Frederick Mortimer Lamb, born on July 22, 1866, stands as a notable, if sometimes overlooked, figure in the tapestry of Canadian art history. Unlike his American near-contemporary, the Stoughton-based painter Francis Mortimer Lamb (born 1861, died 1908), with whom he has occasionally been confused in records, Frederick Mortimer Lamb carved out his distinct artistic path primarily within Canada. His career was characterized by a remarkable versatility, encompassing painting, sculpture, etching, and leathercraft, alongside a significant role as an art critic and curator. Through his diverse activities, Lamb not only contributed his own artistic vision but also played a vital part in fostering the burgeoning Canadian art scene of his time, particularly through his engagement with fellow artists and his efforts to promote modern artistic expressions. His life and work offer a window into the dynamic cultural landscape of Canada during the late nineteenth and early twentieth centuries, a period of growing national consciousness and artistic exploration.
Early Life and Artistic Emergence
While specific details of Frederick Mortimer Lamb's earliest artistic training remain somewhat elusive compared to the well-documented Parisian studies of Francis M. Lamb at the Académie Julian under Gustave Boulanger and Jules Joseph Lefebvre, Frederick's development was intrinsically linked to the Canadian environment. He emerged as an artist during a period when Canada was actively seeking to define its own cultural identity, distinct from both British colonial heritage and the burgeoning artistic power of the United States. Artists of his generation were often self-taught or received instruction in local art schools and societies that were beginning to flourish across the dominion.
It is known that Lamb married Rosanna Farrell, and their family life would become intertwined with the Canadian art world. This domestic sphere, particularly through his daughter, would later extend his influence. The artistic milieu in which Lamb matured was one of transition, where traditional academic styles were still prevalent, but new influences, including Impressionism and the Arts and Crafts movement, were beginning to make their mark. Canadian artists were increasingly looking to their own landscapes and people for inspiration, a trend that Lamb himself would embrace in his preference for local models, suggesting a commitment to capturing the character and spirit of his immediate surroundings.
A Multifaceted Artistic Practice
Frederick Mortimer Lamb's artistic output was impressively diverse, showcasing a mastery across several distinct mediums. This versatility was a hallmark of certain artists of the era, particularly those influenced by the Arts and Crafts philosophy which sought to break down hierarchies between fine art and decorative arts, valuing craftsmanship across all forms of creative expression.
In painting, Lamb worked in both watercolor and oil. One of his known pieces, "The New York Central," dated circa 1895 and executed in watercolor and ink, suggests an interest in contemporary subjects, possibly capturing scenes of urban life or the burgeoning industrial landscape that was transforming North America. The choice of watercolor, a medium often favored for its immediacy and portability, allowed for a freshness and spontaneity, while the addition of ink could provide definition and graphic strength. His oil paintings, though less specifically documented in the provided information, would likely have allowed for richer textures and a greater depth of color, aligning with the more traditional academic practices or perhaps exploring newer, more expressive techniques.
Beyond painting, Lamb was also a sculptor. While specific representative sculptural works are not widely cataloged in readily accessible sources, his engagement with this three-dimensional medium speaks to his comprehensive understanding of form and space. Sculpture in Canada at the time ranged from public monuments and architectural embellishments to more intimate studio pieces. Lamb's sculptural endeavors would have added another dimension to his artistic exploration, allowing him to engage with materials like bronze, stone, or wood.
His skills extended to etching, a printmaking technique that enjoyed a revival in the late nineteenth and early twentieth centuries. Etching allowed artists to explore line, tone, and texture with great subtlety and to disseminate their images to a wider audience. Artists like James McNeill Whistler and Anders Zorn were internationally renowned for their etchings during this period, and many Canadian artists also embraced the medium. Lamb's etchings would have contributed to this rich graphic tradition.
Furthermore, Lamb was proficient in leathercraft. This foray into applied arts underscores his broad artistic sensibility. Leatherwork, with its potential for intricate tooling, dyeing, and construction, offered a different set of creative challenges and possibilities. High-quality, handcrafted leather items were valued for both their utility and their aesthetic appeal, fitting well within the Arts and Crafts ethos. While specific masterpieces in this domain are not named, his involvement indicates a holistic approach to art-making.
The Artist as a Social and Cultural Catalyst
Frederick Mortimer Lamb's influence extended beyond his personal artistic production; he was an active participant and shaper of the Canadian art community. His home became a recognized gathering place for artists, fostering a supportive and stimulating environment for creative exchange. This role as a social nexus was crucial in a country where the artistic community was relatively small and geographically dispersed. Such informal salons and gatherings were vital for sharing ideas, offering critiques, and building camaraderie among artists.
This familial connection to the arts was most notably embodied by his daughter, Molly Lamb Bobak (1920-2014). Molly became one of Canada's most celebrated female artists, particularly known for her vibrant watercolors and her experiences as Canada's first female official war artist during World War II. Her artistic journey was undoubtedly nurtured by the creative atmosphere of her childhood home, a testament to Frederick Mortimer Lamb's influence as a parent and mentor. Molly Lamb Bobak, alongside her husband, fellow artist Bruno Bobak, continued this legacy of artistic engagement.
Lamb's network included prominent figures such as Samuel Maclure (1860-1929), one of British Columbia's leading residential architects. Maclure was renowned for his distinctive West Coast architectural style, often incorporating Arts and Crafts elements. A close friendship between an artist like Lamb and an architect like Maclure suggests a rich cross-pollination of ideas, potentially influencing aesthetic approaches in both their fields. Such relationships were common in artistic circles, where painters, sculptors, architects, and craftspeople often collaborated or shared intellectual currents.
His commitment to collaborative artistic endeavor is further evidenced by his participation in the Savary Island Summer Sketching Camp in 1935. He joined other notable artists like Charles H. Scott (1886-1964), an influential art educator and painter who became Director of the Vancouver School of Art, and Grace Melvin (1892-1977), a Scottish-born artist and designer who also taught at the Vancouver School of Art and was known for her work in various media, including stained glass. Sketching camps were a popular tradition, allowing artists to immerse themselves in nature, experiment with plein air painting, and learn from one another. These camps were instrumental in the development of Canadian landscape painting, famously utilized by artists like Tom Thomson and members of the Group of Seven such as Lawren Harris, A.Y. Jackson, and J.E.H. MacDonald.
Promoter of Modern Art
Perhaps one of Frederick Mortimer Lamb's most significant, yet less tangible, contributions was his role as an art critic and curator. In these capacities, he actively worked to promote modern artists and their work. At a time when conservative tastes often dominated public and private collecting, advocates for modernism played a crucial role in educating the public and supporting artists who were pushing creative boundaries.
The term "modern art" in the Canadian context of the early to mid-twentieth century could encompass a range of styles, from Post-Impressionism and Fauvism to various forms of abstraction. Artists like James Wilson Morrice (1865-1924), who spent much of his career in Paris and was influenced by Whistler and the Post-Impressionists, served as a bridge between European modernism and Canadian art. Later, the Group of Seven, while primarily focused on landscape, brought a distinctly modern sensibility to their depictions of the Canadian wilderness. Figures like Emily Carr (1871-1945), with her powerful and spiritual interpretations of British Columbia's forests and Indigenous cultures, also represented a uniquely Canadian modernism.
Lamb's efforts as a critic and curator would have involved writing reviews, organizing exhibitions, and perhaps advising collectors. This work helped to create a more receptive environment for new artistic ideas and provided crucial support for artists who might otherwise have struggled for recognition. His advocacy would have placed him in dialogue with other key figures shaping Canadian art discourse, such as Eric Brown, the first director of the National Gallery of Canada, who was instrumental in championing the Group of Seven.
Artistic Style and Thematic Focus
Defining a singular "style" for Frederick Mortimer Lamb is challenging given the breadth of his media and the limited number of widely reproduced works. However, certain characteristics can be inferred. His preference for "local models" suggests a humanist approach, focusing on the people of his community and perhaps aiming for a degree of realism or character study in his portraiture or figurative work. This aligns with a broader trend in Canadian art that sought to represent Canadian life authentically.
His work in watercolor, as seen in "The New York Central," indicates a proficiency in a medium that demands both technical skill and a sensitivity to light and atmosphere. If this piece is indicative, he may have been drawn to scenes of contemporary life, capturing the dynamism of the modern era. His involvement with the Savary Island Sketching Camp suggests an engagement with landscape, a dominant theme in Canadian art, explored by contemporaries like F.H. Varley and Arthur Lismer, who sought to capture the rugged beauty of the Canadian terrain.
As a promoter of modern artists, it is plausible that Lamb's own work, or at least his artistic philosophy, was open to contemporary developments. This doesn't necessarily mean he was an avant-garde radical, but rather that he likely appreciated and perhaps incorporated elements of new artistic languages, whether in color, composition, or subject matter. His diverse skills in sculpture, etching, and leathercraft also point to an artist who valued technical mastery and the expressive potential of different materials, possibly influenced by the integrated artistic vision of the Arts and Crafts movement, which saw figures like William Morris in England championing the artistic value of handcrafted objects.
Contemporaries and the Canadian Art Milieu
Frederick Mortimer Lamb operated within a vibrant and evolving Canadian art world. His life (1866 - death date not specified but active in 1935) spanned a transformative period. He would have witnessed the rise of key artistic societies like the Royal Canadian Academy of Arts (RCA), founded in 1880, and the Ontario Society of Artists (OSA).
His contemporaries, beyond those already mentioned like Molly Lamb Bobak, Samuel Maclure, Charles H. Scott, and Grace Melvin, included a diverse array of talents. The aforementioned James Wilson Morrice was a key international figure. In Quebec, artists like Ozias Leduc (1864-1955) pursued a more symbolist and introspective path, while Suzor-Coté (1869-1937) was known for his impressionistic landscapes and sculptures of Quebec rural life.
The Group of Seven, officially formed in 1920, cast a long shadow over Canadian art with their iconic depictions of the northern landscape. While their nationalistic vision was powerful, other artists pursued different directions. For instance, David Milne (1882-1953) developed a highly personal and innovative style, often working in relative isolation. In Montreal, the Beaver Hall Group, active in the 1920s and including a significant number of women artists like Prudence Heward and Lilias Torrance Newton, focused on modern figurative painting and portraiture.
As a critic and curator promoting modern art, Lamb would have been aware of these diverse currents. His support for "modern artists" could have encompassed a wide spectrum, from those experimenting with Post-Impressionist color and form to others exploring more abstract or expressive avenues. His role was vital in a country still developing its artistic infrastructure and public appreciation for contemporary art. He would have been part of a network of artists, educators, and patrons working to build a distinctly Canadian artistic culture. Other influential figures in art education and promotion during parts of his career included Arthur Lismer, who was also a passionate educator, and Lawren Harris, who was a key financial and philosophical supporter of modernist endeavors.
Legacy and Concluding Thoughts
Frederick Mortimer Lamb's legacy is multifaceted. As an artist, he demonstrated a remarkable range of skills across painting, sculpture, etching, and leathercraft. While "The New York Central" stands as a documented example of his painting, his broader oeuvre across these varied media contributed to the material culture and artistic production of his time. His preference for local models suggests an art rooted in his community, reflecting a desire to capture the human element of Canadian life.
Beyond his own creations, Lamb's role as a cultural facilitator was perhaps equally important. By creating a home that served as an artistic hub, he fostered a sense of community and intellectual exchange. His friendship with figures like Samuel Maclure highlights the interconnectedness of the arts. His participation in initiatives like the Savary Island Sketching Camp underscores his commitment to collaborative artistic practice and plein air exploration, vital for the development of many Canadian artists.
His work as an art critic and curator, promoting modern artists, was a crucial contribution to the evolution of Canadian art. In this capacity, he helped to shape public taste and provide support for artists who were challenging conventions and forging new paths. The artistic flourishing of his daughter, Molly Lamb Bobak, also stands as a living testament to the creative environment he cultivated.
While Frederick Mortimer Lamb may not have achieved the same level of singular, iconic fame as some of his contemporaries like members of the Group of Seven or Emily Carr, his contributions were nonetheless significant. He represents a type of artist crucial to the health and dynamism of any art scene: the versatile practitioner, the community builder, the advocate for new ideas. His life and work remind us that artistic progress is often the result of a collective effort, involving not only celebrated "masters" but also dedicated individuals who work across various fronts to enrich the cultural life of their nation. Frederick Mortimer Lamb was undoubtedly one such individual in the story of Canadian art.
