Tag Archives: Arthur Lismer

Arthur Lismer’s children’s art classes: a Co-Lab challenge

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By Brianna Fitzgerald

As COVID-19 restrictions have suspended in-person children’s programming, the rush of energy, noise and creativity often found on early weekend mornings at art galleries across the country now seems like a distant memory. Since art classes and workshops have moved online to adapt to these times, we are in a period of great innovation in the sphere of children’s art education, meeting new challenges in engaging children’s creativity in a virtual space. This is not the first time that there has been a major shift in the way that children’s art education is delivered. In the 1930s, Group of Seven painter Arthur Lismer (1885–1969) attempted to radically shift how Canada thought about art education and to transform the art gallery from a formal space into a vibrant community space.

When I came across images of Lismer’s children’s art classes in the Ronny Jaques fonds in the Library and Archives Canada collection, I felt a rush of memories of my own childhood spent in art classes and the frenzied excitement of little hands and young minds at work making things. Before finding these images, I was unaware of the large role that being an art educator played in Lismer’s life, and his tireless efforts to popularize and emphasize the importance of art education. I was also unaware of how closely his model of education in the 1930s matched what I grew up with decades later. Children’s art classes in Canada grew in popularity across the country in the 1930s, and much of the growth was due to Lismer’s hard work and innovation.

A black-and-white photograph of a girl with dark braids and a light apron kneeling on the floor and holding a paintbrush in her right hand. The bottom of a framed painting can be seen behind her.

Girl with paintbrush at Arthur Lismer’s children’s art classes in Toronto (e010958789)

In 1929, when Lismer was appointed supervisor of education at the Art Gallery of Toronto (now the Art Gallery of Ontario), he began implementing many programs in line with his desire to democratize art, make it accessible to the average person and turn the gallery into a community space. Lismer’s first successful program was gallery tours for schools, which became part of the curriculum for some grades in the Toronto Board of Education. Lismer then launched Saturday morning children’s art classes. Teachers and principals from local schools would nominate their best art students to be invited to take part in the classes at the Art Gallery of Toronto. There was no tuition for these classes, only a small fee for material costs, and students had the chance to earn a scholarship for a junior course at the Ontario College of Art (now OCAD University).

With roughly 300 students attending the classes each week, the gallery was a lively place on Saturday mornings. Children were allowed to work freely and encouraged to explore their ideas and creative impulses. Children took part not only in painting and drawing, but also in clay sculpting, creating costumes, and acting in pageants. The classes were held within the galleries themselves, with children spreading out across the floor to work in various media, always in the presence of great works of art hung on the gallery’s walls. Throughout the 1930s and 1940s, exhibitions of work from children in the Saturday morning classes were a regular feature on the gallery’s calendar.

A black-and-white photograph of children kneeling in the middle of the floor in a gallery, surrounded by paper and art supplies. A teacher stands near the middle of the room, assisting a student. The walls are hung with framed paintings, and an adjacent gallery is visible behind four dark columns. The scene is full of energy as the children build paper houses.

Children participating in Lismer’s children’s art classes (e010980053)

The Saturday classes would eventually result in the opening of the Art Centre at the Art Gallery of Toronto, which would facilitate education activities for the gallery. The Art Centre allowed for smaller classes and more direct interaction with each child, and it expanded the possibilities of Lismer’s vision. After several successful years of running the program at the Art Centre, Lismer was invited to undertake a lecture tour across the country to talk about Canadian art and the children’s art classes. Lismer had already been giving talks for teachers in Toronto to teach them about art and his own methods, hoping it would find its way into their lessons. With the lecture tour, Lismer had the chance to change how art was taught across the country.

The Art Gallery of Toronto was not Lismer’s first or last venture into children’s art education. Lismer ran Saturday morning classes at the Victoria School of Art and Design (now the Nova Scotia College of Art and Design) in Halifax in 1917, where he was the principal at the time. Following his tenure in Toronto and his cross-Canada lecture tour, Lismer became the educational supervisor at the Montreal Museum of Fine Arts in 1940. He once again established an Art Centre and education programming, as he had done in Toronto. Lismer continued to be involved with the Art Centre in Montréal, even after his retirement in 1967, until his death in 1969 at age 83.

A black-and-white photograph of six boys sitting on chairs in a gallery. Each boy has a second chair in front of him being used as a drawing easel. Two framed paintings can be seen on the wall in the background, and there are newspapers scattered on the floor.

Boys painting in Lismer’s children’s art classes (e010980075)

There are over a hundred images available to view online from these children’s art classes, which depict the wide variety of activities that Lismer developed for his education programming. These photographs give us a delightful peek at the classes some 80 years later. They welcome us to familiar scenes of children sprawled out on gallery floors, gathering art materials, painting at makeshift easels or sculpting in clay over tables well wrapped with newspaper. Although art classes for kids look and sound different during the pandemic, we can all look forward to having noise, mess and excitement take over gallery spaces on weekend mornings once again.

If you recognize someone, a location in the museum or a piece of art in the Arthur Lismer children’s art classes Co-Lab challenge, please tag the photograph!

Brianna Fitzgerald is a Digital Imaging Technician in the Digital Operations and Preservation Branch at Library and Archives Canada.

The Group of Seven and me: A few degrees of separation

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By Ellen Bond

The bus trip from Barrie to Kleinburg, Ontario, in 1972 did not take long. We arrived at the McMichael Gallery, home to the McMichael Canadian Art Collection, on a sunny spring day. I remember a wide, open space with long pathways from the parking lot that were lined with small trees leading to a cool-looking wooden building with massive stone pillars.

At that time in my life, my family would spend parts of our summers on Georgian Bay (Lake Huron) at Wymbolwood Beach and on the north shore of Lake Superior in Terrace Bay. Walking into the McMichael Gallery was like looking through the lens of my summer: paintings of the places that provided me with so much joy and happiness. I was instantly drawn to the colours, lines, thick brush strokes, and how the paintings captured the rocks, the windswept trees and the majestic landscape.

A watercolour painting of people in a red canoe with colourful trees and windswept trees in the background.

The Red Canoe, painted by J.E.H. MacDonald, 1915 (e003894355)

One hundred years ago, on May 7, 1920, the Group of Seven mounted their first formal exhibition at the Art Gallery of Toronto (now known as the Art Gallery of Ontario). It was the first time that the public had the chance to see over 120 of their paintings in a single location. At that first exhibition, according to the McMichael website, only six paintings sold. One of those paintings today would be worth much more than the total amount originally paid for all six.

In 1920, the Group of Seven consisted of Franklin Carmichael, Lawren Harris, A.Y. Jackson, Frank Johnston, Arthur Lismer, J.E.H. MacDonald and Frederick Varley. Johnston left the group in 1920 and moved to Winnipeg, and in 1926, A.J. Casson was invited to join. Two other members, Edwin Holgate and L.L. FitzGerald, joined in 1930 and 1932 respectively. Although Tom Thompson is sometimes mistakenly considered a founding member, he died tragically in 1917 before the group was even formed.

A black-and-white photo of a group of men in suits seated around a table during a meal.

Group at the Arts and Letters Club, Toronto. Pictured: Bertram Booker, A.Y. Jackson, Merrill Denison, J.E.H. MacDonald, Lawren Harris, Frederick B. Housser and an unidentified man. (PA-196166)

The Group of Seven are famous across Canada. In schools, libraries and art schools, their paintings are used as examples, and students are often taught to paint landscapes in their style. I remember my niece Emma painting a group-like painting at school. It hung on the wall of her house by the stairs and looked very professional. The Group of Seven are easily “googled,” and you can find some of their paintings regularly displayed, or even for sale, from coast to coast in Canada. Recently, while visiting the Thompson Landry Gallery in the Distillery District in Toronto, I actually saw a Group of Seven painting for sale. It was my first time, and I stood and stared at it, wishing I had an extra $133,000 to buy it right then and there. I was in awe!

According to the theory of six degrees of separation, any person can be connected to any other person through six or fewer social connections. Two of my friends have close connections (two or fewer) to Group of Seven members Arthur Lismer and A.Y. Jackson.

I first met Ronna Mogelon through a friend and was amazed at her cake-decorating skills. When I found out she lived in the historic log cabin that I admired every time I drove by, I was even more excited to know her. Then I found out about her connection to Lismer. Here is her story:

My mum and dad were very artsy and involved in the art community in Montréal in the ’60s. They hosted art shows in their home, before artists could find galleries to represent them. My mother, Lila, was from Saint John, New Brunswick, and was very close with painter Fred Ross, who was her teacher at art school. (Several of his works are hanging in the National Gallery of Canada, in Ottawa, Ontario.) Before he had a regular gallery, he showed his artwork at our house.

As well, my father, Alex, wrote the monthly art column in The Montrealer, a magazine from the ’60s and ’70s. Mum usually interviewed the artists, and Dad wrote the story from her reel-to-reel recordings. A real tag team! So our family was very involved with the arts.

Anyhow, my parents wanted us to have a good background in art, and so they sent us to the Montreal Museum of Fine Arts on Saturday mornings to take art classes with Arthur Lismer. Most kids went to nursery school. We went to Arthur Lismer school.

A black-and-white photo of a man standing with his left hand on his hip and a pipe in his hand.

Portrait of Arthur Lismer, photographed in Quebec by Basil Zarov in 1953 (e011000857)

Because I was so young, my recollections are rather scattered. I remember how tall he was, but then again, being only six years old, I was pretty short at the time. I seem to recall he smoked a pipe. I remember how I felt like a real artist because we got to stand at an easel and paint. My older sister, Marcia, who took the class a few years previous to me, remembers the big art show at the end of the year, where all the artists’ paintings were on display and she got to dress up in her best outfit. My cousin Richard remembers the licorice pipes that we got at the end of the class on our way home.

I’m not sure if his classes had an effect on me, but I suppose they might have. Years later, I chose art as my field of endeavour and graduated from Concordia University, Montréal, with a Bachelor of Fine Arts. Maybe some of his teaching rubbed off after all!

As I mentioned earlier, I have spent many of my summers partially on Lake Superior. My parents were both born and raised in the northwestern Ontario area, I was born in Terrace Bay, and for me it seems like home. One of my sister’s friends, Johanna Rowe, was born and raised in Wawa, Ontario. We have visited and even stayed at Johanna’s camp on the mouth of the Michipicoten River where it meets Lake Superior. It is one of the most beautiful places that I have ever been. White sand beaches, incredible rocks to hop on, a huge sand spit—at the mouth of the river—that sometimes disappears after a storm, giant driftwood logs from unknown forests …  truly spectacular!

A black-and-white photo of a man in a military uniform.

A.Y. Jackson, 1915, in his First World War uniform. (e002712910) Take a look at Jackson’s military record (PDF).

Johanna, a local Wawa historian and member of the Canadian Association of Heritage Professionals, has a special relationship with this area where A.Y. Jackson chose to create his art. Here is her story:

I grew up listening to my grandmother’s stories about how a member of the Group of Seven had a cottage in Wawa and regularly took trips with local boat owners to explore and paint along the Superior shoreline.

During a special Glenn Gould and Group of Seven training event in 2015, I was introduced to Ken Ross, son of Harry and Jennie Ross, friends of A.Y. Jackson who co-purchased a cottage together on Sandy Beach in 1955.

Between 1955 and 1966, Jackson ventured by foot and by boat from his tiny Sandy Beach cabin. Accompanied by friends and fellow explorers, he created hundreds of sketches and paintings depicting the Lake Superior landscape from Batchawana Bay to Pukaskwa. Many of Jackson’s Wawa sketches were painted in the vicinity of Sandy Beach.

At the end of Jackson’s Wawa paint trips, he and the Ross family would invite friends and neighbours to a social and bonfire on the beach. Jackson would have all his sketches on display leaning against large pieces of driftwood or tacked to the logs on the outside of his cabin. Folks could purchase one of his creations for $30 to $50, or commission Jackson to make a larger version over the winter back in his studio for $300-plus. Apparently, those he did not sell would sometimes end up as fuel in the bonfire. Jackson was also very generous with his sketches and often gifted them to locals who provided transportation out on Superior, invited him to their homes for dinner, or simply let him sit and paint the view in front of their property.

During my research, I discovered there is no complete inventory of his creations. These sketches are now turning up at fine-art auctions across the continent. In the past five years, there have been at least 30 paintings pop out of the woodwork which we know Jackson painted in the Wawa area. He often wrote Wawa or Michipicoten on the back of the painting. And for those of us who have a first-hand knowledge of the landscape, the roll of the hills, the dent in the shoreline, we are able to pick out the exact spot where Jackson sat and painted. It is the ultimate Canadian scavenger hunt … discovering the site where a member of the Group of Seven was inspired to sit and let the creative spirit flow through their paintbrush to a blank canvas. Still gives me a tingle up my spine each time. …

A black-and-white photo of a man rowing a wooden boat.

A.Y. Jackson in a boat, 1959 (e011177131)

The times I have spent on Georgian Bay and Lake Superior have burned memories in my mind so bright, I can still feel the wind of the Great Lakes blowing in my hair, the waves crashing and pounding in my ears, and the brilliant blue of the water dancing in my eyes. I am thankful for my experiences there, and also thankful that Canada’s most well-known artists were able to capture those feelings in their paintings. I look forward to connecting again on my next trip.

For more images, visit the Flickr album!

Ellen Bond is a Project Assistant in the Online Content team at Library and Archives Canada.