Frederic Marlett Bell-Smith stands as a significant figure in the narrative of Canadian art history. Born in London, England, but intrinsically linked with the artistic development of his adopted homeland, Bell-Smith captured the essence of Canada during a period of profound transformation and nation-building. His prolific output spanned majestic mountain landscapes, bustling city streets, and pivotal historical moments, rendered primarily in watercolour and oil. As an artist, illustrator, photographer, and educator, Bell-Smith contributed significantly to the cultural fabric of late 19th and early 20th-century Canada, leaving behind a legacy that documented the nation's natural grandeur and its evolving identity.
Early Life and Artistic Formation
Frederic Marlett Bell-Smith was born in London, England, on September 26, 1846. His artistic inclinations were likely nurtured early on, as his father, John Bell-Smith (1810-1883), was a portrait painter and miniaturist of some note. The family emigrated to Canada, settling in Montreal in 1867, a pivotal year marking Canadian Confederation. This move placed the young Bell-Smith in a burgeoning cultural centre at a time when a distinct Canadian identity was beginning to emerge, often expressed through the depiction of its unique landscapes and people.
In Montreal, Bell-Smith pursued his artistic education, likely building upon foundations laid in England. He quickly integrated into the local art scene. Sources indicate he married Anne Myra Dyde (née Millard) in Montreal around 1861, suggesting an earlier arrival or perhaps a return visit before the family's permanent move in 1867; historical records can sometimes be complex regarding precise immigration timelines. Regardless, his formative years as a professional artist unfolded in Canada. He initially worked in photography, a medium gaining prominence, and also applied his drawing skills to illustration, contributing to publications like the Canadian Illustrated News. This early commercial work honed his observational skills and draughtsmanship.
His artistic talents soon led him towards painting and teaching. He became involved with the Society of Canadian Artists (SCA) in Montreal, founded in 1867, participating in its exhibitions. His first documented exhibition in Canada was with the Art Association of Montreal (AAM), the precursor to the Montreal Museum of Fine Arts, in 1868. This marked his formal entry into the Canadian art world, showcasing his commitment to establishing himself within the artistic community of his new country.
Establishing a Career: Teaching, Illustration, and Early Works
Moving from Montreal to Hamilton, Ontario, around 1871, and later to Toronto in 1879, Bell-Smith continued to build his multifaceted career. He balanced his personal artistic practice with teaching and commercial illustration. His skills were in demand, reflecting a growing market for images depicting Canadian life and scenery. He served as a drawing master at several institutions, demonstrating an early commitment to art education that would become a recurring theme throughout his life.
In 1872, he was a founding member of the Ontario Society of Artists (OSA), a crucial organization for the promotion and exhibition of art in the province. His involvement underscored his dedication to fostering a professional artistic community in Canada. His early paintings, often watercolours, were noted for their detail and finish. They frequently depicted genre scenes, local landscapes, and urban views, subjects accessible and appealing to the growing middle-class market. These works were often modest in scale, suitable for domestic interiors, reflecting the patronage patterns of the time.
Bell-Smith's life was not solely confined to the studio. He served with the Victoria Rifles of Canada, a militia unit, and saw active duty during the Fenian Raids of the 1870s. This experience, though brief, reportedly provided inspiration for some later works, adding another dimension to his understanding of Canadian life and historical events. His ability to translate observation into art, whether from nature, city life, or even military experience, became a hallmark of his practice.
The Call of the West: The Rocky Mountains
A defining moment in Bell-Smith's career came in 1886. Like several other prominent artists of his generation, including Lucius O'Brien and John A. Fraser, Bell-Smith benefited from the patronage of the Canadian Pacific Railway (CPR). The CPR, having recently completed its transcontinental line, recognized the value of art in promoting the scenic wonders of the Canadian West, thereby encouraging tourism and settlement. The railway offered free travel passes to artists in exchange for sketches and paintings that could be used for promotional purposes.
Bell-Smith seized this opportunity, travelling west to the Rocky Mountains. This journey, and subsequent trips, profoundly impacted his artistic direction. He was captivated by the sublime landscapes of the Rockies and the Selkirk Mountains in British Columbia – the towering peaks, vast glaciers, dramatic weather, and unique light effects. This became his most celebrated subject matter. He translated his sketches and experiences into powerful watercolours and oils that conveyed both the grandeur and the specific details of the mountain environment.
His mountain paintings, such as Mists and Glaciers of the Selkirks and Heart of the Selkirks, were lauded for their technical skill and atmospheric depth. He excelled at capturing the interplay of light, mist, snow, and rock, often employing a meticulous technique combined with a sense of romantic awe inspired by the landscape. These works resonated with a public eager for images of the newly accessible West, contributing to the visual construction of Canada's national identity, strongly tied to its vast and dramatic natural environment. He often returned to the West, gathering material and refining his vision of the mountains.
Exhibiting the West and Urban Contrasts
Bell-Smith actively exhibited his Western landscapes, solidifying his reputation. In 1888, he held a joint exhibition with Lucius O'Brien, then president of the Royal Canadian Academy of Arts (RCA), at the Art Association of Montreal, focusing exclusively on Rocky Mountain scenery. This was a significant event, highlighting the growing importance of this subject matter in Canadian art. Bell-Smith had been elected a member of the RCA in 1886, a prestigious recognition of his standing in the Canadian art community. His work was also shown at the Colonial and Indian Exhibition in London in 1886, bringing Canadian scenery to an international audience.
While the mountains became his signature subject, Bell-Smith did not abandon other themes. He continued to paint urban scenes, demonstrating a keen interest in modern city life. His series Lights of a City Street, depicting bustling thoroughfares in Toronto and sometimes London or Vancouver at dusk or night, showcased his ability to capture the effects of artificial light and the energy of the urban environment. These works provide a fascinating contrast to his wilderness landscapes, revealing his versatility and his engagement with the different facets of contemporary Canadian experience.
His cityscapes often featured specific landmarks and captured the social dynamics of the street, including pedestrians, horse-drawn carriages, and early automobiles. They reflect the growth and modernization of Canadian cities during this period. His technical facility allowed him to render architectural details accurately while also conveying the mood and atmosphere of the urban setting, often using reflections on wet pavements to enhance the visual effect.
Documenting History: Commemorative Paintings
Beyond landscape and cityscape, Bell-Smith undertook significant commissions for historical and commemorative paintings. These large-scale works required considerable skill in composition, figure drawing, and the marshalling of complex details to record important events for posterity. One of his most famous works in this genre is Queen Victoria's Diamond Jubilee Procession Passing the National Gallery, London (1897). Bell-Smith travelled to London specifically to witness and sketch the event, securing a prime vantage point. The resulting painting is a vibrant and detailed panorama capturing the pomp and circumstance of the occasion, filled with recognizable figures and architectural landmarks.
Another major commemorative project was a series of paintings depicting the state funeral of Canadian Prime Minister Sir John Thompson, who died suddenly in England in 1894 and whose body was returned to Canada for burial. Bell-Smith created several works related to this event, including The Dead Premier (also known as The State Funeral of Sir John Thompson), which portrays the lying-in-state ceremony in the Senate Chamber in Ottawa. These paintings were significant public commissions, demonstrating Bell-Smith's ability to handle subjects of national importance with appropriate solemnity and accuracy. They serve as valuable historical documents as well as artistic achievements.
These historical works positioned Bell-Smith as an artist capable of fulfilling official and public roles, contributing to the national narrative through visual representation. They required different skills than landscape painting – careful research, portraiture, and the organization of large, multi-figure compositions – further highlighting his versatility. His contemporaries, like Robert Harris, who painted the iconic Fathers of Confederation, also engaged in this type of national historical painting.
International Recognition and Continued Travels
Bell-Smith's reputation extended beyond Canada. He regularly sent works for exhibition in Britain, achieving a notable success in 1887 when one of his paintings was accepted by the prestigious Royal Academy of Arts in London. He travelled to Europe several times, particularly to London and Paris, not only to exhibit but also to study art and gather new subjects. His European trips allowed him to stay abreast of artistic developments abroad, although his own style remained largely grounded in the detailed realism popular in the late Victorian era.
His participation in international exhibitions helped raise the profile of Canadian art abroad. His work was included in the Canadian section of the Paris Exposition Universelle (World's Fair) in 1900, a major international showcase. Such inclusions were important for asserting Canada's cultural presence on the world stage. His painting Heart of the Selkirks was acquired by the Royal Canadian Academy in 1901 as its first diploma piece deposited by the artist upon receiving full academician status, signifying its perceived importance.
These travels also provided material for paintings with European subjects, particularly London street scenes which complemented his Canadian urban views. However, his primary focus and enduring fame remained tied to his depictions of Canada, especially the Rocky Mountains. His ability to gain recognition both at home and abroad speaks to the quality of his work and his professional acumen in navigating the art world of his time.
Educator and Mentor
Throughout his career, Bell-Smith maintained a strong commitment to art education. He held various teaching positions, influencing generations of students. From 1881 to 1889, he served as Director of Fine Arts at Alma College, a respected ladies' college in St. Thomas, Ontario. His tenure there was marked by efforts to elevate the standard of art instruction. His painting Three Artists depicts students at Alma College, providing a glimpse into his teaching environment.
He was also associated with the Ontario School of Art (now OCAD University) in Toronto, serving as a lecturer. Later, he held the position of Principal at the Toronto Art School. His teaching philosophy likely emphasized strong foundational skills in drawing and observation, reflecting his own artistic practice. He believed in the importance of structured training for aspiring artists.
Among his students was Elizabeth McGillivray Knowles (1866-1928), who became a notable artist in her own right, known for her floral studies and landscapes. While some sources have occasionally confused their relationship, she was his student and protégé, and his influence is visible in her work. Bell-Smith's dedication to teaching places him alongside other important Canadian artist-educators of the era, such as William Brymner in Montreal and George Agnew Reid in Toronto, who collectively shaped the future direction of Canadian art by training the next generation.
Artistic Style and Technique
Bell-Smith worked proficiently in both watercolour and oil, adapting his technique to the subject matter. His watercolours are often characterized by their clarity, luminosity, and fine detail. He mastered various watercolour techniques, from broad washes to precise brushwork, effectively capturing the transparency of glacial ice or the softness of mist. His control over the medium was exceptional, particularly in his complex mountain scenes.
In his oil paintings, he employed a similarly detailed approach, building up surfaces with careful brushwork to achieve realistic textures and effects of light. While grounded in realism, his work, especially the mountain landscapes, often incorporates elements of Romanticism – emphasizing the awe-inspiring power and beauty of nature, sometimes with dramatic compositions and heightened atmospheric effects. He was less experimental than some later Canadian artists, adhering largely to the academic traditions prevalent during his formative years.
Compared to contemporaries like Homer Watson, whose landscapes often conveyed a more rugged, earthy quality, Bell-Smith's work typically presented a more polished, detailed, and sometimes picturesque view of nature. His style aligned well with Victorian sensibilities, valuing technical finish and recognizable subject matter. His contribution lies not in radical innovation, but in the skillful and evocative depiction of Canadian subjects, particularly the majestic scenery of the West, which he helped introduce to a wider audience. Other landscape painters like Otto Jacobi or Allan Edson also depicted Canadian scenery, but Bell-Smith's focus on the Rockies became particularly iconic.
Later Life and Legacy
Frederic Marlett Bell-Smith remained an active figure in the Canadian art world well into the 20th century. He continued to paint, exhibit, and participate in arts organizations. His daughter, Rosalind Bell-Smith, also became an artist, specializing in watercolours, carrying on the family's artistic tradition, though she later focused on missionary work. Bell-Smith spent his later years primarily in Toronto, where he died on May 23, 1923.
His legacy is multifaceted. He was one of the foremost painters of the Canadian Rocky Mountains, creating images that shaped the popular perception of that region and contributed to a sense of national pride in Canada's natural heritage. His cityscapes provide valuable visual records of urban life during a period of significant growth. His historical paintings document key moments in Canadian and British Imperial history. As an educator, he played a role in training future artists. His involvement in founding and supporting major Canadian art societies like the OSA and RCA helped professionalize the arts in Canada.
Posthumously, his significance continued to be recognized. In 1928, one of his Rocky Mountain scenes was featured on a Canadian silver dollar coin, cementing his association with iconic Canadian imagery. His works are held in major public collections across Canada, including the National Gallery of Canada, the Art Gallery of Ontario, and the Montreal Museum of Fine Arts, as well as numerous regional galleries and private collections. Frederic Marlett Bell-Smith remains an important figure for his skillful artistry, his dedication to Canadian subjects, and his role in documenting and celebrating the landscapes and life of his adopted country during a formative era. His contemporaries included artists like Marmaduke Matthews, another artist associated with the CPR and Western landscapes, ensuring a rich visual record of Canada's expansion and natural beauty was created during this period.
