The annals of art history occasionally present figures whose names might echo with others, leading to careful distinction. The query mentions an Alexander Young (1865-1923), a British artist known for works like "Overlooking." While this artist has his place, the substantial body of artistic information, celebrated works, and profound influence detailed in the context of Canadian art, particularly concerning landscape painting and pivotal artistic movements, overwhelmingly points to Alexander Young Jackson (1882-1974), universally known as A.Y. Jackson. This article will delve into the life, work, and enduring legacy of A.Y. Jackson, a foundational figure in Canadian art and a leading member of the iconic Group of Seven. His contributions fundamentally shaped the perception of the Canadian landscape and forged a distinct national artistic identity.
Early Life and Formative Influences
Alexander Young Jackson was born in Montreal, Quebec, on October 3, 1882. His early life was marked by hardship; his father abandoned the family when Jackson was young, forcing him to begin working at the age of twelve in a lithography office. This early exposure to the visual arts, albeit in a commercial setting, likely kindled his nascent interest. Despite the demands of work, Jackson pursued evening art classes, studying under artists like Edmond Dyonnet at the Conseil des Arts et Manufactures and later with William Brymner at the Art Association of Montreal. Brymner, a significant Canadian artist and teacher, had himself studied in Paris and brought a more modern sensibility to his instruction, influencing a generation of Canadian painters, including Clarence Gagnon and Helen McNicoll.
Driven by a desire for formal training and broader artistic horizons, Jackson saved enough money to travel to Europe in 1907. Like many aspiring artists of his generation, Paris was the ultimate destination. He enrolled at the Académie Julian, a renowned private art school that attracted students from around the world, studying under Jean-Paul Laurens. Laurens was a respected academic painter, but Jackson was more drawn to the Impressionist and Post-Impressionist movements that were revolutionizing art. He spent time painting in France, notably in Étaples, and also visited Italy. During this period, he absorbed the influences of artists like Claude Monet, Camille Pissarro, and Paul Cézanne, particularly their approach to light, color, and direct observation of nature. The vibrant palettes and broken brushwork of Impressionism, and the structural concerns of Post-Impressionism, left a lasting mark on his developing style.
He returned to Canada in 1910, initially struggling to find his footing as an artist. He taught briefly and continued to paint, primarily landscapes of rural Quebec. His work from this period, such as "The Edge of the Maple Wood" (1910), began to show a departure from purely academic styles, incorporating a brighter palette and a more expressive handling of paint. It was during these early years back in Canada that he began to articulate a vision for a truly Canadian art, one that would capture the unique character of the nation's rugged and often untamed landscapes.
The Genesis of a National Vision and the Group of Seven
A pivotal moment in Jackson's career, and indeed in Canadian art history, occurred in 1913. Lawren Harris, an artist who would become a lifelong friend and collaborator, saw Jackson's painting "The Edge of the Maple Wood" at an exhibition in Toronto. Harris, along with J.E.H. MacDonald, another key figure, was already exploring ways to create a distinctly Canadian school of landscape painting. Impressed by Jackson's work, Harris sought him out and encouraged him to move to Toronto. This invitation was crucial, as it brought Jackson into a circle of like-minded artists who shared his dissatisfaction with the prevailing conservative tastes in Canadian art, which often favored European academic styles or romanticized depictions of the landscape.
This group included, besides Harris and MacDonald, Arthur Lismer, Frederick Varley, Frank Johnston, and Franklin Carmichael. They were all working as commercial artists at firms like Grip Ltd. in Toronto, but their passion lay in fine art and in capturing the Canadian spirit. Tom Thomson, though never an official member of the Group of Seven (due to his untimely death in 1917), was an integral part of this circle. Thomson's profound connection to the wilderness, particularly Algonquin Park, and his innovative, vibrant paintings were a powerful inspiration to Jackson and the others. Jackson and Thomson undertook several sketching trips together, including to Algonquin Park and the Canoe Lake area, experiences that deeply influenced Jackson's approach to wilderness painting.
The artists began undertaking sketching expeditions to remote areas of Ontario, such as Algonquin Park and later the Algoma region, accessible via the Algoma Central Railway. These trips were often arduous, involving travel by train, canoe, and on foot, carrying their art supplies into the wilderness. They sought to paint the landscape directly, en plein air, capturing its raw beauty, its changing seasons, and its unique light. Jackson's paintings from this period, such as "Terre Sauvage" (1913), began to embody this new vision: bold, simplified forms, strong colours, and a sense of the untamed spirit of the land.
The First World War interrupted this burgeoning artistic movement. Jackson enlisted in 1915 and served in France, where he was wounded at the Battle of Sanctuary Wood in 1916. After his recovery, he was commissioned as a war artist by the Canadian War Memorials Fund in 1917, joining other artists like Frederick Varley and the British painter Wyndham Lewis. His war paintings, such as "A Copse, Evening" (1918), depicted the devastated landscapes of the Western Front with a somber realism, yet often with an underlying sense of design and colour that hinted at his landscape roots. This experience, while harrowing, broadened his artistic scope and perhaps deepened his appreciation for the unspoiled Canadian wilderness upon his return.
The Formation and Impact of the Group of Seven
After the war, Jackson returned to Toronto, and the artists resumed their collective efforts. In May 1920, they held their first formal exhibition as the "Group of Seven" at the Art Gallery of Toronto (now the Art Gallery of Ontario). The founding members were Lawren Harris, J.E.H. MacDonald, Arthur Lismer, Frederick Varley, Frank Johnston, Franklin Carmichael, and A.Y. Jackson. Their work was met with mixed reactions. Some critics and members of the public were shocked by the bold colours, seemingly unfinished surfaces, and the perceived "uncouthness" of their subject matter, which often focused on rugged, unpopulated landscapes rather than picturesque European scenes. Critics like Hector Charlesworth were particularly scathing.
However, the Group also found champions, notably Eric Brown, the director of the National Gallery of Canada, who recognized the importance of their vision and actively promoted their work. The Group of Seven argued that Canada needed its own art, one that reflected its unique geography and spirit, rather than imitating European traditions. They believed that the Canadian landscape, particularly the Pre-Cambrian Shield of northern Ontario, offered a powerful source of inspiration. Jackson was a vocal advocate for the Group's ideals, writing articles and giving lectures to defend their approach and promote a national art movement.
Jackson's own work became emblematic of the Group's style. He traveled extensively throughout Canada, seeking out diverse landscapes to paint. His depictions of the Algoma region, such as "First Snow, Algoma" (c. 1919-1920), are iconic, capturing the vibrant colours of autumn against the starkness of early winter. He was particularly drawn to the rolling hills and villages of rural Quebec, especially along the St. Lawrence River. Works like "Winter, Québec" (c. 1925) and "Laurentian Hills" (1932-1933) showcase his ability to convey the crisp light and deep snows of the Canadian winter, not as a barren wasteland, but as a landscape full of life, colour, and distinctive forms. His painting "Red Cedar" (1932-1933) is another example of his strong compositional sense and his ability to find beauty in the specific character of Canadian flora.
The Group of Seven officially expanded over the years, with A.J. Casson joining in 1926, Edwin Holgate in 1930, and LeMoine FitzGerald in 1932. Frank Johnston left the group early on. Despite changes in membership, the core philosophy remained influential. The Group's exhibitions, both in Canada and internationally (such as the Wembley Exhibition in London in 1924), gradually helped to shift public and critical opinion, and their style became increasingly accepted and celebrated as distinctly Canadian.
A.Y. Jackson's Artistic Style: Capturing the Canadian Essence
A.Y. Jackson's style evolved throughout his long career, but certain characteristics remained constant. He was a master of composition, often using strong diagonal lines and simplified forms to create dynamic and balanced images. His brushwork was vigorous and expressive, conveying the texture and energy of the landscape. While influenced by Impressionism in his use of colour and light, his work moved beyond a purely optical representation. He sought to capture the underlying structure and spirit of the land, often imbuing his scenes with a sense of rhythm and design that bordered on the decorative, influenced perhaps by Art Nouveau or Scandinavian painting, which Lawren Harris had also explored.
His palette was rich and varied, adapting to the specific character of the region and season he was depicting. He was particularly adept at capturing the unique light of Canada – the clear, sharp light of winter, the hazy light of summer, and the brilliant colours of autumn. Unlike some of his contemporaries, such as Lawren Harris who moved towards abstraction, Jackson remained committed to representational landscape painting, though his work always emphasized design and emotional response over photographic realism.
Jackson was a prolific sketcher, believing firmly in the importance of direct experience with nature. He would make numerous oil sketches on small wooden panels while on site, often in challenging weather conditions. These sketches, full of spontaneity and fresh observation, would then serve as the basis for larger canvases completed in his studio. This working method, shared by other members of the Group, allowed for both immediate engagement with the subject and considered refinement in the final work. His sketches themselves are highly valued for their immediacy and vibrancy.
He painted across the vast expanse of Canada, from the Maritimes to British Columbia, and notably, he was one of the first Canadian artists to extensively paint the Arctic. His trips to the Eastern Arctic in 1927 and 1930, aboard the government supply ship Beothic, resulted in a significant body of work that captured the stark beauty and unique light of this remote region. These paintings, such as "Baffin Island" (1930), introduced many Canadians to a part of their country they had never seen. He also painted the Rocky Mountains, the Prairies, and the landscapes around Georgian Bay, always seeking out the essential character of each place.
Later Career, Teaching, and Enduring Influence
The Group of Seven formally disbanded in 1933, feeling that their initial goal of establishing a Canadian school of landscape painting had been achieved. They were succeeded by the larger and more diverse Canadian Group of Painters, of which Jackson was also a founding member. He continued to be a leading figure in Canadian art, tirelessly promoting Canadian artists and advocating for the importance of art in national life.
Jackson was also a dedicated teacher. He taught at the Ontario College of Art (now OCAD University) from 1924 for a period, and later at the Banff School of Fine Arts (now the Banff Centre for Arts and Creativity) from 1943 to 1949. His students included notable artists such as Illingworth "Buck" Kerr. He was known for his generosity in sharing his knowledge and encouraging young artists. His autobiography, "A Painter's Country: The Autobiography of A.Y. Jackson," published in 1958, provides valuable insights into his life, his art, and the development of Canadian art in the 20th century.
Throughout his later career, Jackson maintained his commitment to painting the Canadian landscape. He continued to travel and sketch, even into his old age. He spent many winters in the Manotick area, near Ottawa, and later lived in Kleinburg, Ontario, on the grounds of the McMichael Canadian Art Collection, which houses a significant collection of works by the Group of Seven and their contemporaries like Tom Thomson and Emily Carr. Emily Carr, another towering figure in Canadian art, shared with the Group a deep connection to the Canadian landscape, particularly the Pacific Northwest, and a desire to forge an independent artistic voice, though her style and spiritual focus were distinctly her own. Jackson was an early supporter of Carr's work.
Jackson's influence extends beyond his own paintings. He played a crucial role in changing how Canadians saw their own country and in fostering a sense of national pride through art. He helped to break the dominance of European artistic conventions and to establish a vibrant, indigenous art movement. His dedication to depicting the diverse regions of Canada helped to create a visual iconography of the nation. Artists like David Milne, another contemporary, also forged a highly individualistic path in Canadian modernism, but Jackson's impact through the Group of Seven was more broadly felt in terms of establishing a "national school."
Legacy and Recognition
A.Y. Jackson received numerous honours during his lifetime, including being made a Companion of the Order of St Michael and St George (CMG) in 1946 and a Companion of the Order of Canada (CC) in 1967. His works are held in major public and private collections across Canada and internationally, including the National Gallery of Canada, the Art Gallery of Ontario, and the McMichael Canadian Art Collection.
His legacy is multifaceted. As an artist, he produced a vast and varied body of work that continues to resonate with viewers for its beauty, its honesty, and its profound connection to the Canadian landscape. As a leader and advocate, he was instrumental in the success of the Group of Seven and in the broader development of Canadian art. He was a mentor, a teacher, and a tireless promoter of Canadian culture.
The landscapes he painted, from the rugged shores of Georgian Bay to the quiet villages of Quebec and the icy expanses of the Arctic, have become ingrained in the Canadian consciousness. He taught Canadians to see the beauty in their own land, to appreciate its unique character, and to value an art that was authentically their own. While artistic styles and concerns have continued to evolve, the contribution of A.Y. Jackson and the Group of Seven remains a cornerstone of Canadian art history. Their vision of a Canada defined by its wilderness and its distinct regional characteristics continues to inform and inspire.
A.Y. Jackson passed away on April 5, 1974, in Kleinburg, Ontario, at the age of 91. He left behind not only a remarkable collection of paintings but also a legacy of passion, dedication, and a profound love for the Canadian land. His work serves as a testament to the power of art to shape identity and to reveal the soul of a nation. He remains one of Canada's most beloved and influential artists, a true pioneer who helped to define a national vision on canvas. His journey from a young lithographer's apprentice to a celebrated national artist is a story of talent, perseverance, and an unwavering commitment to his artistic ideals and to his country.
