Defiant Spirits
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Émileville, qc, 88
Endell, August, 28–29
Entrance to Halifax Harbour (Jackson), 406
The Entry into Jerusalem
(Carmichael, 1923), 397
Erba, Carlo, 333
Erickson, Arthur, 421
Étaples-sur-mer (France), 83, 87, 205
Étretat (Normandy), 72
Evening (Thomson, 1915), 18, 182
Evening in Camp (Varley, 1923), 396
Evinrude, Ole, 54
Exhibition of Paintings by the
Group of Seven Canadian Artists (Worcester Art Museum, 1920), 348–50
Expressionism, 330
Fairbairn, Margaret L., 91–92,
106–7, 124, 143, 192–93, 339
Fairley, Barker, 283, 309, 331, 336,
340, 379, 380, 386
Les Fauves, 164, 192, 217, 218, 223
Fellowship of Reconciliation, 292–93
Fire-swept, Algoma
(Johnston, 1920), 30, 338, 341
Fire-Swept Hills (Thomson, 1915), 183
First International Dada Fair
(Berlin, 1920), 334–35
First Snow, Algoma (Jackson, 1919/1920),
31, 338–39
Fitzgerald, Charles Penrose, 197
FitzGerald, Lionel LeMoine, 412
Fjaestad, Gustaf, 69–70, 74–75, 167, 277; Hoarfrost, 201; Winter Moonlight (1895), 6
Fjaestad, Maja, 74–75
Forest Undergrowth iii
(Thomson, 1915–1916), 19, 189
Forward with God (poster,
MacDonald), 177, 183
For What? (Varley, 1917/1919),
28, 292–93, 296
Fosbery, Ernest, 389
Four Elms, 175–77, 252
Fox, Terry, 421
Franklin, John, 18, 20
Fraser, Annie, 128, 235–36, 247, 248
Fraser, John A., 141
Fraser, Shannon, 233; Mowat Lodge
proprietor, 128, 129, 238; and Thomson, 179–80, 235–36; Thomson’s disappearance and death, 240–41, 243, 246–48; Thomson’s memorial cairn, 251
Freedman, Harry, 421
Freiseke, Frederick Carl, 87
French River, 139–40
Fretton, Florence Ann, 311, 379–80
Friedrich, Caspar David, 33
Frost, Robert, 181–82
Frosty Morning (MacDonald, 1912), 49
Fry, Roger, 72, 79, 99, 107–8, 195, 217, 405
Futurism, 86, 267–68, 270, 334
Gadsby, Henry, 107
Gagnon, Clarence, 76, 166, 167,
354, 356, 392, 403, 404
Galerie Bernheim-Jeune (Paris), 84, 119
Galerie Eugène Druet (Paris), 84, 119
Garber, Daniel, 161, 162, 285, 341
Gas Attack, Liévin (Jackson, 1918), 272
Gas Chamber at Seaford (Varley, 1918), 289
The Gas Works (Harris, c. 1912), 5,
39–40, 49, 361
Gaudier-Brzeska, Henri, 333
Gauguin, Paul: at Buvette de la plage,
145; colour and emotion, 370; influence of, 30, 70, 101, 148, 215; as nationalist, 109;
as Post-Impressionist, 79, 84, 104; rejected literal transcriptions of nature, 217–18;
as theosophist, 277
Geneva Lodge, 99–100
George v, King of England, 229
Georgian Bay, 97, 101, 120, 137–38, 263
Georgian Bay (Lismer, 1913), 99
German Prisoners (Varley, 1919), 311
Gibb Wishart, David, 59
Gleams on the Hills (MacDonald, 1921), 359
Godin, Edward “Ned,” 208–10
Gogh, Vincent van. See Van Gogh, Vincent
Go Home Bay, 96–97, 186–87
Gordon, Huntley, 380
Gordon, John Sloan: Niagara Falls, 223;
Old Mill, Brantford, 223
Goudreau, Hector, 419
Goudreau, on, 324–25
Gould, Glenn, 421
Grafton Galleries (London), 84, 255–56
Grand Trunk Railway, 3–4, 41, 100
The Grange, 89, 90.
See also Art Museum of Toronto
Grayson, William, 350–51
Great Berlin Art Exhibition, 28
Greenberg, Clement, 420
Greene, Richard W., 153
Greenland, ss, 395
Green Lantern Restaurant (Halifax), 254, 255
Grey Owl, 42, 52–53, 53, 56, 57, 141, 429n4
Grip Limited: Art Nouveau style, 14, 74–75; Carmichael at, 153; as commercial design firm, 12–14, 13, 22; exodus to Rous and Mann, 93; Grip, magazine, 13; intellectual atmosphere of, 164; Lismer at, 60,
62–63; Thomson at, 10–11; Varley at, 63
Griswold, Florence, 117
Group of Eleven (later Berlin Secession), 29–30, 330. See also Berlin Secession (formerly Group of Eleven)
Group of Seven, 331; Aboriginal content,
418–19; at British Empire Exhibition (1924), 390–93, 403–5, 406–8; Casson joined (1926), 411; controversy over National Gallery support (1922), 387–90; current indifference towards, 416–19; denigrated as provincial (1970), 414; disbanded (1932), 413; and Emily Carr, 410–11; exhibition (1920), 327–29, 335–42, 335; exhibition (1921), 351, 358, 363–66; exhibition (1922), 382–84, 383; exhibition (1930), 413; exhibition (1931), 413; Exhibition of Paintings by the Group of Seven Canadian Artists (1920), 346, 348–50, 381–82; exhibitions (1925–28), 410; FitzGerald joined (1932), 412; Holgate joined (1929), 412; Johnston resigned (1921), 352–53; manifesto and aesthetic ideas, 336–37, 413–14; origins and choice of name (1920), 327–29, 330–32; significance of, 407, 409–11, 413, 415, 419–21; western Canada exhibition
(1920), 350–51
Grünewald, Isaac, 68
Gruppe der Elf. See Group of Eleven
(later Berlin Secession)
The Guide’s Home, Algonquin
(Lismer, 1914), 13, 148
Gypsy Blood (Varley), 379, 396
Gypsy Head (Varley), 396
Hague School, 46, 83, 115, 147, 194
Hahn, Gustav, 133
Haig, Douglas, 221, 262
Hale, Philip Leslie, 161; Landscape, 162
Haliburton, Robert Grant, 68
Halifax, ns, 211, 253–55, 298, 359–61, 450n3
Halifax Harbour, Time of War
(Lismer, 1917), 254
Hammond, M.O., 187, 363, 365–66
Harris, Alanson, 26
Harris, “Elder John,” 27
Harris, Elmore, 27
Harris, Howard, 202, 278
Harris, Lawren S. (before wwi): and Ahrens (1911), 194; in Buffalo (1913), 66, 67, 69–70; Burk’s Falls expedition (1912), 44–46; character and appearance, 26; early years and education, 26–28; at Geneva Lodge (1913), 99–100; German and Bavarian influences (1905–07), 27–28, 31–34; and Heming, 113; influenced National Gallery policy (1914), 134–36; and Jackson (1913), 88–89, 105–6; leadership role (1914), 121–22; and MacCallum, 58–59; and MacDonald (1912), 36–40; MacDowell Club exhibition (1913), 75–77; marriage and family, 34; OSA exhibitions (1912, 1913), 46, 49–50, 91–92; Scandinavian influence, 71–75; Skarbina’s influence, 27, 30, 31–33, 37, 39, 71; spiritual beliefs and theosophy, 27; at Studio Building, 110, 112, 122; and Thomson (1914), 156–57; Toronto cityscapes (1908–11), 34–36; waterfront paintings (1912), 36–40
Harris, Lawren S. (during wwi): in Algoma (1918), 280–82, 283–84, 286–88; in Algonquin Provincial Park (1916), 206–8; in Kempenfelt Bay (1918), 281–82; OSA exhibitions (1915, 1916), 166, 201–2; spiritual beliefs and theosophy, 275–78;
in Toronto (1918), 279–80; as wwi volunteer, 201–2, 206–7, 274–75, 278
Harris, Lawren (son), 34
Harris, Lawren S. (postwar life): in Algoma (1919–1921), 324–25, 342, 352, 373–74; Algoma Sketches and Pictures exhibition (1919), 308–9; arctic travels (1930), 410; and Arthur Erickson, 421; brought International Exhibition to Toronto (1927), 411; critics’ comments (1920), 351; embraced abstraction (mid-1930s), 414; Group of Seven exhibitions (1920, 1922), 327–28, 337–38, 384; Group of Seven planning (1920), 330–31, 331; in Halifax (spring 1921), 359–62; ignored David Milne (1919), 316–17; and Lucy Maud Montgomery, 386–87; Mackenzie King on, 388; marriage and family, 378–79, 414; McGillivray Knowles controversy (1919), 304–6; in Newfoundland (1921), 362–63; on northern Lake Superior (1921, 1922), 373–76, 384–85; OSA exhibition (1919), 304–8; painted stage sets (1920), 343–44; as poet and illustrator (1922), 385, 386; in Rockies (1924), 409; as social commentator, 359–61, 460n15; spiritual beliefs and theosophy, 330–31, 361–62, 375–76, 377–78; on Walker’s death
(1924), 399; and Whitman, 371, 372
Harris, Lawren S. (titles of works): Above Lake Superior (c. 1922), 35, 376–77; “The Age” (poem), 275; Autumn, Algoma, 337; Black Court, Halifax (1921), 360–61; Buildings on the River Spree, 32; Contrasts: A Book
of Verse, 385, 386; The Corner Store (1913), 91; Decorative Landscape (1917), 275;
The Drive (1912), 46, 49–50, 106, 135,
351; The Eaton Manufacturing Building (1911), 4, 38–39, 45, 361; Elevator Court, Halifax (1921), 33, 360–61; The Gas
Works (c. 1912), 5, 39–40, 49, 361; Houses Richmond Street (1911), 1; Laurentian Landscape, 121–23; A Load of Fence Posts (1911), 45; Maligne Lake, Jasper Park,
419; North Shore, Lake Superior (1926), 410; Outskirts of Toronto (1918), 279–80, 307; A Row of Houses, Wellington Street, 36; “The Sea Wind,” 363; Shacks, 337–38, 341, 403; Shacks, Earlscourt., 307;
A Side Street, 382; Snow (1915), 202;
Snow Fantasy (c. 1917), 20; Snow ii (1915), 202; Snow Pattern, 166; Snow v, 307;
Snow vi, 307–8
Harris, Trixie, 328, 378
Hart, William S., 326–27
Hart House Theatre, 340,
343–45, 367, 369–70
Hartley, Marsden, 86, 122, 334,
348, 373, 381, 432n29
Hartmann, Sadakichi, 323, 337
Hassam, Childe, 117, 304, 347–48
Hastings, Basil Macdonald, 344
Hausmann, Raoul, 334–35
Hays, Charles Melville, 3
Heeley Art Club, 61–62
Heimatkunstlers, 32
Heming, Arthur, 112–15, 114, 117, 126,
159–60, 169, 223; Spirit Lake, 113
Hémon, Louis, 354
Henderson, James, 403
Henri, Robert, 160, 161, 276–77,
284, 304, 308, 314
Henry, Alexander, 140, 181
Heward, Prudence, 355, 356, 410
Hewetson, A. Russell, 227
Hewton, Randolph: Afternoon, Cameret,
88; Beaver Hall Group, 355; British Empire Exhibition controversy (1923), 392;
Group of Seven exhibition (1920), 327,
338; as wwi soldier, 149, 156, 257
The Hilltop (Carmichael), 365
Hind, C. Lewis, The Post-Impressionists, 404
Hingston, William Hales, 41
Hogarth, William, 218
Holgate, Edwin, 356, 410, 412
Homer, Winslow, 111
Hood, Robert, 18, 20
Hopkins, Frances Anne, 18, 54,
56, 374, 382
Horne Russell, George, 391, 393, 403
Horton Manor, 226
Hôtel Baudy (Giverny), 145
Hot Mush style: Beatty’s rejection of,
328; characteristics of, 201, 316, 376; critiques of, 106–7, 124, 308, 350;
growing acceptance of, 339; Jackson
and, 120, 131, 328; Milne’s use of, 316; tempera and, 341; Varley and, 146
Hot Summer Moonlight (Thomson, 1915), 182
Houses Richmond Street (Harris, 1911), 1
Housser, Bess, 337, 378–79, 406, 410, 414
Housser, Fred, 278, 280, 378, 406, 414
Hovey, Richard, 165
Howells, William Dean, 357
Howland, Goldwin, 242–43, 244, 249
Howland, William Holmes, 242
Hughes, Sam, 206
Hulme, T.E., 17, 43, 287, 395
Imperial War Conference, Resolution ix, 319
Impressionism: attitude towards nature,
72; in Canada, 36, 40, 148; influence of,
24, 50; at Old Lyme, 117; origin of name, 303; Philadelphia school, 161–62; Skarbina’s use of, 31; techniques of, 147, 222; use of colour, 191
Indian Summer (Varley, 1914), 148, 296, 311
“Infanticist School,” 80
Inhabitants of Go-Home Bay, Times Past (MacDonald, 1915 –16), 189
Innis, Harold, 186, 203, 226, 239
International Exhibition of Modern
Art (1927), 411
International Exhibition of Modern Art (Armory Show, New York, 1913),
78–80, 107–8, 277, 312, 315, 316
International Society of Sculptors,
Painters and Gravers, 108
In the Northland (Thomson, 1915–16), 190
In the Pine Shadows, Moonlight
(MacDonald, 1911), 25
Island 158. See West Wind Island (Island 158)
Islands, Canoe Lake (Thomson, 1916), 25
Jack, Richard, 256–57, 261, 312;
The Second Battle of Ypres, 295
The Jack Pine (Thomson, 1916–17),
23, 221–22, 364, 403, 404, 415, 420
Jackson, A.Y. (before wwi), 85; aesthetic
ideas of, 87–89, 218; in Algonquin Provincial Park, 124–25, 127, 142–44,
146; Arts and Letters Club exhibition (1913), 106–7; “Canadian School,” 125–26, 146; character and appearance, 81,
100; in Chicago (1905–07), 81–83, 118; discovered by Harris (1913), 87–89; early years and education, 80–84; in Europe and Paris (1907–13), 82–85, 86–87, 118, 432n29; at Geneva Lodge (1913), 99–100; at Georgian Bay (1910, 1913), 99–102,
104–5; helped by MacCallum, Harris
and MacDonald (1913), 104–9; influenced by Cézanne and Van Gogh, 84–85; leadership role (1914), 124; OSA exhibition (1913), 91–92, 307; in Rocky Mountains (1914), 141–42; at Studio Building (1913), 112; and Thomson, 115–16, 118–20, 156
Jackson, A.Y. (during wwi): OSA exhibition (1915), 166; return to Montreal (1914), 154–55, 156; on Thomson’s death (1917), 252, 257–58; as war artist, 257, 259–62, 271–73, 290, 295–96, 297–98; wwi, attitude towards, 148–49, 155–56,
173–74; as wwi soldier, 174–75, 174,
185–86, 200, 202–5, 220, 225–27,
257–58, 261
Jackson, A.Y. (postwar life): in Algoma (1919–21), 324–25, 342, 352, 373–74; Anderson Galleries exhibition (1919), 312; arctic travels (1927, 1930), 409–10, 417; at British Empire Exhibition (1924), 403–4; on Canadian identity, 324, 392; city beautification, 322–23; on critical disapproval, 364, 414; on exhibitions as experimental (1919), 305–6; at Georgian Bay (1922), 385; Group of Seven exhibition (1920), 328–29, 331, 338–39, 341; on International Exhibition of Modern Art (1927), 411; in Montreal and Toronto (1919), 298–99; on National Gallery acquisition policy (1922), 390; on northern Lake Superior (1921), 373–75; on older war art (1919), 313–14; painted murals and stage sets (1920), 343; in Quebec (1921, 1922), 354–58, 385; in Rockies (1924), 409; in Studio Building (1919), 310; supported Frederick Alexei, 418
Jackson, A.Y. (titles of works): Assisi from the Plain (1912), 7, 80, 87; Autumn in Picardy (1912), 9, 106; A Copse, Evening, 295–96; Early Spring (1913), 88; Early Spring, Georgian Bay, 365; The Edge of the Maple Wood (
1910), 8, 88–89, 91; Émileville (1913), 88; Entrance to Halifax Harbour, 406; First Snow, Algoma (1919/1920), 31, 338–39; Gas Attack, Liévin (1918), 272; Liévin, March 1918, 272, 295; Morning after Sleet (1913), 88; Near Canoe Lake, 223; Night, Georgian Bay (1913), 341; Paysage embrumé (1908), 83; Quebec (1913), 88; Quebec Village, 365; The Red Maple (1914), 14, 155–56, 168, 207, 421; Springtime in Picardy (1919), 26, 272, 295; Terre sauvage (1913), 10, 119–21, 126, 216, 339, 349,
403; “The Vital Necessity of the Fine Arts,” 321; Winter Afternoon, 166; The Yellow Tree (1913), 91
Jackson, Geneva, 100, 260
Jackson, Harry (A.Y.’s brother), 81
Jackson, Harry B., 4–6, 102, 129
Jackson, Henry F.J., 100, 354
Jacob, Fred, 363
Jacobi, Otto, 346
James Bay Treaty (No. 9, 1905), 43, 53
Jefferys, C.W., 24, 48, 67–68, 76, 91, 135, 166, 187, 192, 407; A Bright Day in Saskatchewan, 91; The Plains of Saskatchewan, 48; A Prairie Trail, 94;
The Qu’Appelle Valley, 48; Virgin Prairie, 48; Western Sunlight, Last Mountain
Lake, 135
John, Augustus, 148, 160, 256–57, 295, 296, 312, 396; The Pageant of War, 271
Johnston, Frank/Franz: in Algoma, 280,
284, 286–87, 324–25, 352; Algoma Sketches and Pictures exhibition (1919), 308–9; character and appearance, 284–85, 285; critics’ comments (1920), 351; death of (1940s), 415; early years and education, 161–62; in Group of Seven (1920–1921), 327–28, 331, 337, 338, 341, 352–53; and Henri, 314; marriage and family, 284, 325; at Mazinaw Lake, 370; McGillivray Knowles controversy (1919), 304–6;
and Merrill Denison, 367; in Rockies (1924), 409; with Studio Building crowd (1915), 161; as war artist, 285–86; in Winnipeg (1921), 379
Johnston, Frank/Franz (titles of works): Beaver Haunts, 338; Fire-swept,
Algoma (1920), 30, 338, 341; A Northern Night (1917), 27, 285
Johnstone, John Y., 390
Kandinsky, Wassily, 30, 78, 79, 86,
165, 276, 277, 377
Kane, Paul, 18, 54, 56
Kemp, Stanley, 128, 150, 164–65
Kent, Rockwell, 362–63, 375–76
Kerr, John, 259–60
Kerr, Estelle, 333
King, William Lyon Mackenzie,
388–89, 392, 400
Kinton, Ada, 44
Kipling, Rudyard, 256
Kirchner, Ernst Ludwig, 333
Kitchener, Lord, 144
Koninklijk Museum voor Schone
Kunsten (Antwerp), 62
Konody, Paul, 267, 268–69, 289, 294, 295, 312, 316, 334