John A. Hammond stands as a significant figure in the landscape of Canadian art history. Born in Montreal on April 11, 1843, and living a long and productive life until his passing in 1939 at the age of 96, Hammond was not only a prolific painter but also an adventurer, photographer, and influential educator. His legacy is primarily tied to his evocative depictions of the Canadian landscape, particularly the dramatic maritime environment of New Brunswick, rendered with a keen sensitivity to light and atmospheric effects. His work bridges late 19th-century traditions with emerging modern sensibilities, reflecting both his Canadian roots and his extensive international experiences.
Early Life and Artistic Awakening
Hammond's journey into the world of art began unconventionally. Growing up in Montreal, his initial training was far removed from the painter's studio. At the tender age of nine, he started learning the craft of marble cutting under his father's guidance. This early exposure to shaping materials might have instilled in him a sense of form and structure, though his path would eventually lead him towards the more fluid medium of paint. His youth was also marked by a spirit of adventure, typical of the era's colonial expansion and search for opportunity.
In the 1860s, like many young men seeking fortune, Hammond ventured far from home, traveling to New Zealand. This period, though ultimately unsuccessful in its goal of accumulating wealth, undoubtedly broadened his horizons and exposed him to different landscapes and perhaps different ways of seeing. The experience likely contributed to the resilience and adaptability that would characterize his later artistic career.
Returning to Montreal around 1870, Hammond found employment that would prove pivotal for his artistic development. He joined the staff of the renowned William Notman photographic studio. Notman's studio was a central hub for visual documentation in Canada, known for its high-quality portraits and landscape photography. Working there provided Hammond with invaluable technical skills and a deep understanding of composition, light, and capturing a likeness – skills that would translate effectively into his painting.
The Photographer's Eye and the CPR Expeditions
Hammond's involvement with photography extended beyond the studio walls. He became involved in one of the great national projects of the era: the surveying expeditions for the Canadian Pacific Railway (CPR). As a photographer accompanying these surveys, he traveled through vast, often challenging terrains, documenting the landscape for practical and promotional purposes. This experience offered him an unparalleled opportunity to observe the Canadian wilderness firsthand, from the rugged Rockies to the expansive prairies.
The discipline of photography, with its emphasis on framing a view and capturing the effects of light on form, likely sharpened Hammond's observational skills. It may have influenced his compositional choices as a painter, encouraging a certain directness or a focus on specific visual phenomena. His work alongside surveyors and engineers also placed him at the intersection of art, technology, and national development, a theme that would resurface later in his career through direct commissions from the CPR. His time with the Notman studio and the CPR surveys cemented his connection to the visual representation of Canada.
European Sojourns and Formative Influences
Seeking to further hone his artistic skills, Hammond traveled to Europe, immersing himself in the continent's rich artistic traditions and contemporary movements. This period was crucial in shaping his mature style. He spent time studying and painting in the Netherlands and France, centers of significant artistic innovation during the late 19th century. His time abroad was not spent in isolation; he actively sought out and worked alongside prominent artists of the day.
In the Netherlands, particularly in Dordrecht, Hammond painted alongside the expatriate American artist James McNeill Whistler. Whistler, known for his tonalist approach, emphasis on aesthetic harmony, and atmospheric nocturnes and marine views, likely had a considerable impact on Hammond. One can see echoes of Whistler's sensitivity to subtle shifts in light and colour, and his interest in capturing mood over precise detail, in Hammond's later maritime paintings, especially those depicting fog and twilight.
In France, Hammond encountered the legacy and potentially the artists of the Barbizon School. He is known to have associated with Jean-François Millet, a key figure of the Barbizon movement celebrated for his dignified portrayals of rural life and landscapes imbued with a sense of profound naturalism. While Hammond's subject matter differed, the Barbizon emphasis on direct observation of nature, plein air sketching, and capturing the transient effects of light resonated deeply with his own inclinations. Artists like Camille Corot and Théodore Rousseau, also associated with Barbizon, championed a form of landscape painting that balanced realism with poetic feeling, a balance Hammond often sought in his own work.
Furthermore, Hammond absorbed the influence of Dutch marine painting traditions, possibly connecting with artists of the Hague School, such as Hendrik Willem Mesdag or Jacob Maris, who revitalized landscape and seascape painting with their atmospheric realism. The dramatic skies and luminous water surfaces characteristic of Dutch art find parallels in Hammond's powerful depictions of the Bay of Fundy. His European experiences were synthesized into a style that, while distinctly his own, bore the imprint of these significant encounters. His success was validated when he exhibited at the prestigious Paris Salon in 1886, winning two awards for his work, likely including the painting Étude (1885), signaling his arrival on the international stage. He also exhibited at the Royal Academy in London and the National Academy of Design in New York.
Development of a Signature Style: Light, Atmosphere, and the Maritimes
Upon his return and subsequent settling in Sackville, New Brunswick, Hammond developed the signature style for which he is best known. His European training, combined with his deep connection to the Canadian landscape, resulted in a powerful and evocative body of work. He became particularly renowned for his paintings of the Bay of Fundy and Saint John Harbour. These locations, with their dramatic tides, frequent fogs, and bustling harbour life, provided endless inspiration.
Hammond's style is often characterized by its masterful handling of light and atmosphere. He was fascinated by transient effects – the brilliant colours of a sunset over the water, the soft, diffused light filtering through morning mist, the dramatic interplay of light and shadow on waves and sails. His approach often blended the detailed observation associated with Realism with the looser brushwork and heightened sensitivity to colour and light characteristic of Impressionism, though he never fully adopted the broken colour technique of French Impressionists like Claude Monet.
His work often evokes comparisons to the great British master of light, J.M.W. Turner, particularly in his more dramatic seascapes where the elemental power of nature is palpable. However, Hammond's work generally retains a stronger connection to the specific location, grounding the atmospheric effects in the recognizable features of the New Brunswick coast. His palette could range from the subtle greys and blues of his fog-bound scenes, reminiscent of Whistler's tonal harmonies, to the vibrant oranges, purples, and golds of his celebrated sunsets.
Hammond was exceptionally prolific, sometimes leading to criticism that his work could be repetitive. He frequently returned to the same motifs – the harbour at low tide, ships shrouded in fog, the sun setting over the bay. Yet, within these recurring themes, he demonstrated a remarkable ability to capture the unique mood and specific light conditions of each moment. His paintings were not mere topographical records; they were interpretations of nature, imbued with emotion and a sense of place.
The Lure of the Maritimes: Saint John and the Bay of Fundy
While Hammond painted other Canadian scenes, including the Rocky Mountains encountered during his CPR travels, his artistic identity became inextricably linked with the Maritime provinces, especially New Brunswick. The port city of Saint John and the powerful tides and atmospheric conditions of the Bay of Fundy became his defining subjects. He captured the working life of the harbour – the ships, the docks, the fishermen – but always with an eye towards the overarching presence of the natural environment.
His paintings of Saint John Harbour often depict the dramatic contrast between the industrial activity of the port and the sublime beauty of the natural setting. He rendered sailing ships and steamers with accuracy, but his main interest lay in how the fog enveloped them or how the setting sun reflected off the wet mudflats at low tide. These works convey both the specific character of the location and a universal sense of the sea's mystery and power.
The Bay of Fundy, with the highest tides in the world, offered a unique and constantly changing landscape that fascinated Hammond. He painted the dramatic meeting of sea and land, the vast expanses revealed at low tide, and the thick fogs that frequently rolled in from the Atlantic. Works like Fog, Bay of Fundy or Sunset, Saint John Harbour (representative titles, as specific works varied) exemplify his ability to transform these familiar Maritime scenes into powerful artistic statements. His deep familiarity with the region allowed him to capture its essence with authenticity and feeling.
Patronage and National Vision: The CPR Connection
Hammond's earlier involvement with the Canadian Pacific Railway as a survey photographer evolved into a significant relationship of patronage. The CPR, under the visionary leadership of Sir William Van Horne – himself an art collector and amateur painter – actively commissioned artists to create works that would promote the railway and showcase the beauty of the Canadian landscapes it traversed. Hammond was among the artists who benefited from this patronage.
He created numerous paintings and potentially murals for the CPR, destined for railway stations, hotels, and promotional materials. These commissions provided Hammond with financial support and national exposure. His dramatic landscapes and seascapes aligned well with the CPR's goal of presenting Canada as a land of majestic natural beauty, accessible via its modern transportation network. Van Horne recognized the power of art to shape national identity and encourage tourism and settlement.
Hammond's CPR works often depicted scenes along the railway lines or coastal areas served by CPR steamships. While fulfilling the commission's promotional aspect, these paintings maintained Hammond's characteristic focus on light and atmosphere. His connection with Van Horne and the CPR placed him alongside other prominent Canadian artists associated with the railway, such as Lucius O'Brien (the first president of the RCA) and later painters like Frederick Bell-Smith, who also documented the landscapes made accessible by the CPR. This patronage underscored the close relationship between corporate interests, national expansion, and artistic production in late 19th-century Canada.
Educator and Institution Builder: The Owens Art Institute and the RCA
Beyond his prolific output as a painter, John A. Hammond made significant contributions to Canadian art as an educator and administrator. In 1887, he was appointed Director of the Owens Art Institute. Initially located in Saint John, the Owens collection and school later moved to Sackville, New Brunswick, becoming a cornerstone of Mount Allison University (not the University of Saskatchewan, as sometimes mistakenly cited). The Owens Art Gallery remains one of Canada's oldest and most respected university art galleries.
As Director, Hammond played a crucial role in shaping the institution's direction and curriculum. He brought his extensive practical knowledge, international experience, and passion for art to his teaching. He was known to be supportive of his students, providing them with resources and guidance. His leadership helped establish Owens as a vital centre for art education in the Maritimes, nurturing generations of artists. His own artistic practice, grounded in observation but open to contemporary European influences, likely informed his teaching philosophy.
Hammond was also deeply involved in the national art scene through his membership in the Royal Canadian Academy of Arts (RCA). Founded in 1880 under the patronage of the Governor General, the Marquis of Lorne, and his wife Princess Louise, the RCA aimed to foster the development of visual arts in Canada through exhibitions and education. Hammond was elected a member, joining the ranks of leading Canadian artists like Lucius O'Brien, Robert Harris (known for painting the Fathers of Confederation), Homer Watson, and Otto Jacobi. His participation in RCA exhibitions and activities helped raise the profile of Canadian art both domestically and internationally. His dual role as a practicing artist and educator made him a central figure in the professionalization of art in Canada during this formative period.
Exhibitions, Recognition, and Collections
Throughout his long career, John A. Hammond achieved considerable recognition for his work. His acceptance and awards at the 1886 Paris Salon were a significant early milestone, demonstrating that Canadian artists could compete on the international stage. He continued to exhibit widely, participating in major shows in Canada, the United States, and Europe. Regular participation in the annual exhibitions of the Royal Canadian Academy of Arts ensured his work was consistently seen by a national audience. A solo exhibition at the Van Dyck Gallery in Montreal in 1929, late in his life, indicates his enduring reputation.
His paintings were acquired by important public and private collections. The National Gallery of Canada in Ottawa holds examples of his work, recognizing his contribution to the national school of landscape painting. The Owens Art Gallery at Mount Allison University, the institution he directed, naturally maintains a significant collection of his paintings, documenting his stylistic range and his connection to the region. Works can also be found in other institutional collections, such as McGill University in his native Montreal, and frequently appear on the art market.
Despite his success, Hammond's prolific output and tendency to revisit popular subjects like the Saint John Harbour sunsets led to some criticism, particularly later in his career and posthumously, suggesting a degree of commercialism or formulaic repetition. Furthermore, like many artists of his generation whose work bridged traditional and modern styles, his reputation experienced fluctuations. The art market for his work saw variations, including a noted dip during the economic recession of 2008-2009. However, these critiques do not diminish his historical importance or the genuine power of his best works.
Legacy and Art Historical Assessment
John A. Hammond occupies a respected place in Canadian art history. He was a key figure in the generation of artists active in the late 19th and early 20th centuries who sought to define a distinctly Canadian approach to landscape painting while engaging with international artistic currents. His work stands alongside that of contemporaries like Homer Watson, known for his depictions of the Doon Valley landscape, and Horatio Walker, who, like Millet, focused on rural themes with a Barbizon-influenced style. Hammond's specific contribution lies in his evocative interpretations of the Maritime coastal environment.
He is celebrated for his mastery of light and atmosphere, particularly his ability to capture the unique conditions of the Bay of Fundy – the fog, the dramatic tides, the brilliant sunsets. His style, blending elements of Realism, Tonalism, and Impressionism, reflects the transitional nature of the era. While influenced by European masters like Turner, Whistler, and the Barbizon painters, Hammond adapted these influences to render the specific character of the Canadian landscape.
His role as an educator at the Owens Art Institute and his involvement with the Royal Canadian Academy of Arts also form an important part of his legacy. He contributed significantly to the development of art infrastructure and education in Canada. While later movements, such as the Group of Seven (including artists like Lawren Harris and A.Y. Jackson), would forge a more overtly nationalistic and modernist style of landscape painting, Hammond's work represents a crucial phase in the evolution of Canadian art, demonstrating technical skill, sensitivity to nature, and engagement with the wider art world. He remains admired for his ability to convey the mood and majesty of the Canadian maritime landscape.
Conclusion
John A. Hammond's long life spanned a period of immense change in Canada and the art world. From his early days learning marble cutting and photographing the expanding nation for the CPR, to his studies in Europe alongside major artists, his leadership at the Owens Art Institute, and his decades capturing the unique atmosphere of the Bay of Fundy, Hammond forged a remarkable career. He translated his diverse experiences into a powerful body of work characterized by its atmospheric depth and sensitivity to light. As a painter, photographer, and educator, John A. Hammond left an indelible mark on Canadian art, celebrated for his evocative mastery of the maritime landscape.
