John Young Johnstone stands as a significant, if sometimes overlooked, figure in the landscape of early 20th-century Canadian art. Born in Montreal, Quebec, on November 12, 1887, his life, though tragically cut short, was dedicated to capturing the essence of his surroundings, whether the bustling streets of his native city, the historic charm of Quebec's older towns, or the picturesque landscapes of Europe. His work, characterized by a sensitive blend of Impressionistic techniques and a grounded Realism, offers a unique window into the artistic currents of his time. Johnstone's legacy is preserved in his evocative canvases, which continue to resonate with viewers for their subtle beauty and atmospheric depth. He passed away in Havana, Cuba, on January 24, 1930, at the young age of 43, leaving behind a body of work that secures his place in Canadian art history.
Early Artistic Formation in Montreal
Johnstone's artistic journey began in his vibrant hometown of Montreal, a city rapidly developing its cultural institutions at the turn of the century. He enrolled at the school of the Art Association of Montreal (AAM), now the Montreal Museum of Fine Arts, a pivotal institution for aspiring artists in Canada. There, he came under the tutelage of William Brymner, one of the most influential art educators in the country. Brymner, who had himself studied in Paris at the Académie Julian, instilled in his students a respect for academic tradition while also encouraging an openness to contemporary European trends, particularly Impressionism.
Under Brymner's guidance, Johnstone would have honed his skills in drawing and painting, learning the fundamentals of composition, colour theory, and figurative work. Brymner's students included many who would go on to become prominent Canadian artists, such as A.Y. Jackson, Clarence Gagnon, and Helen McNicoll. This environment provided Johnstone with a strong foundation and exposed him to a community of ambitious young artists, all eager to forge a distinctively Canadian artistic voice while engaging with international developments. The AAM was a hub of artistic activity, regularly hosting exhibitions that would have exposed Johnstone to a variety of styles and influences, further shaping his early artistic sensibilities.
Parisian Sojourn and European Influences
Like many ambitious North American artists of his generation, John Young Johnstone recognized the importance of experiencing European art firsthand. Following his studies in Montreal, he made the pilgrimage to Paris, the undisputed capital of the art world. In Paris, he enrolled at the Académie de la Grande Chaumière, a less formal and more progressive institution than the traditional École des Beaux-Arts. This choice suggests a desire to engage with more modern artistic approaches. The Académie de la Grande Chaumière attracted students from around the world and was known for its emphasis on individual expression.
During his time in Paris, Johnstone reportedly studied under or was influenced by several notable French artists, including Lucien Simon and Émile-René Ménard. Simon was known for his depictions of Breton peasant life and his robust, somewhat impressionistic style, while Ménard was celebrated for his idyllic, classical landscapes imbued with a Symbolist atmosphere. Exposure to such artists, and the general artistic ferment of Paris, would have profoundly impacted Johnstone. He also reportedly learned from artists referred to as Pau and Cateluch, though these figures are less widely documented in major art historical narratives, perhaps indicating more informal mentorships or lesser-known instructors at the academy.
A significant aspect of his Parisian experience was his collaboration with fellow Canadian artist Adrien Hébert. Together, they worked and painted, capturing scenes of French urban life and the surrounding countryside. This period allowed Johnstone to immerse himself in the Impressionist and Post-Impressionist aesthetics, focusing on light, atmosphere, and the fleeting moments of everyday life. His European travels were not confined to France; he also painted in Switzerland and Belgium, broadening his visual repertoire and technical skills. The works from this period often feature picturesque village scenes, tranquil waterways, and architectural studies, rendered with an increasingly confident and nuanced touch.
Return to Canada and Artistic Maturity
Upon his return to Canada, John Young Johnstone brought with him the invaluable experiences and refined techniques acquired in Europe. He settled back in Montreal, but his artistic vision was now enriched by his exposure to Impressionism and other modern European movements. He began to apply these influences to Canadian subjects, particularly the landscapes and urban scenes of Quebec. His paintings from this period demonstrate a sophisticated understanding of light and colour, often characterized by a subtle, tonal palette and a delicate, broken brushwork that captured the specific atmospheric conditions of his environment.
Johnstone became an active participant in the Canadian art scene. He started exhibiting his work regularly, with his debut at the Art Association of Montreal's Spring Exhibition occurring around 1911. From 1915 to 1923, he consistently showed his paintings at both the AAM and the prestigious annual exhibitions of the Royal Canadian Academy of Arts (RCA). His talent was recognized by his peers, and in 1920, he was elected an Associate of the RCA, a significant honour that underscored his growing reputation. His works often depicted the older sections of Montreal and Quebec City, capturing their historic charm with a sensitivity that avoided mere picturesqueness, instead imbuing them with a quiet dignity and a sense of lived history.
Engagement with Artistic Groups
John Young Johnstone was not an isolated artist; he engaged with several artistic circles in Montreal, which was a lively centre for artistic exchange. He was associated with the Pen and Pencil Club of Montreal, a social and intellectual group that brought together writers, journalists, and artists. Such affiliations provided opportunities for camaraderie, discussion, and the cross-pollination of ideas, which were vital for artists working outside the major European centres.
More significantly, Johnstone is often linked with the Beaver Hall Group, a collective of Montreal-based artists, many of whom were also former students of William Brymner. Although the group formally existed for a relatively short period in the early 1920s, its members, including notable figures like A.Y. Jackson (who was also a founding member of the Group of Seven), Prudence Heward, Lilias Torrance Newton, Anne Savage, Mabel May, and Edwin Holgate (another Group of Seven member), continued to share a modernist sensibility and a commitment to depicting Canadian life. While Johnstone's direct membership or level of involvement can be debated, his artistic aims and friendships certainly aligned him with the spirit of the group. They shared a desire to move beyond traditional academic painting and explore more expressive, modern styles, focusing on contemporary Canadian subjects, including urban landscapes, portraits, and figure studies, often rendered with bold colour and simplified forms. Johnstone's nuanced cityscapes and landscapes resonated with this ethos.
Artistic Style: A Fusion of Impressionism and Realism
John Young Johnstone's artistic style is best described as a thoughtful fusion of Impressionism and a gentle, simplified Realism. He was not a radical avant-gardist but rather an artist who skillfully adapted modern European techniques to his own sensibilities and chosen subjects. His Impressionistic leanings are evident in his handling of light and atmosphere. He often employed broken brushwork and a palette that, while not always as high-keyed as French Impressionists like Claude Monet or Camille Pissarro, was adept at capturing the subtle nuances of natural light, whether it was the crisp air of a Quebec winter, the soft glow of twilight over a cityscape, or the dappled sunlight in a European village.
However, Johnstone's work retained a strong sense of structure and form, characteristic of a more Realist underpinning. Unlike some Impressionists who dissolved form into light, Johnstone maintained a clarity in his compositions and a solidity in his objects and figures. His street scenes, for example, while atmospheric, clearly delineate buildings, figures, and vehicles, grounding them in a recognizable reality. This balance made his work accessible while still feeling fresh and modern for its time. He worked proficiently in oils, but also produced watercolours and charcoal drawings, demonstrating versatility across different media. His approach can be compared to other Canadian artists who navigated similar stylistic paths, such as Maurice Cullen and Marc-Aurèle de Foy Suzor-Coté, who also masterfully blended Impressionist techniques with Canadian subject matter.
Themes and Subjects: Capturing a Sense of Place
The primary themes in John Young Johnstone's oeuvre revolve around the depiction of place, imbued with a distinct mood and atmosphere. He was particularly drawn to urban landscapes, especially the older, more historic parts of Montreal and Quebec City. These were not grand, panoramic views but often more intimate scenes: a quiet street corner, a snow-covered lane, the bustling activity around a market, or the view of a harbour. He had a particular skill for painting winter scenes, capturing the unique quality of light and the hushed stillness that snow brings to a city. His paintings often include figures, but they are typically integrated into the overall scene, contributing to the sense of daily life rather than being the primary focus.
His European subjects, painted during and after his time in Paris, reflect a similar sensibility. Works like Fishing Village, Bruges showcase his ability to capture the picturesque charm of European locales without succumbing to sentimentality. He was interested in the interplay of architecture, water, and light, and these European scenes often possess a tranquil, almost timeless quality. Whether depicting a canal in Bruges, a street in Paris, or a village in the French countryside, Johnstone sought to convey the unique character and atmosphere of each location. His work À Québec village, noted in Newton MacTavish's early survey "The Fine Arts in Canada," exemplifies his focus on the distinctive character of Quebec's settlements, highlighting his contribution to the visual representation of Canadian identity.
Challenges and Later Years
Despite his talent and growing recognition, John Young Johnstone's career was not without its difficulties. A notable and somewhat enigmatic event was his expulsion from the Montreal Arts Club in 1928. The reasons cited were related to "personality issues," a vague explanation that hints at possible conflicts, nonconformist behaviour, or perhaps struggles that are not fully documented. This incident must have been a professional setback and perhaps a personal blow. The Arts Club was an important venue for artists to socialize, exhibit, and network, and being ostracized from such an institution could have had repercussions.
Johnstone's life took a decisive turn in his final years. Seeking to escape the harsh Canadian winters, a common motivation for those with health concerns or simply a desire for a warmer climate, he travelled to Havana, Cuba. It was there, in early 1930, that he tragically passed away at the age of 43. His premature death cut short a promising career, leaving a sense of unfulfilled potential. One can only speculate on how his art might have evolved had he lived longer, perhaps engaging further with the burgeoning modernist movements or exploring new subject matter inspired by his travels.
Representative Works and Their Characteristics
While a comprehensive catalogue raisonné of John Young Johnstone's work might be elusive, several paintings stand out and are indicative of his style and thematic concerns. À Québec village, as mentioned, was recognized early on for its quality. Though specific visual details of this particular piece might require consulting archival reproductions, it likely embodied his sensitive portrayal of Quebec's unique architectural and cultural landscape, rendered with his characteristic blend of soft Impressionism and clear composition.
Fishing Village, Bruges is another key example, showcasing his European work. One can imagine this piece featuring the tranquil canals and historic architecture of Bruges, with Johnstone paying close attention to the reflections in the water and the quality of light on the old buildings. His cityscapes of Montreal and Quebec City, often depicting snow-laden streets or the warm glow of gaslight in the evening, are particularly evocative. These works capture a specific moment in the life of these cities, preserving a visual record of their appearance in the early 20th century. He often used a muted palette, with subtle greys, blues, and ochres, punctuated by touches of warmer colour, creating a harmonious and atmospheric effect. His figures, though small, are often skillfully placed to add life and scale to his urban scenes, reminiscent of the way artists like Jean-François Raffaëlli or even some of the Ashcan School painters in the United States integrated figures into their city views.
Legacy and Position in Canadian Art History
John Young Johnstone's contribution to Canadian art lies in his sensitive and skilled interpretation of Canadian and European scenes through a modernist lens that remained accessible and deeply felt. His work forms a bridge between the more traditional, academic styles of the late 19th century and the bolder modernist explorations that gained prominence in Canada with artists like the Group of Seven and the Beaver Hall Group. While he may not have achieved the same level of widespread fame as some of his contemporaries, such as Tom Thomson or Lawren Harris, his paintings are valued for their quiet beauty, technical proficiency, and their honest depiction of place.
His works are held in the collections of major Canadian institutions, including the National Gallery of Canada in Ottawa, the Montreal Museum of Fine Arts, and the Art Gallery of Ontario, among others. This institutional recognition affirms his importance. Johnstone's art provides a valuable perspective on urban life and landscape in Canada during a period of significant social and cultural change. He captured a sense of nostalgia for the old, even as the new was emerging, and did so with a painterly grace that continues to appeal. His early death undoubtedly limited the full scope of his artistic development, yet the body of work he left behind remains a testament to his talent and his unique vision. He is a reminder that Canadian art history is rich with figures whose contributions, while perhaps not always in the brightest spotlight, are essential to understanding the full tapestry of the nation's artistic heritage. His contemporaries, like Robert Pilot, another Brymner student and stepson of Maurice Cullen, also explored similar Quebec scenes, creating a rich visual dialogue about the region's identity.
Conclusion: An Enduring Impression
John Young Johnstone's career, though brief, was marked by a dedicated pursuit of artistic expression that beautifully captured the essence of his surroundings. From his formative years under William Brymner in Montreal to his enriching experiences in Paris alongside artists like Adrien Hébert, and his subsequent contributions to the Canadian art scene through his exhibitions and association with groups like the Beaver Hall Group, Johnstone developed a distinctive style. His fusion of Impressionistic light and atmosphere with a Realist's attention to form and place allowed him to create works of enduring appeal.
His depictions of Quebec's historic cities, often under a blanket of snow or in the soft light of dusk, as well as his charming European scenes, reveal a sensitive eye and a skilled hand. Despite personal challenges and a tragically early death, John Young Johnstone left an indelible mark on Canadian art. His paintings continue to be appreciated for their quiet elegance, their evocative moods, and their sincere portrayal of the world as he saw it, securing his place as a noteworthy figure among the Canadian painters of his generation, alongside peers who were collectively shaping a modern vision for Canadian art.
