Farquhar McGillivray Strachan Knowles (1859-1932) stands as a significant, if sometimes overlooked, figure in the tapestry of Canadian art history. Born in Syracuse, New York, to British parents, Knowles spent much of his formative childhood in Canada, a land whose landscapes would later become a central theme in his artistic output. Active primarily from the 1880s through the 1920s, particularly in Toronto, he carved out a reputation as a painter of considerable skill, adept at capturing the nuances of light and atmosphere in his favoured subjects of marine scenes, rural vistas, and occasionally, figurative works. His career spanned a period of dynamic change in the art world, and while he engaged with contemporary currents, his work remained rooted in a romantic sensibility blended with an aesthetic appreciation for beauty and decorative qualities.
Early Life and Artistic Inclinations
Knowles's early life was marked by a transnational experience, moving between the United States and Canada. This period instilled in him an early sensitivity towards the arts. His formal education took an interesting turn when he attended a military academy in the United States, an experience that predated the tumultuous events of the Custer conflict. However, the call of art proved stronger than a military career. His foundational artistic training commenced in New York, providing him with the essential skills upon which he would build his distinctive style.
A pivotal moment in his early Canadian artistic development occurred when he entered the photography studio of William Notman and John Fraser in Toronto around 1876. It was John Fraser, a notable Scottish-Canadian painter known for his landscapes and association with the Notman firm, who provided Knowles with his first formal painting lessons. This mentorship under Fraser, an artist who himself contributed significantly to the depiction of the Canadian landscape, would have provided Knowles with a solid grounding in the prevailing artistic conventions and aspirations of the time.
European Studies and Broadening Horizons
Like many aspiring artists of his generation, Knowles recognized the importance of European study to refine his technique and broaden his artistic horizons. He traveled to Europe, immersing himself in the rich artistic traditions of the continent. While specific records of all his tutors are not exhaustively detailed in every source, it is known that he sought instruction from prominent painters in both Britain and France. This period would have exposed him to a wide array of influences, from the lingering romanticism of the British landscape school, perhaps echoing the spirit of J.M.W. Turner or John Constable, to the more contemporary movements stirring on the continent.
In France, he would have encountered the revolutionary impact of Impressionism, championed by artists like Claude Monet, Camille Pissarro, and Edgar Degas, whose focus on capturing fleeting moments of light and colour was transforming the art world. While Knowles never became a doctrinaire Impressionist, the movement's emphasis on plein air painting and the optical effects of light undoubtedly left an impression on his subsequent work, particularly in his treatment of atmosphere and water. His European sojourn was crucial in shaping his sophisticated understanding of composition, colour, and technique.
Establishment in the Canadian Art Scene
Upon his return and establishment in Canada, particularly in Toronto, Knowles became an active and respected member of the burgeoning art community. His talent and dedication were recognized with his election as a member of the Royal Canadian Academy of Arts (RCA) in 1898. The RCA, founded in 1880 under the patronage of the Marquis of Lorne, Canada's Governor General, and with Lucius O'Brien as its first president, was the premier artistic institution in the country. Membership was a mark of distinction, and Knowles joined the ranks of other esteemed Canadian artists such as Homer Watson, George Agnew Reid, and William Brymner, all of whom were contributing to the development of a distinctly Canadian artistic voice.
Knowles's studio in Toronto became known not only for the art produced within its walls but also for its exquisite interior decoration, reflecting his aesthetic sensibilities. He was a prolific painter, and his works, particularly his landscapes and marine scenes, found favour with collectors and the public. He participated regularly in exhibitions, including those held by the RCA and the Art Association of Montreal (later the Montreal Museum of Fine Arts), further cementing his reputation.
Artistic Style: Romanticism, Aestheticism, and Impressionistic Touches
Farquhar McGillivray Strachan Knowles's artistic style is perhaps best characterized as a nuanced blend of influences rather than a strict adherence to a single school. At its core, his work often resonates with the Romantic tradition, particularly in his landscape and marine paintings. These pieces frequently evoke a sense of atmosphere, mood, and the sublime beauty of nature, reminiscent of earlier Romantic painters but filtered through a late Victorian sensibility. His depictions of the Canadian wilderness, coastal scenes, and European vistas often prioritize emotional impact and picturesque qualities.
However, Knowles's artistic identity was also significantly shaped by the Aesthetic Movement, which flourished in the latter part of the 19th century. Aestheticism, with its credo of "art for art's sake," emphasized beauty, harmony, and decorative qualities over narrative or overt moral content. Figures like James McNeill Whistler were central to this movement internationally. Knowles's concern for refined compositions, subtle colour harmonies, and the overall decorative effect of his paintings aligns with Aesthetic principles. This inclination is evident not only in his easel paintings but also in his mural work. He was less concerned with the analytical deconstruction of light and form seen in hardcore Impressionism and more with creating an art object that was, in itself, beautiful and evocative.
Despite this, it is undeniable that Impressionistic techniques informed his practice. His handling of light, the vibrancy of his palette in certain works, and his ability to capture the ephemeral qualities of weather and water suggest an awareness and selective adoption of Impressionist methods. He skillfully rendered the play of sunlight on waves, the mistiness of a harbour, or the dappled light of a forest scene. This was a common trajectory for many artists of his era, who absorbed aspects of Impressionism without fully abandoning more traditional academic or Romantic approaches. His Canadian contemporaries, such as Maurice Cullen and Marc-Aurèle de Foy Suzor-Coté, more overtly embraced Impressionism, but Knowles's engagement was more subtle, integrated into his broader aesthetic framework.
Key Themes and Subjects
Knowles's oeuvre demonstrates a consistent engagement with several key themes. Marine paintings were a significant part of his output. He was adept at capturing the many moods of the sea, from tranquil harbours dotted with fishing boats to more dramatic depictions of open water and rugged coastlines. His travels likely provided ample inspiration, with works depicting scenes from the Canadian Maritimes, such as his painting "Rocher Percé, Gaspésie," to European coastal views, exemplified by pieces like "Venice." These works often showcase his skill in rendering reflections on water and the atmospheric effects of maritime weather.
Rural landscapes also feature prominently. These paintings often celebrate the pastoral beauty of the countryside, featuring bucolic scenes, agricultural motifs like haystacks (as seen in his 1904 oil painting "Haystack"), and the quiet charm of village life. His approach to landscape was less about a nationalistic portrayal of untamed wilderness, which would later characterize the Group of Seven (Tom Thomson, J.E.H. MacDonald, Lawren Harris, etc.), and more about finding picturesque beauty in cultivated or accessible natural settings.
While less dominant, Knowles also produced figurative works and portraits. His painting "Women Bathing" suggests an interest in the human form within a naturalistic, almost idyllic setting, touching upon themes popular in late 19th-century academic art. His involvement in mural design, such as the commission for "Ardwold" in Toronto, further demonstrates his versatility and his engagement with the decorative arts, a field closely associated with the Aesthetic Movement.
Notable Works and Commissions
Several works stand out in Farquhar McGillivray Strachan Knowles's career, illustrating his artistic range and skill. His painting "Rocher Percé, Gaspésie" is a fine example of his ability to capture the grandeur of Canadian coastal scenery, depicting the iconic geological formation with a sensitivity to light and atmosphere. Similarly, his depictions of "Venice" showcase his fascination with the unique interplay of water, architecture, and light in the famed Italian city, a subject that attracted many artists of his time.
The oil painting "Haystack" (1904), now in the collection of the Art Gallery of Ontario, is a testament to his engagement with rural themes and his ability to imbue a simple agricultural subject with picturesque charm and a subtle play of light. "Women Bathing" indicates his capacity for figurative composition, likely drawing on academic traditions while infusing the scene with a gentle, almost poetic quality.
A particularly significant commission was the mural series he designed for "Ardwold," the lavish Toronto estate of the Eaton family. Executed in collaboration with, or for, Tiffany Studios of New York, under the direction of the renowned Louis Comfort Tiffany, these murals depicted classical figures and landscapes. This project underscores Knowles's standing as an artist capable of undertaking large-scale decorative schemes and highlights his connection to the opulent tastes and artistic trends of the Gilded Age. The naturalistic style employed in these murals, combined with their decorative intent, perfectly aligned with the ethos of both the Aesthetic Movement and the high-end design work produced by Tiffany Studios.
The Toronto Art World and Contemporaries
During Knowles's active years, Toronto was solidifying its position as a major centre for the arts in Canada. The Ontario Society of Artists (OSA), founded in 1872, and the later establishment of the Royal Canadian Academy of Arts, provided crucial platforms for artists to exhibit their work and engage with peers. Knowles was an active participant in this milieu. He would have known and interacted with many leading figures in Canadian art.
Beyond his teacher John Fraser and RCA colleagues like Lucius O'Brien, Homer Watson, and George Agnew Reid, the art scene included figures like Frederic Marlett Bell-Smith, known for his realistic depictions of Canadian landscapes and cityscapes, as well as his paintings of the Rocky Mountains. Bell-Smith was also the uncle of Elizabeth Annie McGillivray, who would become Knowles's wife. Other contemporaries included William Brymner, an influential teacher at the Art Association of Montreal, and Robert Harris, famed for his portrait "The Fathers of Confederation."
While Knowles's style was more aligned with established traditions, the period also saw the emergence of artists who would push Canadian art in new directions. Women artists like Helen McNicoll and Laura Muntz Lyall were gaining recognition for their Impressionist-influenced works. Later, the stirrings of modernism began to be felt, eventually leading to the formation of the Group of Seven, whose members, including J.E.H. MacDonald and A.Y. Jackson, sought a more rugged and nationalistic interpretation of the Canadian landscape. Knowles's career thus provides a bridge between the more traditional Victorian and Edwardian art practices and the cusp of Canadian modernism.
Collaboration, Personal Life, and Teaching
Farquhar McGillivray Strachan Knowles's personal life was intertwined with his artistic career, most notably through his marriage to Elizabeth Annie McGillivray Knowles (née Krieghoff, then McGillivray, then Knowles). Elizabeth was herself an accomplished artist and a student of Knowles. She was also the niece of the prominent Canadian painter Frederic Marlett Bell-Smith. Farquhar and Elizabeth often collaborated and exhibited together, both active in Canadian and American art circles. Their marriage in 1931, following the death of Knowles's second wife, reportedly caused a "slight scandal," perhaps due to the age difference or the teacher-student dynamic, though such details are often subject to the interpretations of the time.
Knowles was also a dedicated teacher, influencing a new generation of artists. Among his notable students was Kathleen Munn, who would go on to become one of Canada's earliest and most significant abstract painters and a pioneer of modern art in the country. Munn's later avant-garde explorations stand in contrast to Knowles's more traditional style, yet his foundational instruction would have provided her with essential artistic skills. The fact that a student like Munn could emerge from his tutelage speaks to the quality of his teaching, even if their artistic paths diverged. Another student, Lila Torrance, reportedly returned to teach at Alma College after Knowles's passing, suggesting a continuity of his pedagogical influence.
His large and exquisitely decorated studio was not just a place of creation but likely also a hub for artistic discussion and learning, reflecting his commitment to an aesthetically rich environment conducive to art-making.
Later Years, Legacy, and Collections
Farquhar McGillivray Strachan Knowles remained an active artist throughout much of his life, continuing to produce works that were well-received and sought after. He passed away in 1932 at the age of 73, leaving behind a substantial body of work that contributes significantly to the narrative of Canadian art in the late 19th and early 20th centuries.
His paintings continue to be appreciated and are held in important public and private collections. The Art Gallery of Ontario, a major institution, houses works like "Haystack," ensuring their accessibility for study and public enjoyment. Other Canadian art institutions also feature his paintings in their collections. Furthermore, archival materials, including photographs and documents related to Knowles and his career, are preserved in collections such as the Canadian Art Collection and the Gordon Conn Collection, providing valuable resources for researchers and art historians. His works frequently appear at auction, attesting to their enduring appeal and market value.
Knowles's legacy lies in his skillful and sensitive depictions of landscape and marine subjects, his contribution to the Aesthetic Movement in Canada, and his role as an educator. While perhaps not as revolutionary as some of his modernist successors, his art represents a refined and accomplished expression of the artistic sensibilities of his time, capturing a sense of beauty and tranquility that continues to resonate.
Conclusion: An Enduring Contribution to Canadian Art
Farquhar McGillivray Strachan Knowles was an artist who navigated the evolving artistic landscape of his time with skill and a distinct personal vision. From his early training in North America to his formative experiences in Europe, he developed a style that blended Romantic sensibilities with the decorative elegance of Aestheticism, subtly inflected by the Impressionists' treatment of light. As a prominent member of the Royal Canadian Academy of Arts and an active figure in the Toronto art scene, he contributed significantly to the cultural life of Canada. His paintings of serene harbours, pastoral landscapes, and evocative marine views, along with his decorative murals, reflect a commitment to beauty and craftsmanship. Through his own prolific output and his influence as a teacher to artists like Kathleen Munn, Knowles left an indelible mark on Canadian art history, his works remaining a testament to a period of rich artistic development in the nation.
