Defiant Spirits (62 page)

Chase, William Merritt, 111, 194, 305, 306

Chavignaud, Georges, 47, 211–12, 352

Chelsea Arts Club, 296

Church, Frederic Edwin, 18, 19

Churchill, Winston, 61

City Beautiful Movement, 321–23

Clapp, William, 76, 304, 330

The Clearing
(Lismer), 94

Clemens, Lewis W., 307

Clement family, 100–101, 138, 436n23

La Cloche,
on
, 52

Cloisonnism, 189, 216, 443n10

Clouds and Rock, Split Rock
(MacDonald), 59

Coburn, Frederick S., 390

Cockburn, Alexander, 44–46

Collyer, Nora, 355

Colson, Molly, 240, 248

Connaught, Duke of, 91, 144

Constable, John, 19, 24, 191

Contemporary Scandinavian Art
(Albright Art Gallery, 1913), 67–75

Convoy in Bedford Basin
(Lismer, 1918), 297–98

Cook, Ramsay, 418

Cookhouse of 156th Battalion
at Witley Camp
(Airy), 294

Coonan, Emily, 355, 356, 389

A Copse, Evening
(Jackson), 295–96

Corinth, Lovis, 82, 164

The Corner Store
(Harris, 1913), 91

Corot, Camille, 62, 164;
A Pond in Picardy
, 271

Cortissoz, Royal, 79

Courbet, Gustave, 72, 348;
Cliff at Étretat after the Storm
, 72

Courcelette, 220, 260

Crib and Rapids
(Thomson, 1915), 183–84

Crombie, Daphne, 237, 238, 247–48

Crombie, Robert, 237, 238

Cross, Henri-Edmond, 119, 223

The Crucifixion
(MacDonald, 1923), 397

Cruikshank, George, 10

Cruikshank, William, 10, 21, 39,
89, 93, 153, 214

Cubism: at Art Gallery of Toronto, 411;
Braque and, 303, 334; Canadian debut, 312, 313; and dazzle painting, 297–98; Delaunay on, 72; Picasso and, 109, 334;
in postwar period, 334; at Salon d'Automne, 86; and Vorticism, 268

Cullen, Maurice: at British Empire Exhibition, 403; difficulty selling works, 102; excluded from Group of Seven, 327;
First Snow
,
135;
The Ice Harvest
, 135; at MacDowell Club, 76; taught Charles Simpson,
266; as war artist, 265; winter
landscapes, 202, 356

Cumming, Alex G., 159, 310

Cunningham, A.M., 223

Currie, Arthur, 262, 291

Curtis, Edward S., 126

Dadaism, 334–35

Davies, Arthur B., 276;
The Dweller
on the Threshold
, 277

Decorative Landscape
(Harris, 1917), 275

Delaunay, Robert, 72, 86

Denis, Maurice, 162

Denison, Flora, 368–69, 370, 371–72

Denison, Merrill, 367–71, 385, 407, 420–21

Derain, André, 147, 218

Derby, Earl of, 185

Diaz de la Peña, Narcisse-Virgile, 23

Dickson, Larry, 132, 138, 233, 237,
238, 243, 249

Divisionism, 83, 119, 122, 223

Donovan, Peter, 196

Doré Gallery (London), 267–68

Dorgèles, Roland, 184

Dreier, Katherine, 411

The Drive
(Harris, 1912), 46, 49–50,
106, 135, 351

Duchamp, Marcel, 78, 411;
Nude Descending a Staircase, No. 2
, 79

DuMond, Frank Vincent, 117, 314

Duncan, Norman, 45

Dunsany, Lord, 343

Durkheim, Émile, 16, 31

Early Spring
(Jackson, 1913), 88

Early Spring, Georgian Bay
(Jackson), 365

Eastern Group of Painters, 413

The Eaton Manufacturing Building
(Harris, 1911),
3
, 38–39, 45, 361

Eaton's (T. Eaton Company), 46–47

the Eclectics, 62, 96

Eden
(Varley, 1912), 146

The Edge of the Maple Wood
(Jackson, 1910),
8
, 88–89, 91

Edward, Prince of Wales, 279, 311,
320, 326–27, 401

The Eight (American), 35, 161,
276, 277, 304, 330, 452n8

The Eight (De Åtta), 68, 330

The Elements
(MacDonald, 1915–16),
190–91, 192–93

Elevator Court, Halifax
(Harris, 1921),
33
, 360–61

Eliot, T.S., 17, 386

Emerson, Ralph Waldo, 108, 346

Émileville
(Jackson, 1913), 88

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