Alexander Young Jackson (1882-1974) is a name that instantly conjures up images of our rugged northern landscape and the controversial Group of Seven. This is the first-ever full-length biography of one of Canada's most beloved characters, and the first to examine in one book the artist, outdoorsman, soldier, teacher, debater, writer, and outspoken defender of modern art. Jackson spent nearly seventy years travelling Canada on a lifelong quest to, rendering his impressions of its diverse character on canvas and promoting a vibrant, uniquely Canadian style of painting. From southern Alberta to Ellesmere Island, from Newfoundland to Northern British Columbia, he covered more ground than any other artist – scoffing at harsh weather and hostile criticism along the way. A.Y. Jackson takes readers on a journey through Jackson's struggles and triumphs, from his childhood in Victorian-era Montreal through his final years as a living legend of Canadian art who thought nothing of camping in a tent on Baffin Island at age 82.

A founding member of the Group of Seven, A.Y. Jackson portrayed the Canadian landscape in a bold and inventive manner. His paintings show us the vastness and diversity of our country and illustrate a key chapter in the story of Canada's coming of age as a nation.

This volume by A.Y. Jackson's niece provides fascinating insights into the man and his work at a time the author calls "a rugged-romantic high point in A.Y.'s life." The illustrations reproduced and discussed come mainly from the Carleton University Art Collection. Groves places the works in the context of Canadian art history and social history.

Identifies and summarizes thousands of books, article, exhibition catalogues, government publications, and theses published in many countries and in several languages from the early nineteenth century to 1981.

A captivating account of the formative years of one of Canada’s best-known artists, Jackson’s Wars follows A.Y. Jackson’s education and progress as a painter before he was a well-known artist and his time on the battlefield in Europe, before he cast his lot in with a group of like-minded Toronto artists. Jackson fought many battles: he was a feisty and opinionated combatant when he crossed swords with critics, collectors, museums, galleries, and fellow painters as an emerging artist. Moving from Montreal to Toronto in 1913, he became a key figure in a landscape movement that was determined to depict Canada in a bold new way, only to have a war dash the group's collective ambitions. Alone among his close associates, Jackson enlisted to fight with the 60th Infantry Battalion. Wounded at Sanctuary Wood in 1916, he returned to the field of combat as an official war artist – the first Canadian artist appointed, the only infantryman in the program – and militated for other Canadian appointments to what is now a storied moment of creation for such artists as F.H. Varley and Arthur Lismer. Jackson produced some of Canada’s most memorable depictions of the world’s first industrial-scale conflict, even as he reckoned with the anguish caused by the mysterious death of his close friend Tom Thomson. A life-changing event for soldiers, families, and nations alike, the First World War has been understood as a moment of stasis in the visual arts in Canada – the dead ground from which the Group of Seven emerged in the early 1920s. Douglas Hunter shows how Jackson’s war was a moment of intense transformation and artistic development on the canvas as well as an experience that tempered a young man into a constructive elder statesman for Canadian art. On his return home he was not only instrumental in the formation of the Group of Seven in Toronto, but a key figure for the Beaver Hall Group in Montreal. Jackson’s Wars is a story of brotherhoods of painters and soldiers, shot through with inspiration, ambition, trauma, and loss, on the home front as well as on the battlefield. Hunter widens and deepens A.Y. Jackson’s world of friends, family, and colleagues to capture the life of a complex man and the crucial events and relationships behind the creation of Canada’s best-known art collective.

Includes an additional chapter. Canadian landscape artist who painted scenes of Canada from coast to coast and well in to the arctic north.

A misunderstood and sometimes maligned figure, Vincent Massey was one of Canada's most influential cultural policy-makers and art patrons. Best known as Canada's first native-born Governor General, he chaired the landmark Royal Commission on National Development in the Arts, Letters, and Sciences that led to the creation of the Canada Council. The Force of Culture examines Massey's notion of culture, its conflicted roots in late nineteenth-century and early twentieth-century Canadian Protestant thought, and Massey's transformation into a champion of culture as a bastion of Canadian sovereignty. Karen Finlay's study goes beyond existing literature by examining the role of Massey's Methodist upbringing in instilling an education gospel as the bedrock of culture and the foundation of a national citizenry. The study also reassesses Massey's reputation as a supporter of the fine arts. Steeped in Methodism, his attitudes towards the arts were ambiguous. He never adopted a purely art-for-art's sake doctrine, but came to understand that the arts, without being moralizing, could serve a moral and cultural purpose: the expression and affirmation of national character and sovereignty. As well as charting Massey's evolving attitudes towards culture and the arts, Finlay attempts to redress the common charges of sexism, elitism, and anglophonism levelled against him. Finlay stresses Massey's contradictory views on issues relating to gender, race, and class, outweighed by the ongoing legacy of his belief in Canadian cultural diversity. Above all, Massey valorized the principles of excellence and diversity as twin antidotes to the anathema of conformity and cultural homogenization. The tenet Massey sought to honour, pertaining deeply to the collective and moral nature of humanism in Canada, Finlay argues, was community without uniformity. The Force of Culture shows that Massey was, in certain respects, a democratizer and even a populist, who believed that difference need not divide. Electronic Format Disclaimer: Images removed at the request of the rights holder.