by Ross King
26. Quoted in Housser, A Canadian Art Movement, p. 36.
27. This statement was made in an April 1954 talk delivered at the Vancouver Art Gallery and broadcast on the Vancouver radio station CBU in September 1954.
28. Quoted in Housser, A Canadian Art Movement, p. 36.
29. Doris Speirs (formerly Mills), interview with Charles Hill, 15 October 1973, Canadian Painting in the Thirties Exhibition Records, National Gallery of Canada Fonds, National Gallery of Canada Library and Archives.
30. Quoted in Mackintosh, “The Development of Higher Urban Life,” p. 698.
31. The Canadian Magazine, November 1909; Toronto Daily Star, 28 February 1914.
32. Quoted in Gregory Betts, ed., Lawren Harris: In the Ward (Holstein, ON:
Exile Editions, 2007), p. 94.
33. Quoted in Adamson, Lawren S. Harris, p. 33.
34. See Paul Duval, Canadian Impressionism (Toronto: McClelland and Stewart, 1990); and Lowrey, Visions of Light and Air.
35. Quoted in Hunter Bishop, “MacDonald and the Club,” in Stacey and Bishop,
J.E.H. MacDonald, Designer, p. 113.
36. The Saturday Review, 31 December 1910.
37. Gregory S. Kealey, Toronto’s Workers Respond to Industrial Capitalism, 1867–1892
(Toronto: University of Toronto Press, 1980), p. 13; and Robert N. Pripps and Andrew Morland, The Big Book of Massey Tractors (St. Paul, MN: Voyageur Press, 2006,), p. 12.
38. R. Harris, Unplanned Suburbs, pp. 116–17.
39. For the growth of industry in Toronto between 1901 and 1911, see J.M.S. Careless,
Toronto to 1918: An Illustrated History (Toronto: James Lorimer and Co., 1984), pp. 154–55.
40. See Stacey and Bishop, J.E.H. MacDonald, Designer, p. 42.
41. Toronto Mail & Empire, 20 February 1911; and Toronto Mail & Empire, 15 August 1911.
For a full account of the campaign, see Paul Stevens, The 1911 General Election:
A Study in Canadian Politics (Toronto: Copp Clark, 1970).
42. For the term “tinted steam,” applied to Turner’s work by John Constable,
see K. Clark, Landscape into Art, p. 103.
43. For examples, see Roth, “Interactions,” pp. 18–19.
44. See Czaplicka, “Pictures of a City at Work,” pp. 15–16.
CHAPTER 4: EERIE WILDERNESSES
1. Quoted in Carl Berger, “The True North Strong and Free,” in Elspeth Cameron, ed.,
Canadian Culture: An Introductory Reader (Toronto: Canadian Scholars’ Press, 1997), p. 91.
2. Robyn Roslak, Neo-Impressionism and Anarchism in Fin-de-Siècle France: Painting,
Politics and Landscape (Aldershot, Hants: Ashgate, 2007), pp. 141–71.
3. The Men of the Last Frontier (Toronto: Macmillan, 1976), p. 76. This work was originally published in 1931.
4. J. Macdonald Oxley, The Young Woodsman, or Life in the Forests of Canada (London and New York: T. Nelson & Sons, 1897), p. 8. On the Portuguese lament, see A. Marshall Elliott, “Origin of the Name ‘Canada,’” Modern Language Notes 3 (June 1888), pp. 164–73; and Alan Rayburn, Naming Canada: Stories about Canadian Place Names, rev. ed. (Toronto: University of Toronto Press, 2001), pp. 13–14. For studies of Canadian literature’s fearful responses to the landscape, see Northrop Frye’s “Canada and Its Poetry,” originally published in 1943 as a review of A.J.M. Smith’s The Book of Canadian Poetry and reprinted in The Bush Garden: Essays on the Canadian Imagination (Toronto: House of Anansi Press, 1971), pp. 129–43. Frye’s observations that the Canadian landscape “is consistently sinister and menacing in Canadian poetry” (p. 142) has been adopted and explored by a number of other critics. See especially D.G. Jones, Butterfly on Rock: A Study of Themes and Images in Canadian Literature (Toronto: University of Toronto Press, 1970); Marcia B. Kline, Beyond the Land Itself: Views of Nature in Canada and the United States (Harvard University Press: Cambridge, MA, 1970); Margaret Atwood, Survival: A Thematic Guide to Canadian Literature (Toronto: House of Anansi, 1972); idem., Strange Things: The Malevolent North in Canadian Literature (Oxford: Oxford University Press, 1995; London: Virago, 2004); John Moss, Patterns of Isolation in English Canadian Fiction (Toronto: McClelland & Stewart, 1974); and Gaile McGregor, The Wacousta Syndrome: Explorations in the Canadian Landscape (Toronto: University of Toronto Press, 1985). A number of critics dissent from this view. For a stern corrective to McGregor, see I.S. McLaren, “The McGregor Syndrome; or, the Survival of Patterns of Isolated Butterflies on Rocks in the Haunted Wilderness of the Unnamed Bush Garden Beyond the Land Itself,” Canadian Poetry 18 (1986), pp. 118–30. Others critics have claimed that nineteenth-century Canadians regarded the forest and wilderness in more positive light: see M.L. MacDonald, “Literature and Society in the Canadas, 1830–1850” (PhD dissertation, Carleton University, 1984); and Susan Glickman, The Picturesque and the Sublime: A Poetics of the Canadian Landscape (Montreal and Kingston: McGill-Queen’s University Press, 1998). Glickman argues that the supposed menace and hostility of the Canadian landscape can be read in terms of British aesthetic categories of the sublime and the picturesque. Allan Smith argues, however, that those who saw the Canadian landscape in a positive light tended to be those who concentrated on the land’s ability to sustain agricultural activity: see “Farms, Forests and Cities: The Image of the Land and the Rise of the Metropolis in Old Ontario, 1860–1914,” in David Keane and Colin Reade, eds., Old Ontario: Essays in Honour of J.M.S. Careless (Toronto: Dundurn Press, 1990), pp. 71–94.
5. Farmer’s Advocate, 25 May 1905. Campbell’s article was entitled “Back to the Land.”
6. Catharine Parr Traill, The Canadian Settler’s Guide, 7th ed. (Toronto: Office of the
Toronto Times, 1857), p. 217.
7. James Bay Treaty: Treaty No. 9 (Made in 1905 and 1906) Adhesions Made in 1929 and 1930 (Ottawa: Printer and Controller of Stationery, 1931; 1964), p. 1; Bruce W. Hodgins and Kerry A. Cannon, “The Aboriginal Presence in Ontario Parks and Other Protected Places,” in John Marsh and Bruce W. Hodgins, eds., Changing Parks: The History, Future and Cultural Context of Parks and Heritage Landscapes (Toronto: Dundurn Press, 1998), p. 52.
8. Stephen Leacock, Adventurers of the Far North (Toronto: Hunter-Ross Co., 1914), p. 2.
9. The Times, 24 May 1911.
10. Quoted in Ragna Stang, Edvard Munch: The Man and His Art, trans. Geoffrey Culverwell (New York: Abbeville Press, 1977), p. 90.
11. Jasen, Wild Things, p. 104.
12. Ada Kinton, quoted in Astrid Taim, Almaguin: A Highland History (Toronto:
Dundurn Press, 1998), p. 45.
13. Norman Duncan, Going Down from Jerusalem: The Narrative of a Sentimental Traveller (New York and London: Harper & Brothers, 1909), p. 4.
14. On Henry Ward Ranger’s reputation at the time, see Clara Ruge, “The Tonal School of America,” International Studio 27 (1906), pp. 57–68.
15. See the full-page advertisements by Eaton’s and Simpsons in the Toronto Daily Star, 9 February 1912, 12 April 1913, and 17 November 1915. A.Y. Jackson lampoons these works and the practice by which they are sold in an unpublished article (written c. 1918 for The Rebel) called “Buckeyes”: see J.E.H. MacDonald Fonds, MG30 D111, Container 1, File 14, LAC.
16. “Prefatory Note,” Catalogue of the Thirty-eighth Annual Exhibition (Toronto: Ontario Society of Artists, 1910), unpaginated.
17. In the 1915 OSA exhibition Manly offered two landscapes for $300 each and Chavignaud one (In the Land of Evangeline) for $400.
18. Catalogue of the Thirty-ninth Annual Exhibition (Toronto: Ontario Society of Artists, 1911).
19. The Canadian Magazine, May 1904, December 1893.
20. Quoted in Joyce Henri Robinson, “‘Honey, I’m Home’: Weary (Neurasthenic) Businessmen and the Formulation of a Serenely Modern Aesthetic,” in Andrew Ballantyne, ed., What is Archit
ecture? (Abingdon, Oxon: Routledge, 2002), p. 118. For the studies of
Jean-Martin Charcot and Hippolyte Bernheim and their application to the arts,
see Debora L. Silverman, Art Nouveau in Fin-de-Siècle France: Politics, Psychology and Style
(Berkeley: University of California Press, 1989), pp. 79–88.
21. Quoted in Housser, A Canadian Art Movement, p. 48.
22. The Studio, 14 December 1912.
23. Quoted in Adamson, Lawren S. Harris, p. 44. This statement, a retrospective one,
comes from a 1954 address at the Vancouver Art Gallery.
24. The Canadian Magazine, November 1908.
CHAPTER 5: LIFE ON THE MISSISSAGI
1. William Broadhead to the Broadhead family, LD 1980/11, 32 and 26, Sheffield Archives.
2. Grey Owl, Tales of an Empty Cabin (Toronto: Macmillan, 1936), p. 172.
3. Quoted in Lovat Dickson, Wilderness Man: The Strange Story of Grey Owl (London: Macmillan, 1974), p. 92.
4. This information comes from a Toronto Mail & Empire article by William Arthur Deacon. Entitled “Famed Canvases Found in Cabin,” it describes how Beaver Lodge was decorated with three Thomson sketches that Grey Owl acquired from a mysterious doughnut-making fire ranger on Lake Minisinakwa. I am grateful to Christine Lynett for allowing me to see this clipping, which is in her collection of the Tweedale family papers. Undated, it is undoubtedly from 1936, the year of publication for Tales of an Empty Cabin,
the book that Grey Owl was promoting in Toronto at the time of his interview with Deacon.
5. James Bay Treaty, p. 16.
6. William Broadhead to the Broadhead family, LD 1980/21, Sheffield Archives.
7. Toronto Globe, 29 June 1904.
8. Quoted in Harold A. Innis, The Fur Trade in Canada: An Introduction to Canadian Economic History, rev. ed. (Toronto: University of Toronto Press, 1956), p. 20. For a study of the canoe in Canadian history and mythology, see Daniel Francis, National Dreams: Myth, Memory and Canadian History (Vancouver: Arsenal Pulp Press, 1997), pp. 128–51.
9. Addison and Harwood, Tom Thomson, p. 19.
10. Tom Thomson, Toronto, to Dr. J. M. McRuer, Huntsville, postmarked 17 October 1912,
MCAC Archives.
11. Man: A Canadian Home Magazine (December 1885).
12. Izaak Walton, The Compleat Angler, or The Contemplative Man’s Recreation (New York: Dodd, Mead & Co., 1897), p. 33. The description of angling as a “pleasant labour” is found
in Walton’s dedication to John Offley. For a discussion of Thomson’s interest in Walton,
see Hunter, “Mapping Tom,” in Reid, Tom Thomson, pp. 26–27.
13. Tom Thomson, Toronto, to Dr. J. M. McRuer, Huntsville, postmarked 17 October 1912,
MCAC Archives.
14. Ibid.
15. Grey Owl, Tales of an Empty Cabin, p. 172.
16. Tom Thomson, Toronto, to Dr. J. M. McRuer, Huntsville, 17 October 1912, MCAC Archives. Presumably he meant that two rolls of a dozen exposures were salvaged from a total of fourteen rolls. A copy of McRuer’s wedding certificate, dated 16 February 1909, with Thomson as a signatory, can be seen in the Tom Thomson Collection, Box No. 1, Series IV,
File 1, MCAC Archives. For Seton’s mishap, see The Arctic Prairies: A Canoe Journey of
2,000 Miles in Search of the Caribou (New York: Charles Scribner’s Sons, 1911), pp. 81–91.
17. Louise Henry to Blodwen Davies, 11 March 1931, Blodwen Davies Fonds.
18. Dr. J.M. McRuer, Huntsville, to Tom Thomson, Toronto, 1 November 1912, Tom Thomson Papers, MG30 D284, Vol. 1, The Thomson Correspondence, 1912–1917, LAC.
19. Canadian Journal of Medicine and Surgery 3 (1898).
20. Quoted in Hill, “Tom Thomson, Painter,” in Reid, Tom Thomson, p. 119.
21. Quoted in Landry, The MacCallum-Jackman Cottage Mural Paintings, p. 20.
22. This story is told in Housser, A Canadian Art Movement, pp. 61–62.
23. William Broadhead to the Broadhead family, LD 1980/24, 26, 2/1, 10, and 23,
Sheffield Archives.
24. Jackson, A Painter’s Country, p. 94.
25. Quoted in Bridges, A Border of Beauty, p. 11.
26. The Studio, July 1893.
27. Lois Darroch, Bright Land: A Warm Look at Arthur Lismer (Toronto: Merritt
Publishing Co., 1981), p. 8.
28. Quoted in Bridges, A Border of Beauty, p. 12.
29. Quoted in Tippett, Stormy Weather, p. 56.
30. Quoted in Tooby, Our Home and Native Land, unpaginated.
31. Quoted in Tippett, Stormy Weather, p. 47.
32. Kemp, “A Recollection of Tom Thomson.” The Lismer quote is taken from Addison
and Harwood, Tom Thomson, p. 7.
33. Minnie Henry to Blodwen Davies, 2 February 1931, Blodwen Davies Fonds.
34. Quoted in Tippett, Stormy Weather, p. 64.
35. Quoted in Tippett, Stormy Weather, pp. 70–71.
CHAPTER 6: WILD MEN OF THE NORTH
1. New York Times, 26 November 1911.
2. A.Y. Jackson, “Lawren Harris, A Biographical Sketch,” in Lawren Harris: Paintings
(Toronto: Art Gallery of Ontario, 1948), p. 6.
3. Quoted in Stacey, “A Contact in Context,” p. 40.
4. Quoted in Academy Notes 8 (January 1913), p. 22.
5. Christian Brinton, “Introduction,” Exhibition of Contemporary Scandinavian Art (Stockholm: Nationalmuseum Library, 1912), p. 15.
6. See Kirk Varnedoe, Northern Light: Nordic Art at the Turn of the Century (New Haven:
Yale University Press, 1988); as well as Reinhold Heller’s review of Varnedoe, New York Times, 21 August 1988.
7. Academy Notes 8 (January 1913), p. 1.
8. J. Nilsen Laurvik, “Intolerance in Art,” The American Scandinavian Review
(March 1913), p. 17.
9. Quoted in Berger, “The True North Strong and Free,” in E. Cameron, Canadian Culture,
pp. 84, 85.
10. Academy Notes 8 (January 1913), p. 20.
11. Torsten Gunnarsson, Nordic Landscape Painting in the Nineteenth Century, trans. Nancy Adler (New Haven: Yale University Press, 1998), pp. 104–6, 206–8. For National Romanticism in Scandinavia, see also Michelle Facos, Nationalism and the Nordic Imagination: Swedish Art of the 1890s (Berkeley and Los Angeles: University of
California Press, 1998).
12. Harris, “The Group of Seven in Canadian History,” p. 31.
13. Gunnarsson, Nordic Landscape Painting in the Nineteenth Century, pp. 252–53.
14. Lawren Harris, The Story of the Group of Seven (Toronto: Rous and Mann, 1964), p. 10.
15. J.E.H. MacDonald, “Scandinavian Art,” Northward Journal 18/19 (1980), p. 9.
This lecture was originally delivered at the Art Gallery of Toronto in April 1931.
16. The Letters of Vincent Van Gogh, ed. Ronald de Leeuw, trans. Arnold Pomerans
(London: Allen Lane, Penguin Press, 1996), p. 390.
17. Quoted in Nasgaard, The Mystic North, p. 40.
18. Laurvik, “Intolerance in Art,” p. 13.
19. Academy Notes 8 (January 1913), p. 20.
20. Quoted in Stang, Edvard Munch, p. 15.
21. Quoted in Frederick B. Deknatel, Edvard Munch (London: Max Parrish & Co., 1950),
p. 54.
22. Academy Notes 8 (January 1913), p. 19.
23. Laurvik, “Intolerance in Art,” p. 17.
24. W.G.C. Byvanck, Un Hollandais à Paris en 1891 (Paris: Perrin, 1892), p. 176.
25. Fry, “The Philosophy of Impressionism,” in A Roger Fry Reader, ed. Christopher Reed (Chicago: University of Chicago Press, 1996), p. 13.
26. Quoted in Helmut Friedel, “‘To Sense the Invisible and to Be Able
to Create It—That is Art,’” in Helmut Friedel and Tina Dickey, Hans Hofmann (Manchester, Vermont: Hudson Hills Press, 1998), p. 8.
27. Quoted in Reinhold Heller, Munch: His Life and Work (Chicago: University of
Chicago Press, 1984), p. 64.
28. Henry Reuterdahl, “Scandinavian Painting and Its National Significance,”
The Craftsman 23 (December 1912).
29. Brinton, Exhibition of Contemporary Scandinavian Art, p. 23.
30. MacDonald, “Scandinavian Art,” p.24.
31. Ibid., p. 25.
32. Ibid.
33. Academy Notes 8 (January 1913), p. 4.
34. MacDonald, “Scandinavian Art,” p. 17.
35. Ibid.
36. Quoted in Stefan Tschudi Madsen, The Art Nouveau Style: A Comprehensive
Guide with 264 Illustrations, trans. Ragnar Christophersen (Mineola, NY: Dover
Publications, 2002), p. 246.
37. See Stacey and Bishop, J.E.H. MacDonald, Designer, p. 1, figure B.3.
38. MacDonald, “Scandinavian Art,” pp. 17, 18.
39. Harris, “The Group of Seven in Canadian History,” p. 31.
40. New York Times, 14 May 1911.
41. Brooke, Letters from America, p. 49.
42. Ibid., p. 83.
43. New York Sun, 13 March 1913.
CHAPTER 7: THE INFANTICIST SCHOOL
1. Laurvik, “Intolerance in Art,” p. 17.
2. Quoted in Milton W. Brown, The Story of the Armory Show (New York: Abbeville
Press, 1988), p. 43.
3. Roger Fry, “The Post-Impressionists,” in Manet and the Post-Impressionists
(London: Grafton Galleries, 1910).
4. For these responses, see J.B. Bullen, ed., Post-Impressionists in England:
The Critical Reception (London: Routledge, 1988), pp. 111, 115, 119–20, 137, 210;
as well as The Moraine Post, 19 November 1910; and The Nation, December 1910.
5. Century, April 1913.
6. See Schapiro, Modern Art, pp. 146, 171.
7. Montreal Daily Witness, 26 March 1913.
8. Montreal Daily Herald, 26 March 1913.
9. Casson, “Group Portrait,” in Fetherling, Documents in Canadian Art, p. 60.
10. Jackson, A Painter’s Country, p. 3.