, to the north-east of Toronto, was very popular with tourists with its beautiful lakes and old cottages. It was also referred to as the Haliburton Highlands, due to its geographical similarity to the Scottish Highlands. It was an ideal location for landscape painters such as Doris and Ethel.

Houses on the Neck, Salvage, Newfoundland by Doris McCarthy (1999)

Doris graduated from OCA in 1930 and worked for very low wages at Grip, an advertising agency where many of the Group of Seven had previously been employed. However, her future pathway outside academia was given to her by one of her tutors, Arthur Lismer, who offered her an opportunity to teach children’s art classes at the Art Gallery of Toronto, which she accepted and thus began her career as an educator. Doris also worked part-time as a teacher with Moulton College from 1931 to 1932, and that year enrolled on a twelve-month teacher training course at the Ontario Training College for Technical Teachers in Hamilton during the years 1932 to 1933.

Asters in the Field at Fool’s Paradise by Doris McCarthy (1953)

In 1932 Doris, aged twenty-two, began teaching art at the Central Technical School in Toronto, and this began her forty-year period of teaching at this institute. In her forties, Doris McCarthy’s reputation as a landscape painter had blossomed. She had faithfully kept faith with the Group of Seven’s premise of “going out into nature and painting what was there” and it was on her many painting trips into the Canadian wilderness that she built up her work. Some of the places she visited looking for inspiration were Haliburton, Muskoka, Georgian Bay, the Badlands of Alberta, and the Arctic.

Fool’s Paradise

In 1939, whilst on a painting trip along Scarborough Bluffs she came across an abandoned property set high on top of a sheer section of the bluffs and along Gates Gully, a deep ravine at the end of Bellamy Rd. The property was derelict and covered in poison ivy. However, it was the position looking out over Lake Ontario and other views over the tree-less farmland which appealed to her, and she decided to buy the plot of land. It cost her $1,250 which was a “fortune” considering her teacher’s salary. Her mother was horrified with her daughter’s purchase and referred to it as a “fool’s paradise”. Doris was not deterred by her mother’s negative comments and designed a small single-storey cabin for the developed site. During the following years she expanded the building and protected it against the harsh winter weather. The State’s conservation authorities, wary of possible erosion of the land around her cabin, had trees planted around it but left the view of the lake unaffected. The adjacent land was later subdivided into lots and a residential neighbourhood now surrounds McCarthy’s Fool’s Paradise.

Home – a painting of her home – Fool’s Paradise on the Scarborough Bluffs, Toronto, Canada by Doris McCarthy

Doris ventured further afield when she went on a year-long sabbatical to Europe in 1951 and ten years later another twelve-month sabbatical had her travelling through the Middle East and Asia, visiting far-off places such as Afghanistan, Iraq, Cambodia, just to mention a few. McCarthy worked in both oils and watercolour and she cultivated a recognisable style of hard-edged angles, form and colour depictions.

Holman Island, Western Artic by Doris McCarthy (1977)

Using primarily thick oils and watercolours, McCarthy developed a style, often verging on abstraction, that was consistently praised for its vitality, boldness and skillful explorations of hard-edged angles, form and colour. In 1972, at the age of sixty-two, she retired from the Central Technical School. She was interviewed by a journalist from the Huffington Post as to her life in retirement and she said:

“…When I retired from teaching, I thought that the next major event of my life would be dying. There was no imagining that the best years were still ahead of me…”

For Doris McCarthy, retirement did not mean slowing down, for the following year after she retired, she enrolled at the University of Toronto Scarborough Campus as a part-time student. Sixteen years later, at the age of seventy-nine she was awarded an Honours Bachelor of Arts in Literature on June 6th, 1989.

Iceberg Fantasy by Doris McCarthy

Dennis Reid is the author of The Concise History of Canadian Painting, which is considered the definitive volume on Canadian art. He was also a curator at the Art Gallery of Ontario for over 30 years. In his book of Canadian art he wrote about Doris McCarthy:

“…Following her retirement in 1972 from [teaching at] Central Technical School, Toronto, she began exhibiting commercially on a more regular basis, not just in Toronto but in Ottawa, Calgary and later Winnipeg, showing work that some saw as a fresh take on the Canadian landscape tradition. She made the first of a number of trips to the Arctic in 1972, and that encouraged greater boldness with light, colour and pattern, and in 1977 she began painting larger canvases that emphasized this confident command of formal issues even more. She began showing with Aggregation Gallery in Toronto in 1979 (which became Wynick/Tuck Galley in 1982), and her subsequent regular showings there assured close critical attention to both the work of the half century already accomplished and the new, always fresh work that continued through the nineties and beyond…”

McCarthy painting at Grise Fjord, Nunavut 1976

Nunavut is the vast territory of northern Canada that stretches across most of the Canadian Arctic. It was created in 1999 out of the eastern portion of the Northwest Territories, Nunavut encompasses the traditional lands of the Inuit, the indigenous peoples of Arctic Canada. Its name means “Our Land” in Inuktitut, the language of the Inuit. The capital is Iqaluit, at the head of Frobisher Bay on southern Baffin Island.

Doris McCarthy, besides painting numerous works, also wrote three autobiographies during various times in her life. In 1990 she wrote A Fool in Paradise a fascinating memoir of her early years. It describes the fortunes of an artist who was striving to establish herself in the art world of the thirties and forties and the journey made by a spirited girl searching for her own path to fulfilment. Against the backdrop of those early years, Doris writes of studying art in pre-war London, winning a teaching position in the depths of the Depression and roughing it on painting expeditions to northern Ontario, the Maritimes and the Rockies. She reveals stories of her personal life: of breaking loose from a disapproving mother, building her own home on the bluffs above Lake Ontario, and of finding love in unexpected places.

Her second autobiography entitled The Good Wine: An Artist Comes of Age describes her life from 1950 to 1991. It tells of the time at the age of forty, she broke free of her teaching responsibilities to take a year’s sabbatical in Europe as a full-time painter. It was to be the first of many adventures around the world which included a solitary round-the- world odyssey from Japan to Australia, India to the Middle East. She also discovered the Arctic and in 1991, Antarctica, drawing inspiration for her art and her life in the far-flung corners she visited and in the beloved landscape of her own country. It recounts her meetings with Dorothy Sayers and Arnold Toynbee, and all the controversies associated with the fledgling Canadian art community.

In 2004, at the age of 94, Doris McCarthy published her third and final autobiography. In this final autobiography, Ninety Years Wise, she focuses on her 92nd summer and she tells of the summer ritual of heading to her summer home, her cottage on Georgian Bay, painting and entertaining friends.

During her long life, Doris McCarthy received many awards. She was the recipient of the Order of Ontario, the Order of Canada, honorary degrees from the University of Calgary, the University of Toronto, Trent University, the University of Alberta, and Nipissing University, an honorary fellowship from the Ontario College of Art and Design and also had a gallery named in her honour on the Scarborough campus at the University of Toronto.

Doris McCarthy died at her Fool’s Paradise home on November 25, 2010, aged 100. She is buried at Mount Pleasant Cemetery. Her Fool’s Paradise property now functions as an artist’s residence, the Doris McCarthy Artist-in-Residence Centre, and is in part funded by the Ontario Heritage Trust.

Some of the information for this blog came from the following websites:

The Life of Doris McCarthy. University of Toronto

https://doris.digital.utsc.utoronto.ca/content/life-doris-mccarthy

American Women Artists

https://americanwomenartists.org/rediscovered-women-artists-doris-mccarthy/

Fool’s Paradise Guided Tour

Doris McCarthy Gallery – Fool’s Paradise Guided Tour (utoronto.ca)

Spring Ice by Tom Thomson

The exhibition I visited back in November at the Dulwich Picture Gallery was entitled The Group of Seven and Tom Thomson. The reason for the Group not including Thomson himself was, although he was closely connected to and had greatly influenced the seven members of the Group, he died before they had formed this artistic association in 1920.

Tom Thomson, who was born into a large western Ontario farm family in Claremont, Ontario, was the son of John and Margaret Thomson. It is interesting to note that unlike many early stories of artist’s lives, Thomson never showed an early interest in art. In his youth, he was far more interested in music and literature. At the age of twenty-two, he worked as an apprentice in an iron foundry owned by a friend of his father. It is possible that Thomson took advantage of his father’s connection with the owner and failed to fulfil his part of the apprenticeship as within a year he had been sacked because of his lack of time management. Thomson then decided that the excitement of military life was for him and applied to fight in the Second Boer war but was rejected on medical grounds. Later he would be turned down again by the Canadian military when he tried to enlist and fight in the First World War.

In 1901, aged twenty-four, he was admitted into a business college at Chatham but stayed there for less than a year, at which time he went to Seattle where his brother George had a business school. It was in this American city that he worked as a photoengraver and designed commercial brochures and spent a lot of his free time sketching and fishing.

Thomson returned to Canada in 1905 and two years later joined Grip Limited, a leading Toronto artistic design company. It was whilst working there that he met some of the future members of the Group of Seven. Apart from Lawren Harris, who came from a wealthy background and enjoyed an independent income, all the artists, who formed the Group of Seven, supported themselves at one time or another as commercial artists or graphic designers producing lettering and layout as well as illustrations for magazine and books. Thomson and his newly found friends, who all loved to sketch and paint, would often go off together at the weekends on sketching trips.

One of Thomson’s favourite destinations on his painting trips was Algonquin Park, a forestry reserve north of Toronto, which stretches between Georgina Bay on the west and the Ottawa River to the east. It is a vast stretch of pristine wilderness and an ideal location for landscape artists. Thompson first journeyed there on a sketching expedition in 1912 returning home clutching numerous sketches of the areas he visited. These sketching trips up north were a bit of a logistical nightmare as the artists had, as well as carrying food, shelter and cooking utensils, had also to carry their painting and sketching materials and this culminated in an almost impossible burden. The weather conditions for en plein air painting or sketching was not conducive for the artists due to the cold and wet and this necessitated them having to try and paint or sketch with speed in changing light.

My Daily Art Display featured painting today is one of Tom Thomson’s early works which he completed in 1916 and which is entitled Spring Ice. The 1915 study for this painting, in the form of a small oil on cardboard sketch, as well as the finished oil on canvas painting are normally housed at the National Gallery of Canada in Ottawa. One should remember that many artists looked upon their preparatory sketches as works in their own right and not just as a preparation for the finished article. Thomson made some subtle changes to his finished painting in comparison to his contemporary sketch. Although the positioning of the land, trees and lake remain the same, the colours on the final canvas are noticeably different. In the finished work Thomson has used much brighter pastel colours and by doing so has cleverly brought to us a hint of spring. Also, whereas the sketch had a square shape, the oil on canvas work was wider and horizontal in shape. This added width allows us to get a better view of the blue waters of the lake. One can imagine the difficulty Thomson endured to capture the scene. Probably squatting down on the thawing earth, balancing his sketch box on his knee so as to obtain a low-level view of the lake. Can you imagine how cold it must have been and how cold his fingers must have been in the chilling air? It was those same frosty conditions which bit unmercifully at his limbs that prevented the ice flows from melting as they moved slowly in the water. We can see that there is a long time to go before the warmth of summer arrives to add warmth to the ground and tease the vegetation from the earth. We are still in spring and the trees have yet to open up their buds to the elements.

Artists like those of the Group of Seven had to endure great hardships in the cause of producing a realistic representation of nature. They had to paint quickly to capture the scene with its many moods as the light from the sun or moon changed. The mood for this painting is one of serenity and tranquillity and one can understand why artists like Thomson put up with the harsh conditions so as to record the beauty of nature.

Thomson’s life ended suddenly and in mysterious circumstances. It was the summer of 1917 and he had been out alone in a canoe on Canoe Lake in Algonquin Park when he disappeared. His empty canoe was spotted later that day. Thomson was an expert fisherman, canoeist and hiker, and when his body was found eight days later in the lake it seemed incongruous that he could have died accidentally. To this day the circumstances of his death have remained shrouded in mystery. The official cause of death was given as “accidental drowning”. The investigation claimed there was a fishing line wrapped around his legs and he had suffered a blow to his head before he died. As with all deaths in unusual and suspicious circumstances, the conspiracy theorists have had a field day, putting forward numerous scenarios, which ultimately led to the artist’s death. Murdered by a neighbour, killed in a drunken brawl over money he owed his assailant, and killed by the father of a girl whom he had got pregnant were just a few of the many suggested circumstances that led to the artist’s demise. Maybe closer to the truth was the belief that it was a simple accident or that he had committed suicide during one of his many bouts of depression. We will probably never know the truth but the one thing we do know with great certainty is that on that lake in July 1917, Canada lost one its great artists, aged just forty.

The Corner Store by Lawren Harris

A few weeks ago I visited family in London and as usual I just had time to take in one art gallery as recompense for a crowded, although fast, rail journey. The problem I faced was which gallery to visit. I suppose logically I should go for the Leonardo exhibition on at the National Gallery which is receiving such rave reviews. However as I thought it would be too crowded I postponed that delight until next January. In the end I plumped for the Dulwich Gallery which lies south of the Thames and went to see a Canadian art exhibition entitled Painting Canada, Tom Thomson and the Group of Seven. Over the next few weeks I will give you a taste of some of the works by Thomson himself and some of the other artists who were part of The Group of Seven.

The Group of Seven, also sometimes known as the Alonquin School, were a group of Canadian landscape painters from 1920-1933. The seven members of the group were Franklin Carmichael, Lawren Harris, Alexander Young (A.Y.) Jackson, Franz Johnston, Arthur Lismer, James Edward Hervey (J.E.H.) MacDonald and Frederick Varley. Tom Thomson who was part of the movement died in 1917 before the official formation and naming of the Group of Seven but has always been considered one of the group’s founders. This group of artists was to become noted for its works, which were inspired by the landscape of their country and in some ways are looked upon as being part of the first Canadian national art movement.

Many of the movement, namely Thomson, Varley, Lismer, MacDonald, Johnston and Carmichael had met when they all worked at Grip Limited, which was the name of the Toronto design firm and which was home to many of Canada’s foremost designers and painters during the first half of the 20th century. Later the final two members of the group, Jackson and Harris would join the firm. The Group was financially sound due, in the main, to the financial support from one of its members, Lawren Harris, whose parents owned the Massey Harris farm machinery company which would be later known as Massey Ferguson.

My choice for the first featured artist of the Group of Seven is Lawren Harris. Lawren was born in Brantford, Ontario in 1885. He was the first born of two sons. Lawren had a radically different background from that of the other artists of the Group of Seven. As I said earlier, Lawren came from a wealthy conservative family of industrialists as the Harris family was co-owners of the Massey-Harris agricultural equipment conglomerate. Harris had the luxury every aspiring artist could only dream of and he was able to pursue a career in the arts without ever having to worry about holding down a regular job.

He was privately educated and received his initial education at the Central Technical School and later the independent St Andrew’s College at Rosedale. At the age of nineteen he went to Berlin to study where he remained for three years. There he studied philosophy and became interested in theosophy, which in its modern presentation, is a spiritual philosophy which has developed since the late 19th century.

He returned to Canada in 1908 and once again settled in Toronto and became a founder member of the Arts and Letters Club, which was a club whose sole purpose was to be a rendezvous where people of diverse interests might meet for mutual fellowship and artistic creativity.

One may have thought that Harris, with his wealthy background, would concentrate on the wealthy aspects of life in Toronto for the subjects of his art but in fact his first subject after returning from Berlin was a series of six paintings of houses in what was known as the Ward, an area where much of the Toronto immigrants lived. My featured painting in My Daily Art Display today is one Harris completed in 1920, entitled The Corner Store and is housed at the Art Gallery of Ontario and is in complete contrast to his later paintings which I will feature in a forthcoming blog along with the rest of his life story. The painting is not of one of the beautiful mansions of his home area of Rosedale but of a simple building which housed the local grocery store. Lawren Harris appreciated the simplicity of its structure which contrasted with the complicated and erratic patterns of the shadows cast by the trees on the shop’s frontage. I love the way the bright winter sunlight illuminates the shop’s façade. I love the colours of the pale green wooden window shutters which contrast beautifully with the terracotta- red trim of the window surrounds. Look at the tranquil and cloudless blue sky above the building. This is a beautiful portrayal of a winter’s scene.

In a few months time a number of us will be overwhelmed by snow and curse winter so maybe snow is a beautiful thing if it is reserved for postcards, Christmas cards and paintings like this one.