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London Roots/London Routes: Art Education in London, Ontario

London,Ontario,pridesitselfonthefactthatithasbeenandcontinuestobeaculturaldestinationformanyvisualartists.Thus,whenIdecidedtowriteanessayonthetopicofthehistoryofarteducationinLondonOntario,Ididnotexpecttohavesuchdifficultyinfindingthestoriesofthepast,asmanyofthekeyplayersstillhavetiestoLondon.WhatIhavefound,however,isthataswithmanyoralhistories,storiesofhowtheartistsofLondonOntariolivedandworked,haveremainedassuch,asoralhistories.Pouringovermanyregionalartexhibitioncatalogues,IfoundrepeatedreferencetothreeofthesameresourcesthatIusedinmyinquiry.Thereis,however,alackofnewinformationbuildingonandexpandingthesestories.WiththispaperIhopetoencourageotherstotakeupapen,orthekeyboard,andgettoworkrecordingtheoralhistoriesthathaveremainedephemeral.ThevisualartscommunityofLondonOntarioisalivingartenvironmentthatpridesitselfoninnovation,collaboration,pedagogicalpracticeandconceptualenquiries.TheeducationalandpublicartinstitutionsofLondonhavebeenthekeyinshapingtheartisticpracticeofstudentsandteachersalike.TheyhaveallcontributedsignificantlytotheartsinLondon,inOntarioandinCanada.ForthepurposeofthispaperIwillspeakofthreeschools:HBBealTechnicalSchool,FanshaweCollegeandWesternUniversity.ThiswillbeabriefoutlineofthehistoryofarteducationinLondonOntario,documentinghowitcontinuestoshapemanyofCanada’smostprolificartists. Londonwasanartisticdestinationbeforeitwasevenconsideredacity.Around1793,1 Elizabeth Simcoe,anaccomplishedlandscapeartistandwifeofLieutenant-GovernorJohnGravesSimcoe,createdwatercolourpaintingsofthenewlandshefoundherselfimmersedin.2 AnnaJameson,apainterandoneofthefirstartcriticstovisitCanada,spenttimeinthesouthwestOntarioregiontravellingbetweenTorontoandMichigan.Jamesonisoftenconsideredtobeoneoftheinitiatorsincreatinga“Canadian”art.3 ThefirstarteducationofferedinLondonemergedwhentheMechanicsInstituteandMuseumopenedin1841.4By1852,thefatherofPaulPeel,JohnRobertPeel,gaveartlessonsinabackroomofhisshopat493Richmondstreet5andin1871JamesandJohnGriffiths,CharlesChapmanandJohnRobertPeelstartedtheWesternSchoolofArtandDesign.6 Thisschoolwasconsidered“agreataidandincentivetothestudyandpracticeofart”andinadditionmanygreatartistsgraduatedfromtheschool.7In1885,theWesternSchoolofArtandDesignbecameanaffiliateoftheTorontoSchoolofArt.8Thisschoolstayedinoperationuntil1904withthedeathofPeel.9Regardless,LondonasanartisticdestinationgainedrecognitionbythenewlyformedCanadianAcademyofArt,andin1901theymadeastatement:“LondoninthewesthasmuchtoofferasaninducementtoholdanAcademyExhibitionthere,andthegenerousappreciationofartwhichhasinducedsomanyartiststomaketheirhomeintheprovinceofOntariowillnodoubtsoonmakeitadvisabletoaddtheForestCitytothelist.”10 TheclosingoftheLondonArtSchoolpavedthewaytotheopeningoftheLondonIndustrialandArtSchoolin1911,withHerbertBensonBealactingasitsprincipal.11Thisschoolofferedcoursesin1CityofLondonWebsiteCityofLondon…Beginningshttp://www.london.ca/d.aspx?s=/about_london/london_history.htmAccessedFebruary222012.2 Colgate,William.CanadianArtIt’sOriginandDevelopment,RyersonPressMcGrawHillCompanyofCanadaLimited,Toronto.1943p.4.3Ibid.4O’Brien,Paddy,Bealart80YearsofExperiment1912-1992,LondonRegionalArtandHistoricalMuseums,LondonOntario.March14–June81998.5Ibid.6 Ibid.7llustratedLondonOntarioCanada:ASouvenirThePioneerPeriodandTheLondonofToday1897http://www.archive.org/stream/cihm_00260#page/53/mode/2upAccessedFebruary212012.8Gaitskell,CharlesDudley.Themostoutstandingcharacteristicsinarteducationfrom1947ArteducationintheProvinceofOntario,DoctoralDissertation.1947http://books.scholarsportal.info/viewdoc.html?id=188921AccessedFebruary202012.9O’Brien,Paddy.P.6.10TheYearbookofCanadianart.CompiledbytheArts&LettersClubofToronto191311O’Brien,Paddy.P.6.

Jennifer Lorraine Fraser

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graphicdesign,technicaldrawingandthelike,andwasfundedbytheprovincialgovernment.12By1927theartdepartmentwasdeveloped,13undertheleadershipofVeraMcIntyre“Mackie”Cryderman14and in1937theschoolchangeditsnametotheH.BBealTechnicalSchoolInstitute.15Duringthepostwaryears,MackieCrydermanrecognizedthattheinstitutionneededtodevelopamorecompetitiveandprogressiveartsprogram,whichwasputinplacein1945.Inhisdissertationof1947,CharlesDudleyGaitskelldescribedwhathesawasthemostoutstandingcharacteristicsofarteducation:arteducationinOntarioschoolswastotakeanewfoundturn,whichfollowedEuropeanintellectualandacademicmovementsofthetime.Theemphasiswastobeplacedonsixrequirements:“(i)theprovisionforcreativenessinallactivitiesandforallparticipants;(ii)themethodofacquiringskillsthroughactivitieswhichengagetheemotionsandintellectofthelearner(iii)theprovisionsmadeforthelearnertoenjoyfreedomofthought(iv)themannerinwhichartisfusedwithothersubjectsonthecurriculum(v)thestresswhichisplaceduponelevatingthetasteofthelearner;(i)themannerinwhicharteducationisusedtorelatetheindividualtoitssocialgroup.”16ThisseemstobeonparwiththeoutlineCrydermanherselfusedindevelopinghernewartprogram.Withherinfluence,artistsfromallwalksoflifeanddifferentglobalcentersfoundtheirwaytoandfromLondonviaBeal,thenFanshaweCollege. In1965CrydermanwasworkingwithFanshaweCollegetocreateanartprogramthatspoketoalargerareaofissuesthatweredevelopinginarteducation.In1967,withtheexperienceofExpo’67inMontreal,andallofthedynamicchangesofthoughtoccurringacrosstheworld,CrydermandecidedtobroadenthehorizonandattractinternationalinstructorsandthinkerstocometoLondon.ThisbroughthertoLeedsinEnglandandtoaskEricAtkinsonforhisparticipationinbringinghisexpertisetoLondonasheadoftheFanshaweartdepartment.AtkinsoncreatedaprogramsimilartothatoftheLeedsCollegeofArt.Hewrote,“Leedsexperimentinartsbasedontheaestheticsensibilityoftheindividualartistasoneofthefundamentalrequirementswhenitistheproductofawell-trainedmind…themainpedagogicalconcernshouldbethemanifestationoftheidea.”17TheprimaryexperiencethatAtkinsonwantedtoleavewithhisstudentswasthepowerandencouragementtoexaminetheirownwork,nottodiscouragethemthroughteachingbuttoempowerthemthroughlearning.“Itisprobablymoreimportanttoencouragestudentsthantocriticizetheirwork:tosetupalearningratherthanateachingsituation,”henoted.18In1969,FanshaweCollegewasthefirsttoofferacombinationofindustrialdesign,withitsnewlycreatedappliedartsprogram.19By1973theenvironmentalartprogrambeganatFanshawe,to“meettheneedforunitybetweenartandhumanactivity,”20andtoensureaplacefortheartistinthecommunitywithinasociety.Withalonglistofvisitingartistsaslecturers,suchasSuzyLakeandVeraFrankel,FanshawewasfasttrackingtogreatacclaimintheCanadianartworld. AtthesametimeMackieCrydermanwasreinventingarteducationforFanshaweCollege,WesternUniversitywasalsointransition,quicklybecominganinfluentialartisticcenter.ThehistoryofarteducationattheUniversityismoredifficulttopresenttothereader.AsRobertMcKaskellbeganhisessayforhisexhibitionBeyondBounds:ArtInLondon1970-1987,“thereisnohistory.Thereareonlystories,andallthestories,evenonesthataddressthefuture,comefromthepast.”21TheUniversityhasnotkeptsignificantrecordsoftheirpastendeavorswhenitcomestothestudyofart.Sincethe1930’stherehasbeenatremendousefforttocreateWesternasanartistichub.Inthe“earlypartofthetwentiethcenturyanartcollectionwasbeginningattheuniversityandby1933Dr.Landonisquotedassaying“picturesbeingbroughttogetherattheuniversityformthenucleusofwhatitishopedwilldevelopintoagalleryofeducationalandpopularinterest,andvalue.…”22 Further,as“earlyas1935Dr.S.F.Mainegaveaseriesoffivelecturesonartandartappreciation.”23TheMcIntoshGallerywasopenedin1942,withanagendaofofferingaspaceforvisitingartiststogivestudioclassesattheUniversity.24 Overthecourseofthe1950sacclaimedartistandBealgraduatePhilipAzizwouldgivelecturesonarthistorywiththehopesofbeingtheinitiatorindevelopingthemuchneededartdepartmentatthe12O’Brien,Paddy.18.13Ibid.14Poole,NancyGeddes,TheArtInLondon1830-1980,BlackpoolPress,LondonOntario.1984.15Ibid.16Gaitskell,CharlesDudley.17Catalystp.5.18Catalystp.6.19Crawford,Lenore,LFPMay241969.20LFPApril21973.21McKaskell,Robert,BeyondBoundsArtInLondon1970-1987,ExhibitionCatalogueMuseumLondon,LondonOntario.September10,2005-August28,2006.p.1.22Shaw,CatherineElliot.CollectiveEfforts:50yearsofintentionality,McIntoshGalleryExhibitionCatalogue.p.7.23Poole,Nancy.p.105.24Ibid.

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University.2526 In1960theUniversitybegananArtistinResidentprogramattheMcIntoshGalleryandthefirstartisttoacceptthenewrolewasTonyUrquhart.WhileinthisnewpositionUrquhartwouldholdseminarsonartproductioninthebasementoftheMcIntoshgallery,27whilecuratingcollectiveartshowsinthegalleryspacesabove.28Bythemid1960sWesternwasinneedofexpandingtheirdegreeprogramstofulfilltheaspirationsofthebabyboomergeneration.In1967withDr.WilliamS.Daleasthenewlyappointedheadofthefineartsdepartment,29Westerncreatedaprogramprimarilyforthegraduatingstudentstocontinuetheirstudieswiththeteacher’scollege,astherewasalackofhighschoolteachersforthattime.3031Dr.Dalealsorealizedthatoverthecourseofarteducationinothernationalandinternationalcenters,historiansweregraduatingwithouttheknowledgeofdoing,andartcraftsmenweregraduatingwithoutthetheoreticalknowledgeonthemeaningofart.Therefore,thedepartmentwascreatedtobringtogetherbothstreamsofthoughtintoonepedagogicalexperience.321967alsosawthereturnofTonyUrquharttoLondontobecomeoneofthefirstfulltimeprofessorsofthedepartment.33Thedepartment“wasfirstlocatedinTalbotCollege--thestudioroomswerewindowless,inthecentreofthebuilding,andtheotherdepartmentswereupsetaboutthepaintaroundthehallways.”34 May251971sawthegraduationof10ofthefirstfineartstudents.35“Inthe1970sagroupofthree‘temporary’buildingswereerectedonthesiteofthecurrentbuildingandpeopleweremuchhappierthere,untiltheconstructionsstartedtodeteriorate.”36Itwasn’tuntilthelate-70sthattheleadersoftheprogramrealizedtheyneededtorecreatetheprogramtoincludetheaspirationsofgraduatingstudentswantingtofurthertheireducationtobecomepracticingartists.37In1977thedepartmentofferedan“open”studiocourseforotherstudentsinanydiscipline.ThisnewprogramofferedaBachelorsofArtswithHonorswithanemphasisoncriticism,whichatthetimewasconsidereduniqueinCanada.38AccordingtoMcKaskell,“themostsignificantthinghappeninginLondonduringthe1970’sand80’swastheneedthatseveralartistsexperiencedtore-thinkthewayartwasmadeandwhatitmightmean.”39 Myresearchfindsslowdownasweenterintothelatetwentiethcentury,perhapsitcouldbebecausethestoryisstillfreshandcurrentwithintheinstitutionsinvolved,andtheyremainpartofanoralstory.OneinterestingfactthatIfoundisthatWesternusedtohaveanarttherapyprogramthatbeganin1987,oneoffourinCanada.40.Iaminterestedinfindingoutwhathappenedtothisprogram.“Inthe1990stheUniversityalmostclosedthedepartmentbecausethebuildingsbecameunsafeandtherewasnomoneytobuildanewfacility.However,agreateffortwasmade,andfinallythefundswerefound.41DesignedbyRaymondMoriyama,in1993thenewJohnLabattVisualArtCenterwasbuilt.42TheMastersprogramstartedin1995,andthePhDprogrambeganmorerecently,in2007.In2010anundergraduateMuseumStudiesdegreewasadded.“Theshiftreflectschangesintheacademicartworldgenerally,fromarthistorytoagreateremphasisonarttheory,andthisaffectedstudiopracticetoo.”43 Regardlessofthesmallamountofdocumentedinformationonthelateryearsofthedepartment,thereseemstobefurtherinsightintotheblendingofthefacultyandartisticpracticeofWesternUniversity.RonShuebrookhasbeenquotedinsaying,“notionsofartisticpracticeasself-expressionandasacritiqueofsocietyandofculturalconventionshasclearlyshapedourstudioteach-ingandwhatuniversityvisualartdepartmentsexpectoftheirfaculty.”44MadelineLennoninthe2006practicumcataloguehasalsoemphasizedtheneedtocontinuearteducationasa“processofcritique,25Shaw,CatherineElliot.InterviewwithAuthorFebruary172012.26Torrington,M.A,PhilipAzizAboutWebsitehttp://philipaziz.org/about/AccessedFebruary222012.27Shaw,CatherineElliot.Interview.28Poole,Nancy.126.29LenoreCrawfordLFPS21967.30Shaw,CatherineElliot.Interview.31LFPMay251971.32Crawford,Lenore.LFPS21967.33LFPSept111972.34Lennon,Madeline.EmailtoAuthorFebruary282012.35LFP1971.36Lennon,Madeline.37Shaw,CatherineElliot.Interview.38WesternNewsSupplementmay191977.39McKaskell,Robert,p.2.40LFPIanTrowellDecember261987.41Lennon,MadelineEmail.42http://www.uwo.ca/visarts/research/2011-12/special_spaces/rl/leaton.htm.43Lennon,Madeline,Email.44Shuebrook,Ron,StagingtheIssuesaConversationAboutPracticeandPedagogyExhibitionCatalogue1998.

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exploration,productionisthefoundationforacoherentindividualpractice,identity,struggleandtheeveryday.”45 TherehavebeenartistsfromallovertheworldwhohavefoundtheirwaytoLondonandwhohavebeeninvolvedinshapingthebroadartisticlandscapethatLondonholdsdear.TheseartistshavefoundtheirownwayinLondon,andhavesharedtheirexperiencewiththeresidentsofthecityinremarkable,transformativeways.Therehavebeenthousandsofstudents,artistsandloversofarthistorywhohaveallhadtheirhandatmappingLondon’sartisticachievementsoverthepast200years.ThemostfamouscontemporariesofLondon,Ontario’sartisticachievementsarethoseintheregionalistgroupofthe1960’s.GregCurnoe,JackChambers,TheNihilistSpasmBand,andthelikehavebeencelebratedinmanyinstitutionsandartpracticesthroughoutCanadaandcertainworldcenters.Theirworkswereallverydiverse,yettheyremaintodayasasignifierofhowLondonOntariopresentsitselftotheartworld,thatbeingaplaceofseriouspedagogicalartpracticeandinfluence.ThispartlyhadtodowiththeirgreatinfluenceontheeducationalsysteminLondon.Iwouldlovetobeabletoofferyoufirst-handaccountsofeachandeveryexperiencethathaspavedthewaytowherewearetoday.TheartinstitutionsinLondonhaveandwillcontinuetoofferanoutstandingeducationalexperience.MadeleineLennonhasclearlyoutlinedtheattributesofbothWesternandFanshaweinananswerthatshesentinresponsetothisarticle: “TheUniversityprogramhasalwaysdifferedfromFanshaweCollege--theCollegefaculty tookamuchmorepractical,hands-onapproachtoproduction.Arthistorywascovered inthecourses,butwasamuchsmallercomponentthanitisatWestern.Ithinkitisfair tosaythatstudioproductionatWesterncontinuestobemore‘academic’---thatismore theorydriven.Ourstudentshavegoneontodoallsortsofinterestingthings--always,of course,therehavebeenteachersandnowtheyworkateverylevelofeducation.Along withthiscareer,theyhavegoneintodigitalimaging,allsortsofdesign(includingallthe

Gapsstoresworldwide!),Sotheby’sandChristie’sauctionhousesandmore.“46Thoughthethreeinstitutionshavehadtheirdifferencesinthepast,thisessayhasshownthattheyhavealsoworkedtogether,somethingthatwillhavetocontinueinordertopreservetheoralhistoriesthatdocumenttheimportanceofallthreetotheartsceneinLondonandbeyond.WhatIhavecometorealizeisthateachinstitutionisuniqueandofextremeimportanceintellingthestoryofthespiritofapeoplewhohaveworkedhardtoprotectarteducationperiodandtokeepthelifelineinexistence.ThatbeingsaidIleaveyouwithpersonalinsightsintothestudentexperienceoverthepastfourdecades.IhopeonedayeveryonewithsomethingtosayandcelebrateaboutartinLondon,willhavetheirvoicesheard.

45Lennon,Madeline.PracticumExhibitionCatalogue2006.46Lennon,Madeline.Email.

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“ParticipatinginBealArtfrom2000-2003,Itookfoundationlevelcoursesinarthistory,drawing,painting,printmaking,sculpture,textiles,video,animation,photographyandceramicsfollowedbyayearwhereIspecializedinprintmakingandtextilestoreceiveandanArtStudiesCertificateinVocationalArt.BealArtprovidesartstrainingwithskilledmentors,studiospacewithprofessionalequipmentandmaterialsformanyareasofstudioexplorationandafamilyofpeersfromthesurroundingcounties,fromwhichIgainedlonglastingrelationships,studioandexhibitionexperienceandcreatedaportfoliothatallowedmetobecomeapracticingartist,applytopost-secondarystudiesataccreditedcolleges/universitiesofartanddesignacrossCanadaorapprenticeships.”

-Rene Vandenbrink, Alumni of the BealArt program & President of The Forest City Gallery 2011/2012

LONDON ROOTS/ LONDON ROUTES:3 VOICES FROM LONDON ARTISTS

ReneVandenbrink,Fission(detail),2011

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“IwasinoneofthefirstPracticumclasses,taughtbyAliceMansellandCorHeesters,wherewebeganreadingtheoreticalarticlesanddiscussingideas,ratherthantalkingjustaboutgrantwriting,artiststatementsandtheformalpropertiesofourwork.Theyhandedusallareadingpackagethatfirstclass,whichwasanewexperiencetoallofus,itbeingastudioclass.Itwasanengagedtimeandweallfeltasifthingswereshifting.Itwasaveryactivedepartmentbackthentoo-everylevelofstudentfrom1stto4thyear,thetechnicalstaffandallthefacultymemberswouldattendtheHillaryGalleryopeningseveryThursdayat4pm.Therewasanewshowandanopeningeveryweek,oftenwithmorethan100peopleattending.Sometimesitfeltlike200people!Butbecauseofthoseopenings,eveninfirstyearIfeltIwaspartofthedepartment.Beinggiventheopportunitytoknowupperyearstudentsrightawaywasinvaluable.Weallfeltasifwewerepartofavibrantcommunity.Itwasreallyquiteidyllic,asIthinkitoftenisforundergraduateshereatWesternwhofeelveryattachedtothedepartment.”

-Tricia C. Johnson, Alumni Western University’s VisualArts Program & Professor at Western University in the Visual Arts Department

TriciaC.Johnson,ALook,1990

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“Fanshawewasmoreabouttheexperienceofcreatingart.Fanshaweinthe1970’swasmoreabouthandson,artists,contemporaries,visitingartists,fieldtrips,visitstoactualstudiosoflocalartists.Theprogramhelpedyoungartstudentstoseehowtheycouldcreatetheirownstudiopractice.StephenJoy,anAmericaninstructor,wouldplaythecontemporarymusicofourtimeonaturntableduringourclasses,enablingstudentstoconnectthemusictothedesignsandcoloursandexperiencethebeautyofboth.StephenJoyrantheTrajectoryArtgallerydowntown,London,afterretiringfromFan-shawe;hecreatedaTVprogramthatbroughtviewersintothestudiosofsomeofLon-don’sartists.HealsobroughtmeonatriptoNYCtowitnessthecontemporaryscenethere,soformeFanshaweArtHistorywasa5starexperience.IbeganadegreeatWest-ern,tookFilm,Poetry,andArtHistorywithBobMcKaskellhewasamazing,hisclasseswereathishouse,Westernwasmoreaboutthehistoryofartmorebythebook,theywouldbringinvisitingartiststoconductlecturesonnumeroustopics….AsforBeal,Iknewartistswhotaughtthere,quiteafew,itseemedtheywantedthekidstogetinandcreatestuff,intellectuallyandphysically,asimilarprogramtoFanshawe....Bauhauswastheinspirationofthetime.Functionalandutileskillsweredemonstrated.”

-Scotty Giffen Alumni of Fanshawe’s Art Program, Alumni of Western University, Stained Glass Artist studied in London, Recipient of the Mackie Cryderman Award 1980

ScottyGiffen,Fanshawegraduationpiece

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BIBLOGRAPHYAtkinson,Eric.ExhibitionCatalogue,Catalyst:Celebrating25YearsFanshaweCollegeFineArt, London RegionalArtandHistoricalMuseums,LondonOntario.February19-May1,1994.

Colgate,William.CanadianArtIt’sOriginandDevelopment,RyersonPressMcGrawHillCompanyof CanadaLimited,Toronto.1943.

Gaitskell,CharlesDudley.Themostoutstandingcharacteristicsinarteducationfrom1947Art educationintheProvinceofOntario,DoctoralDissertation.1947http://books.scholarsportal. info/viewdoc.html?id=188921AccessedFebruary202012.

Lennon,Madeline.EmailtoAuthorFebruary282012.

McKaskell,Robert.BeyondBoundsArtInLondon1970-1987,ExhibitionCatalogueMuseumLondon, LondonOntario.September10,2005-August28,2006.

MultipleAuthors.MultipleNewspaperClippingsfoundintheLondonRoomattheLondonPublic Library,accessedFebruary182012.

O’Brien,Paddy.Bealart80YearsofExperiment1912-1992,LondonRegionalArtandHistorical Museums,LondonOntario.March14–June81998.

Poole,NancyGeddes.TheArtInLondon1830-1980,BlackpoolPress,LondonOntario.1984.

Shaw,CatherineElliot.InterviewwithAuthorFebruary172012.

Shuebrook,Ron,StagingtheIssuesaConversationAboutPracticeandPedagogyExhibitionCatalogue 1998.

Torrington,M.A,PhilipAzizAboutWebsitehttp://philipaziz.org/about/AccessedFebruary222012.

IllustratedLondonOntarioCanada:ASouvenirThePioneerPeriodandTheLondonofToday, TheLondonPrintingandLithographingCompanyLimited,1897http://www.archive.org/stream/ cihm_00260#page/53/mode/2upAccessedFebruary212012.

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JASMIN FISHER

John Herbert Caddy (1801-1883): The Legacy of London Landscape Art

OneoftheearliestCanadianartistsexaminedin42° 59’ 81° 14’: Mapping London’s International LegacyisJohnHerbertCaddy(1801-1883),amilitarycaptainandaward-winningartistcentraltothedevelopmentofLondon,Ontarioasanartisticandculturalhub.Caddy’suniqueartistictrainingandenthrallinginternationalexperiencesprovideaninsightintotheestablishmentoftheeclecticandcreativespiritinLondon,nurturedbyartistswhofollowedinhisfootsteps.AlthoughbornandraisedinwhatwouldbecomeCanada,J.H.CaddywasapartoftheinfluentialBritishmilitaryartmovementthatusedtopographiclandscapeartinordertohelpBritonspositivelyvisualizethestillunfamiliarCanadianlandscapeintheeighteenthandnineteenthcenturies.1 Hewasuniquelysituatedwithinawidertradition,and,asaresult,producedabodyofworkunlikehisofficer-artistcontemporarieswhicheffectivelyappealedtolaterLondon-basedartistssuchasRolyFenwick.Fenwick’slandscapepaintings,manyproducedinaccordancewiththeriseofAbstractExpressionismandinfluencedbySurrealism,drawonmethodsparticulartoCaddy,andreferencesimilarsocialandculturalimplicationsofCanadianlandscapeartwithinaninternationalcontext. JohnHerbert(J.H.)CaddywasborninQuebecCityonJune28th,1801,thesecondchildofColonelJohnThomasCaddyandHannahGodard.2Yearslater,theCaddyfamilymovedtoAmherstburg,OntariowhereJohnspenthischildhoodyearsbeforefollowinginhisfather’sfootstepsandenteringtheRoyalMilitaryAcademyinWoolwich,Englandfrom1815-1816.3Shortlyafter,heenteredtheRoyalArtilleryasacadetandthrivedinhisenvironment,attainingthestatusofsecondlieutenantin1824,lieutenantin1827,andcaptainin1840.4Whilefulfillinghismilitaryduties,youngJ.H.CaddymarriedGeorginaHamilton,thedaughterofanArtilleryColonel,andthetwowentontohaveeightchildrenwhilestationedallovertheworld,thoughservingprimarilyintheBritishWestIndiesthroughoutthe1820sand1830s.5 Afterretiringfromthemilitary,CaddyremainedintheLondonareauntilhisdeathin1883,workingasanengineerinLondonandfortheGreatWesternRailwayinHamiltonuntil1856,andteachingartatHamilton’sWesleyanFemaleCollegewherehealsomaintainedastudio.CaddysubmittedhisworktomanyCanadianandprovincialexhibitions,suchastheUpperCanadaProvincialExhibition,receivingacknowledgementataprofessionallevelafter1848forhislandscapepaintingsandsepiadrawings.6Althoughanaturallygiftedwiththepowerofartisticobservation,J.H.Caddywasformallytrainedindrawingandwatercoloursaspartofhisstrictmilitaryeducationandofficerrequirements. Priortoandduringtheearlynineteenth-century,enlistedBritisharmyofficerssuchasCaddyreceivedformalartinstruction,includingdraughtsmanshipandtopography,aspartoftheirstandardtraining.Beforethewidespreaduseofphotography,militarypersonnelwererequiredtovisuallydocumenttheirexperiences,producingimagesoffortifications,entrenchments,andaccuratetopographicalrenderingsofthelandscapesandtownstheyencountered.7.Duetotheitinerantnatureoftheirjob,officerscreatedimagesusingpenciland/orwatercoloursonpapersupportssuchasnotebooksorsketchbooks.Thisensuredthesketchcouldbecreatedquickly,transportedandpreservedeasily,andproducedinexpensively,astheoriginalpurposeoftheimageswastorecordenvironments

1JohnE.Crowley,“‘TakenontheSpot’:TheVisualAppropriationofNewFrancefortheGlobalBritishLandscape,”TheCanadianHistoricalReview86(2005):18.2FrancesK.Smith,“JohnHerbertCaddy,1801-1887,”(Kingston,Ontario:AgnesEtheringtonArtCentre,1985),20.3“JohnHerbertCaddy,”accessed17February2012,http://thecanadasite.com/art/art13_caddy.html.4MuseumLondon,“RolyFenwick,”accessed20February20,www.museumlondon.on.ca/Historical/Itinerant/caddy.html.5Smith,“JohnHerbertCaddy,1801-1887,”39.6MuseumLondon,www.museumlondon.on.ca/Historical/Itinerant/caddy.html.7“JohnHerbertCaddy,”http://thecanadasite.com/art/art13_caddy.html.

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fornavigation,colonization,survey,andconstruction.8 Thetopographicalaccuracyofmilitaryartwasparamount,howeveritalsoreflectedcurrentstylesandtrendsinthefinearts,particularlyfixatingonnotionsofthePicturesqueandSublimefromtheseventeenthcenturythroughtothenineteenthcentury.9Essentially,thePicturesqueaestheticvaluesbeautywithinascenethatisliterally“likeapicture”,whichcanthenbeartisticallytranslatedintoevokingidealization,grandiosity,andromanticismwithinanimage.ThisconceptwasdirectlytiedtonotionsoftheSublime,anaestheticgeneratedtoconveythefeelingsofgreatnessandbeautybeyondcomprehension,leavingthespectatorshocked,intrigued,andspirituallyengaged.Artistsofthetimeappreciatedtheaestheticvalueintheirpracticaltalent,andJ.H.Caddywasnoexception.Hewasknowntoworkcarefullyfrompencilsketchesmadeonsite,throughtosepiadrawings,beforefinallyaddingwatercolourpaint,oftenmakingmanyversionsofthesamescene.10WhilestationedintheBritishWestIndiesinthe1820s,CaddycreatedmemorabletopographicalviewsofSt.Lucia,St.Vincent,Dominica,St.Kitts,Trinidad,andBarbados,includingthedepictedKingston,St.VincentFromtheS.E(n.d.)andAEuropeanLakeScenewithRuins(n.d.).Valuedforboththeirempiricalandaestheticqualities,imagessuchasthesewerepublishedlocallyinLondoninFebruary1838.11

SomeofCaddy’smostintriguingimagesproducedonhisexplorationofMayancityofPalenqueinMexicoarenowintheRoyalOntarioMuseumcollection.12WhilepostedintheRoyalArtilleryGarrisonintheBritishHondurasinDecember1838,hewasappointedharbourmasterofBelizeandchosentoexploreandexcavatethevicinityofPalenquewithPatrickWalker,aBritishSupremeCourtjudge.13Muchlikehispreviouswork,Caddy’spaintingsoftheirfindingsservedthefunctionalpurposeofdocumentation,howevertheimageshadanaestheticappealandprovidedthefirstglimpseofthelong-lostarchaeologicalmarvels.14Thesenseofadventureoftheexpedition,andtheimpressiveunfamiliarityoftherenderedobjects,createdanalluringnarrativethatappealedtothepublic’scuriosityandpenchantfortheimperialgaze.Caddy’sseriesofworksfromPalenquefeaturedrawingsandpaintingsofancientruins,detailedstudiesofthebasreliefsandhieroglyphs,andlikenessesofunknownobjectsfoundthroughouttheirexplorations.15 WhiletheuniqueopportunityatPalenqueexpandedCaddy’sartisticsubjectmatter,heisprimarilyknownforhistopographiclandscapewatercolours,representedastraditionallyPicturesquewithadevelopingrealism.BritishmilitaryartistswereencouragedtodepicttheirNorthAmericansurroundingsasidealizedandromantic,privilegingscenicrepresentationsthatenhancedthebeautyandpotentialopportunitiesoftheland.16ThePicturesquestylewasapopularaestheticwhichgeneratedfamiliarityinviewerseventhoughthedepictedenvironmentsweretopographicallyalien,highlightingtheuseofpaintingascommentaryonimperialsocial,political,andculturalideologies,aswellaspowerrelations.17 TrainedunderBritishrule,Caddy’sworkreferencestheBritishaestheticbutdepartsfromit,reflectingadeeperconnectionwiththeenvironmentandastrongconfidenceinhisartisticlicense.Likewise,hehasbeendescribedasausefulbridgebetweenthemilitarygarrisonandthetownspeople,inthathehadtheknowledgeandrespectofbothworlds.18 HispaintingsareavisualdiaryofhisloveforwhatisnowLondon,OntarioaswellastheCanadiancountryside,offeringtranquilscenes,manynearwater.Hispaintingsexhibithistendencytouselightwashesandanintimatespectrumofpalebluesandgreenstocreatenaturalized,yetromantic,atmospheresembeddedwithinidealizedcompositionsnotunlikeClaudeLorrainorPaulSandy.19Hisskilledhandlingofthewatercolourmediumallowedfortheuseofitstransparentcolourqualitytoenhancetheobservedsceneinapersonalwaywhilestillmaintainingtopographicalaccuracy.20J.H.Caddy’scontemporary,SirRichardThomasAirey(1803-1881),isanotherexampleofanofficer-artistreflectingthetopographicallyPicturesquestyleassociatedwiththeCanadianlandscapethroughBritisheyes.AireywaspostedinSt.Thomas,Ontarioduringthe1830s,butmovedintotheLondonDistrictfrom1847to1852,producingmanywatercoloursincludingseveral8JimBurant,“TheMilitaryArtistandtheDocumentaryArtRecord,”Archivaria(Summer1998),34.9JimBurantandJudithSaunders,TheGarrisonYears:London.CanadaWest,1793-1853,(London,Ontario:LondonRegionalArtGallery,1983),11.10Smith,“JohnHerbertCaddy,1801-1887,”22.11Ibid.,23.12Ibid.,33.13Ibid.,26.14Ibid.15Ibid.,33.16Crowley,“‘TakenontheSpot’:TheVisualAppropriationofNewFrancefortheGlobalBritishLandscape,”15.17Ibid.,16.18BurantandSaunders,TheGarrisonYears,18.19Smith,“JohnHerbertCaddy,1801-1887,”4720Ibid.

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viewsofLondon,PortStanley,andPortTalbot.21WhiledealingwithsubjectmattersimilartoCaddy’s,someofAirey’spaintingshavelessstructuredformalelements,producingafluidlandscapeenhancedbythewatercolourmedium,illustratedbestbyhisseriesofpastoralscenes.CaddyalsodepartsfromthelikesofAireyandotherofficer-artistsinhisrepresentationofpeopleinmanyoflandscapepaintings.Populatinghissceneswithcarefullyplacedmilitaryfigures,Aboriginalpeoples,andlocalcitizens,itisevidentthatCaddyrelatestonotonlyhissurroundings,butalsothosepresentwithinthelandscapehelpingtoshapethedevelopingnation.HiscitizenshipandpersonalidentificationwithCanadawasaclearinfluenceonhisbodyofworkthatdistinguisheshimfrommanyotherBritishmilitaryartists.Hischaracteristicstyleundoubtedlyshapedandinfluencedtheworkofmanylandscapepainterstocome,particularlythoseworkingwithintheLondonregionassomeofCaddy’smoststrikingimagesarerenderingsofthelocalarea. WorkingartistRolyFenwickisanexampleofsuchaLondon,Ontario-basedcontemporarypainterwhoabstractlydrawsonparticularelementsofJ.H.Caddy’smethodandstyle,effectivelybringingthemintothetwentyandtwenty-firstcenturies.BorninOwenSound,Ontarioin1932,FenwickwasraisedinandaroundLondon,feelingmostathomeinthedistinctlandscapeCaddypaintedsospiritedlyacenturyearlier.22FenwicktaughtdrawingandpaintingattheUniversityofWesternOntariofrom1968-1989andiswellknownforhislushoilpaintings,afarcryfromCaddy’slightwatercolours.23Hisworksdemonstratetheinfluenceofsurrealismandabstractiononlandscapepainting,usingrawbrushstrokesandboldcolourstorepresentavibrantandthrivingCanadianlandscape,suchasRockFaceNearLondon(1981).Alternatively,healsousescolourtosuggestthedecayofnature,illustratingacycleofdeathandrebirthinworkslikehisRoadtoBigBay(1986)series,featuringthesameregionalimagethroughouttheseasons.Hisimagesareunidealizedanddynamic,artisticallyexploringthetemporalityofnaturebyprovidingviewerswithasenseofthelandscape’sfluctuatingenergies. AlthoughstylisticallyverydifferentfromJ.H.Caddy,Fenwick’sapproachtolandscapepaintingissimilartoCaddy’s,physicallyimmersinghimselfinnatureandthesceneheseekstorender.Whilemanycontemporarypaintersworkintheirstudiosfromphotographs,FenwickcorrespondsdirectlywiththeLondonlandscape,explaining,“…theimaginativeenergyneededtocommunicatewithandvisuallyarticulatetherhythmofNationis,forme,triggeredfromaspecificregionandalimitedcommunity.”24Notonlythat,hispaintingsalsorepresentlandscapeasasocial,economic,andpoliticalconstruction,charteringculturalattitudesinexaminingregionalism’srelationshipwiththeavant-gardeandmainstreaminternationalart.25LikeCaddy,Fenwickusesthelandscapetovisuallyexplorepoliticalandculturalrelations,borrowingfrommodern,internationaltechniqueslikeAbstractExpressionismasopposedtotheCaddy’suseofthePicturesque.Bothartists’personalmethodofpaintingisinfusedwithtraditionandaninternationalflavour,withFenwick’sstyleaddingtotheartisticdevelopmentofLondonregionalismandCaddy’stothelandscapegenre,heavilyinfluencedbyLondonamongstotherinternationallocations. Fromtheeighteenthcenturyonwards,London,Ontarioandthesurroundingareawasanimportant,centralregionfortheBritishimperialistsseekingtoestablishsuccessfulcitiesandcamps.Speciallytrainedofficer-artists,notablyJ.H.CaddyandSirRichardAirey,weretaughttoseekoutrelevantaspectsoftheSouthernOntariolandscapeinordertotopographicallydocumenttheenvironmentforfunctional,militaristicpurposes.However,J.H.CaddyconceptualizedtheLondonareainamuchmorepersonalwaythanhisofficercounterparts,andtoconsiderCaddy’spaintingsistobeconsciousoftwostreamsofinfluence—oneoftrainingandoneoftradition.26ThePicturesquestyle,withhintsoftheRomantic,isaheavyinfluenceinhisaestheticandcompositionprinciples,keepingintraditionwithhisBritishmilitaryeducation.Furthermore,hisskilleduseofaccessiblewatercoloursandon-sitemethodofcreationreflecthistrainingtonotonlydepictthelandscapebeautifully,butaccuratelyandwithacriticaleyesharedbyotherofficer-artistsofthetime. Alternatively,Caddy’sCanadianheritageandintimateknowledgeoftheareadifferentiatedhimfromhispeers.Hisbackgroundallowedhimtodictatemeaningful,visualnarrativesofanevolvingCanada,asopposedtostrictlyinformationallikenesses,providingauniquepoliticalandculturalcontexttohispractice.Involvedinbothcreativeanddisciplinedfieldsofwork,includingpainting,themilitary,21BurantandSaunders,TheGarrisonYears,18.22“RolyFenwick:Landscript,”accessed20February2012,http://www.gibsongallery.com/exhibitions/roly-fenwick-landscript.23Ibid.24MaggieMitchellandJanieAndeae,“RolyFenwick,”NotesfromEden(OwenSound,Ontario:TomThomasonMemorialArtGallery,1990),4.25Ibid.26Smith,“JohnHerbertCaddy,1801-1887,”47.

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andengineering,hisartreflectsthedualityofhispersonalityanduniqueapproachtoaesthetics.Beautifulandheartfelt,Caddy’slandscapewatercoloursholdhistoricalsignificantnotonlyintheirintendeddocumentaryuse,butalsointheinfluencetheyhadonLondonartandartiststofollow.HisexposuretoEuropean-basedpaintingstylesofthePicturesque,Romantic,andSublimebroughtinternationalartisticpracticestoCanadawhichwerethenappropriatedwithinaCanadiancontext.Asanartteacher,Caddyperpetuatedhisstyleandcreative,yetdetail-oriented,eyetobuddingartistsinthearea,engagingdirectlywiththedevelopmentofLondon’sartisticspirit. ArtistRolyFenwickisaprimeexampleofCaddy’simpressiononthecontemporaryLondonartscene,settingnewstandardsandmodesofinnovationforCanadianartistsandpassingonhisartisticingenuitylikeCaddybeforehim.Fenwickeffectivelytranslatestraditionallandscapeartintoamoderncontext,makinguseofinternationalartisticstylestocreatehighlypersonalpaintings.InsteadofthePicturesque,techniquesofAbstractExpressionismandSurrealismaredrivingforcesbehindFenwick’sart,renderingtheuniqueenergyoftheLondonlandscapeaswellasitsphysicalattributes.JohnHerbertCaddyhasundoubtedlybeenakeyfigureinprogressinganddefiningnotonlytheartisticcommunityinLondon,butalsonotionsofregionalism,landscapeart,andCanadianartingeneral.Akintoalloftheartistsexaminedwithin42° 59’ 81° 14’: Mapping London’s International Legacy, his internationalnarrativewasfurtheredbyhistimespentinLondon,whichwasthenfavourablyreflectedbackontotheLondonartscene.Caddy’ssuccessors,includingRolyFenwick,havenurturedhisunique,personalapproachtotheCanadianlandscapeintowhatisadistinctstyleofregionalismparticulartoLondon.ThefusingoftraditionalandmoderntechniqueshastransferredLondon’sregionaliststyleoutoftherealmofthehabitualandintoaglobalandpoliticalcontext.Inthisway,London,Ontariohasbeenestablishedwithinaninternationalartisticdialogue,whichcontinuestotransformandmatureatthehandsofthetalentedartistswhohavehadtheopportunitytocallLondonhome.

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John Herbert Caddy (1801-1883): Caddy’s landscape paintings

John Herbert Caddy British,1801-1883AEuropeanLakeScenewithRuinsnodatewatercolourandsepiainkovergraphiteonpaper,62.2X77.4cmCollectionofMcIntoshGallery,WesternUniversityPurchase,McIntoshEstateFund,1982

JohnHerbertCaddyBritish,1801-1883 Kingston,St.VincentFromtheS.E.nodatewatercolourovergraphiteonpaper,30.4x43.8cmCollectionofMcIntoshGallery,WesternUniversityGiftofJoannaAskinMacMickinginmemoryofherbrother2ndLt.JamesHamiltonAskin,EssexScottishRegiment(Militia),1908-1935,1994

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John Herbert Caddy (1801-1883): fenwick’s landscape paintings

RolyFenwickCanadian,born1932RockFaceNearLondon1981oiloncanvas,41.7x42.2cmCollectionofMcIntoshGallery,WesternUniversityGiftofFloraandIanTripp,1993

24 25

RolyFenwickCanadian,born1932TheRoadtoBigBay-Winter1986oiloncanvas,61x61.1cmCollectionofMcIntoshGallery,WesternUniversityPurchase,AbbottFundwithassistancefromtheCanadaCouncilfortheArts,1988

26

Burant,Jim.“TheMilitaryArtistandtheDocumentaryArtRecord.”Archivaria(Summer1998):33-51.

Burant,JimandJudithSaunders.TheGarrisonYears:London.CanadaWest,1793-1853. London, Ontario:LondonRegionalArtGallery,1983.

Crowley,JohnE.“‘TakenontheSpot’:TheVisualAppropriationofNewFrancefortheGlobalBritish Landscape.”TheCanadianHistoricalReview86(2005):1-28.

“JohnHerbertCaddy.”Accessed17February2012. http://thecanadasite.com/art/art13_caddy.html. Mitchell,MaggieandJanieAndeae.“RolyFenwick.”NotesfromEden.OwenSound,Ontario: TomThomasonMemorialArtGallery,1990:4-5.

MuseumLondon,“RolyFenwick,”accessed20February20,www.museumlondon.on.ca/Historical/ Itinerant/caddy.html.

Poole,NancyGeddes.“TheArtofLondon:1830-1980.”London,Ontario:BlackpoolPress,1984. “RolyFenwick:Landscript.”Accessed20February2012.http://www.gibsongallery.com/ exhibitions/roly-fenwick-landscript.

Smith,FrancesK.“JohnHerbertCaddy,1801-1887.”Kingston,Ontario:AgnesEtheringtonArtCentre, 1985.

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Acknowledgements

Susan EdelsteinCatherine Elliot-Shaw

Parveen GrewalAndrea Hallam

Maya HirschmanJoy James

Jo JenningsMarlene Jones

Patrick KaipainenDonna and Larry Kozachuk

Sandy LeboldusCydna MercerJames Patten

Dianne PearceJessica Schagerl

Melanie TownsendTerry Rice

Department of Visual ArtsDepartment of Modern Languages & Literature

Department of PhilosophyDepartment of Film Studies

Department of Classical StudiesArts & Humanities, Dean’s Office

Loblaw SuperstoreMetro

RemarkAnonymous

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