Defiant Spirits (63 page)

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

Kraushaar Galleries (New York), 276, 359

Krieghoff, Cornelius, 18, 365;
The Ice Bridge
at Longue-Pointe
, 354–55

Krogh, Henrik,
16
, 163–64

Kyle, Fergus, 36, 121

Lafleur family, 358

Lambert, Alice, 10, 170

Lampman, Archibald, 42–43

Lansing, Robert, 319

Lapointe, Ernest, 400

Larry Dickson's Shack
(Thomson, 1914), 132, 138

Lassen Peak, 182–83

Laurens, Jean-Paul, 82, 167

Laurentian Landscape
(Harris), 121

Laurier, Wilfrid, 15, 16, 38, 230, 419

Law, Andrew Bonar, 259

Lawson, Ernest, 103, 315

Leacock, Stephen, 43, 153

Leadbeater, C.W.,
Thought-Forms
, 370

Leaf Pattern
(Carmichael), 384

League of Nations, 319

Leaves in the Brook
(MacDonald, 1918), 288

Leduc, Ozias, 397, 403

Legace, Donat,
53

Legace, Raphel,
53

Leicester City Art Gallery, 407–8

Leicester Galleries, 269, 270

Leonowens, Anna, 211

Les
xx
, 330

Lhote, André, 218

Liévin (France), 271–72

Liévin, March 1918
(Jackson), 272, 295

Lismer, Arthur (before
wwi
),
61
; in Algonquin Provincial Park (1914), 129–32,
130
,
131
, 136; and Broadhead, 60; Carpenter and social reform, 94–96; early years and education, 60–62; at Go Home Bay (1913), 96–99; at Ontario College of Art, 94;
OSA
exhibition (1913), 94; and Thomson, 93; in
Toronto, 62–63, 94–96

Lismer, Arthur (during
wwi
): in Algonquin Provincial Park (1914), 145–47; artistic and intellectual influences, 148, 165; financial difficulties (1914–15), 176; Go Home Bay murals (1915), 186–87, 188–89; in Halifax, Victoria School of Art and Design (1916–18), 210–13, 253–55, 450n3;
OSA
exhibition (1915), 166; on Thomson, 164, 245, 250; Thomson and Varley's quarrel (1915), 168–69; as war artist, 255, 297–98

Lismer, Arthur (postwar life): in Algoma (1920–21), 342, 373–74; at Bon Echo Inn (1922), 385; British Empire Exhibition (1924), 392, 404; city beautification, 323; Group of Seven planning and exhibition (1920), 327–28,
331
, 332; at International Exhibition of Modern Art (1927), 411; at Mazinaw Lake (1921), 370–71; on National Gallery of Canada (1921), 387; at Ontario College of Art, 310, 323–24, 358–59; painted stage sets (1920–21), 343, 369–70; and Whitman, 371

Lismer, Arthur (titles of works):
The Big Rock, Bon Echo
(1922),
34
, 373;
The Clearing
, 94;
Convoy in Bedford Basin
(1918), 297–98; “Frank Johnston in T.T.'s Shack,” 161;
Georgian Bay
(1913), 99;
The Guide's Home, Algonquin
(1914),
13
, 148;
Halifax Harbour, Time of War
(1917), 254;
Manet and the Post-Impressionists
(1910), 84;
The Picnic
(1915), 188;
A September Gale, Georgian Bay
, 403, 406, 415;
The “Skinny Dip”
(1915), 188;
Sunglow
, 167;
Tom Thomson's
Camp
(1914), 132;
“Too Much Mulligan”
(1915), 187,
188

Lismer, Esther (née Mawson), 62, 63, 96

Lismer, Marjorie, 96, 450n3

Little, Robert, 234, 236–37

Little Cauchon Lake
(Thomson, 1916), 207–8

Little Galleries of the Photo-Secession
(New York), 314

Little Pictures by Canadian Artists
(Toronto, 1914), 123

Little Wapomeo Island, 241, 243

Lloyd George, David, 221, 263, 319, 400

A Load of Fence Posts
(Harris, 1911), 45

The Lonely North
(MacDonald, 1913), 91

Long, Marion, 306

Longfellow, Henry Wadsworth, 374, 385

Long Garth, 133

Lorne, Marquess of, 17–18, 391

Loudon, W.J., 93

Loveroff, Frederick,
Snow on the Hillside
, 408

Ludendorff, Erich, 266

Luks, George, 276, 359

Lyall, Laura Muntz, 306

Lyman, John Goodwin, 86, 103–4, 413–14

Lyme Pastures
(Thomson), 117

Lysakerkretsen (Lysaker Society), 68

Måås-Fjetterström, Märta,
Woodland Scene
,
16
, 163–64

Macbeth Gallery (New York), 276, 304

MacCallum, Helen, 138

MacCallum, James M., 58–60,
58
; in
Algoma, 280, 282, 283–84, 286–87,
342; in Algonquin Provincial Park,
206–8; as boxing fan, 160; Go Home Bay cottage, 96–97, 186–87; and Jackson, 104–5; and Lismer, 96, 186–87; and MacDonald, 186–87; Studio Building sponsor, 110, 159; and Thomson, 116–17, 137–38, 156, 178, 186–87, 251; and Varley, 263, 290; West Wind Island, 58–59,
93, 97–98; and Williamson, 115