Defiant Spirits (51 page)

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,
MG
30
D
284, 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.

11. G. Blair Laing,
Memoirs of an Art Dealer,
2 vols. (Toronto: McClelland & Stewart, 1979),
vol. 1, p. 109.

12. Anne McDougall,
Anne Savage: The Story of a Canadian Painter
(Montreal: Harvester House, 1977), p. 37.

13. A.Y. Jackson, Chicago, to Georgina Jackson, Montreal, 18 September 1906,
Naomi Jackson Groves Fonds, Container 96, File 2.

14. For Jackson's positive reactions to Mucha's art and lectures, see his letters to his mother of 28 October and 4 November 1906, Naomi Jackson Groves Fonds, Container 96, Files 2 and 3. An exhibition of Mucha's work was staged at the Art Institute of Chicago in October and November 1906.

15. A.Y. Jackson, Chicago, to Georgina Jackson, Montreal, 2 March 1907, Naomi Jackson Groves Fonds, Container 96, File 5. The catalogue for the exhibition (listing two paintings by Skarbina, including
On the Canal, Berlin
) was published as
Catalogue of an Exhibition of Contemporary German Paintings
(Chicago: Art Institute of Chicago, 1907).

16. A.Y. Jackson, Chicago, to Isabel Jackson, 11 November 1906, Naomi Jackson Grove Fonds, Container 96, File 3.

17. On the Académie Julian, see H. Barbara Weinberg,
The Lure of Paris: Nineteenth-Century American Painters and Their French Teachers
(New York: Abbeville Press, 1991),
pp. 221–62.

18. Jackson,
A Painter's Country,
p. 8.

19. A.Y. Jackson, c/o American Art Association of Paris, 74 rue Notre-Dame-des-Champs,
Paris, to Georgina Jackson, 69 Hallowell Avenue, Montreal, 5 March 1908,
Naomi Jackson Grove Fonds, Box 96, File 6.

20. C.R.W. Nevinson,
Paint and Prejudice
(New York: Harcourt, Brace and Co., 1938),
p. 60.

21. Quoted in Dominique Lobstein, “Paris 1907: The Only Salon of Italian Divisionists,”
in Vivienne Greene, ed.,
Arcadia & Anarchy: Divisionism/Neo-Impressionism
(New York: Guggenheim Museum, 2007), p. 60. For Jackson's visit to the exhibition, see A.Y. Jackson, Paris, to Georgina Jackson, Montreal, 12 December 1907, Naomi Jackson Grove Fonds,
Box 96, File 6.

22. A.Y. Jackson, Paris, to Georgina Jackson, Montreal, 5 March 1908, Naomi Jackson Grove Fonds, Box 96, File 6.

23. A.Y. Jackson, Amsterdam, to Georgina Jackson, Montreal, 12 July 1909, Naomi Jackson Grove Fonds, Box 96, File 11. For Jackson's time in the Low Countries, see Tovell,
“A.Y. Jackson in France, Belgium and Holland,” pp. 31–51.

24. A.Y. Jackson, Montreal, to Catherine Briethaupt, Boston, 17 January 1921,
Catherine Breithaupt Bennett Papers.

25. For Van Gogh's influence in the first dozen years of the twentieth century, see
Jill Lloyd,
Van Gogh and Expressionism
(Ostfildern, Germany: Hatje Cantz Verlag, 2007).

26. Leo Stein,
Appreciation: Painting, Poetry and Prose
(New York: Crown, 1947), p. 174.

27.
The Saturday Review,
12 November 1910.

28. Schapiro,
Modern Art,
pp. 137–38.

29. Quoted in Townsend Ludington,
Marsden Hartley: The Biography of an American Artist
(Ithaca: Cornell University Press, 1998), p. 79. Hartley arrived in Paris several months after Jackson in April 1912. Jackson's address is given as 26 rue de Fleurus in the catalogue for the 1912 Canadian National Exhibition and in a letter to his mother of 1 June 1912: Naomi Jackson Grove Fonds, Box 96, File 16. For a description of 27 rue de Fleurus, with its numerous visitors and its drawings by Matisse and Picasso tacked to the doors, see Gertrude Stein,
The Autobiography of Alice B. Toklas
(London: Bodley Head, 1935), pp. 7–8.

30. James R. Mellow,
Charmed Circle: Gertrude Stein & Company
(New York: Praeger, 1974), pp. 3–4.

31. Louise Dompierre,
John Lyman, 1886–1967
(Kingston: Agnes Etherington Art Centre, 1986), p. 29.

32. Jackson,
A Painter's Country,
p. 23.

33.
Montreal Herald,
27 May 1912.

34. A.Y. Jackson, Étaples-sur-mer, to Georgina Jackson, Montreal, 11 June 1912,
Naomi Jackson Grove Fonds, Container 96, File 16.

35. Quoted in Hill,
The Group of Seven,
p. 38.

36. Jackson,
A Painter's Country,
p. 23.

37. Jackson and MacDonald had already corresponded regarding staging an exhibition together in Montreal with Randolph Hewton: see A.Y. Jackson, Assisi, to Georgina Jackson, Montreal, 4 December 1912, Naomi Jackson Grove Fonds, Box 96, File 17. Jackson writes that he and Hewton have contacted “a Toronto man named MacDonald.”

38. A.Y. Jackson, Sweetsburg,
QC
, to Georgina Jackson, Montreal, 7 March 1910,
Naomi Jackson Grove Fonds, Box 96, File 12.

39. Quoted in Housser,
A Canadian Art Movement,
pp. 79–80.

40.
New York Times,
14 September 1910.

41. Quoted in Tippett,
Stormy Weather,
p. 80.

42.
Canadian National Problems,
ed. Ellery C. Stowell (Philadelphia: Annals of the American Academy of Political and Social Science, 1913), pp. 171–76.

43.
Toronto Daily Star,
12 April 1913.

44.
Toronto Daily Mail & Empire,
5 April 1913.

45. Quoted in Stacey, “Tom Thomson as Applied Artist,” in Reid,
Tom Thomson,
p. 51.

46. Quoted in Hill, “Tom Thomson, Painter,” in Reid,
Tom Thomson,
p. 117.

47. Gail Dexter, “Tom Thomson's Dollar-a-Month Shack Becomes a Group of Seven Shrine,”
Toronto Daily Star,
1 June 1968. I am grateful to Christine Lynett for allowing
me to see this clipping, which is in her archive of the Tweedale family papers.
The “middle-aged woman” who related the story to Dexter at the McMichael
Conservation Collection of Art in 1968 is not identified.