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Portraying Maude Abbott

n Cite as: CMAJ 2017 February 21;189:E281-3. doi: 10.1503/cmaj.160976

portrait of eminent Canadian physi­ Mary Alexandra Bell (1864–1951),2 who later Medical Association Journal during World cian Maude Abbott (1869–1940) has became an accomplished Canadian artist War I. According to Abbott been identified at least 66 years working under her married name, Mrs. C.H. afterA it was painted by Canadian artist Mary Eastlake. In 1936, Eastlake painted a now- “... nearly everyone we cared for [i.e., her McGill Eastlake. This article recounts its discovery, familiar portrait of Abbott in her red doc­ University physician colleagues] went across. My part was of course to carry on at home, and I identifies the sitter as Abbott, and compares toral gown, which was reproduced on a was given the Acting Editorship of the Canadian this painting to the iconic Eastlake painting Canadian 46-cent postage stamp in 2000 Medical Association Journal, and did my best to of Abbott made familiar to millions on a (Figure 1).7 This portrait hangs in the Strath­ keep it from going under during that troubled Canadian postage stamp. Although the and short-handed time.”2 acquisition of the painting by McGill Univer­ sity (Montréal) in 2006 was mentioned Abbott and another colleague succeeded briefly in the Osler Library Newsletter,1 a founding CMAJ Editor Andrew MacPhail, more detailed accounting is lacking. who enlisted at the beginning of the war and Abbott, a trailblazer for women in Can­ was on active service in Europe through ada, became a world authority on congeni­ 1918.8 Perhaps unfairly, MacPhail never tal heart disease and a leading medical actually resigned, and therefore Abbott was museum curator.2–6 Along with physicians never given the title of Interim Editor. She such as Frederick Banting, Wilder Penfield was widely considered simply to have and Norman Bethune, she is one of the most “capably administered” the journal until internationally recognized Canadian phys­ 1919, when she was succeeded by its second icians of the 20th century.4 Although ac­ Editor, A.D. Blackader.9 claimed worldwide during her lifetime, it Abbott undoubtedly had an important was only after her death that she was recog­ effect as editor, because the journal was nized at home.3,4,6 only three years old when she took its reins, Abbott’s career was highly improba­ and she guided it through the entire war. ble. She was raised by her maternal In honour of the centenary of Abbott’s grandmother in Saint Andrews East, Que­ © 2000 Canada Post Corporation role at CMAJ (and of women gaining the bec. Her education was primarily home Figure 1: Postage stamp bearing the portrait of right to vote in western Canada), it is timely schooling, but she was begrudgingly Maude Abbott by Mary Eastlake (reprinted with to recount the tale, including new details, of allowed to go to Montréal for her last year permission © 2000 Canada Post Corporation). the lesser-known painting. of high school, where she excelled. In In 2006, another Eastlake portrait of 1885, she received the first Arts scholar­ cona Anatomy and Dentistry Building at Abbott was discovered by pathologist Erik ship given at McGill University, where she McGill University. Larsen of Calgary, an avid art collector. He was admitted in the second year that Abbott was refused entry into McGill noticed an Eastlake painting for sale in the women were allowed to enrol. According Medical School, because its policy was not window of Masters Gallery Ltd. in Calgary (it to Abbott, to admit females. Instead, she entered med­ was part of a Bell-Eastlake collection pur­ ical school at Bishop’s University in 1890. chased by the gallery in 2005 from a private “Had it not been for this happening, I should After graduating, Abbott became curator of collector in Swansea, United Kingdom) (Fig­ probably not be here today, for an Arts educa­ the McGill Medical Museum, and cofounder ure 2). Because the sitter in the portrait was tion for a girl was at that time considered a quite unnecessary luxury and it was exceedingly diffi­ of the International Association of Medical not recognized by the sellers, it was simply cult for me to be spared a second year from Museums as well as co-editor of its journal. called An Old Woman. Larsen found the sub­ home.”2 As the association and its journal thrived, ject strangely familiar. He began reading Abbott became recognized as an expert in about Eastlake and learned that she was a Initially, Abbott had not considered a all aspects of medical museum work. childhood friend of Abbott, had married career in medicine. However, she decided As an experienced editor and with many English artist Charles H. Eastlake, and had to apply to medical school following a con­ men serving overseas, Abbott was invited to painted the portrait of Abbott that was versation with her childhood best friend, serve as the acting editor of the Canadian reproduced on the Canadian stamp.

PB CMAJ | FEBRUARY 21, 2017 | VOLUME 189 | ISSUE 7 © 2017 Joule Inc. or its licensors © 2017 Joule Inc. or its licensors CMAJ | FEBRUARY 21, 2017 | VOLUME 189 | ISSUE 7 E281 HUMANITIES them. As an artistic genre with a history of them. Asanartistic genrewithahistoryof public personaofthepersonportrayed in painting wentunnoticedforso long. dent. Thus,itisnotsurprising thatthe connection to medicine is not visibly evi institution orshownatone,thesitter’s trait was not commissioned for a medical E282 an expertatwork. Abbott asacomposedwomanratherthan identities, thissmallerimageshows the sitter’sposetoconstructmedical use dress,setting,medicaltoolsand/or 20th hard work.Unlikemanyfamous19th under her eyes suggest intelligence and grave expressionandthedarkcircles signs ofhermedicalstatus,although yet intimatelight.Therearenomaterial shoulders, Abbottisshowninaserious Abbott. Leaning forward with rounded trait provides a more personal glimpse of brush). Incontrast,theOslerLibrarypor­ tus (aswellasEastlake’sprowesswiththe sionalism andelevatededucationalsta­ doctoral robesemphasizesherprofes­ richly paintedsheenofAbbott’scrimson lights Abbott’sprofessionalidentity:the portrait isamorefinishedworkthathigh­ provide afullviewofherface.The1936 slightly toemphasizeherdirectgazeand shown fromthechestup,herfaceturned drop. Likethe1936image,Abbottis lace againstabrightblueandgreenback­ woman inagreyblouseandbeadedneck­ McGill University,whereitnowhangs. Library oftheHistoryMedicineat purchase and donation to the Osler cine at McGill University) arranged for its and AbrahamFuks(formerDeanofMedi­ placed inaninstitution.RichardFraser important historicallyandwouldbe trait atareducedprice,becauseitwas of theoldwoman,offeredtosellpor­ owner, whenmadeawareoftheidentity university purchasethework.Thegallery McGill University,whosuggestedthatthe of theMaudeAbbottMedicalMuseumat contacted RichardFraser,currentdirector ing the painting; instead, Larsen firmed heridentity.Bothconsideredbuy­ ical historianJamesWright,whocon­ To besure,heshowedit“blindly”tomed­ “old woman”inthepaintingwasAbbott. Portraits play a crucial role in forming the Portraits playacrucialroleinforming the The portraitdepictsAbbottasanolder Larsen becameconvincedthatthe -

century portraitsofphysiciansthat 10,11 Becausethepor­ - and CMAJ ­ pursue a medical career and described her pursue amedical careeranddescribedher credited Eastlakeforencouraging herto uncommon forwomenatthetime. careers and international reputations — suing advancededucations, ambitious friends, andbothsharedaninterestinpur­ lake isdocumented:theywerechildhood the relationshipbetweenAbbottandEast­ ing thecreationofthisportrait.However, that address the circumstances surround ­ joint decision which animageisproducedthroughtheir exchange betweenanartistandsitterin ness. Mostportraitsaretheproductof portraiture signifiesstatus,identityandlike­ representing figures of powerandauthority, 17 inches (reprintedwithpermission). Figure 2:MaryAlexandraBellEastlake,PortraitofMaudeAbbott,nodate,oiloncanvas,20 × | FEBRUARY 21, 2017 Osler Library of the History of Medicine, McGill University, Montréal, Que. In her autobiography from 1928, Abbott In herautobiographyfrom1928, Abbott No sourcestodatehavebeenfound - making. making. | VOLUME 189 | ISSUE 7 today.” as “one of our leading Canadian artists ous expressionexhibit apared Abbott’simposingformandseri­ friend — aroughsketch madeofa dered painting — unpainted canvassuggestaquickly ren­ strokes and purposeful exposure of children. such as those depicting mothers and are similar in style to her other paintings, traits. However, the two portraits of Abbott Group, Eastlakewasnotknownforherpor­ ularly thoseassociatedwiththeBeaverHall many ofherfemalecontemporaries,partic­ exhibited herworkinternationally.Unlike member ofprestigiousartgroupsand ists inMontréal,NewYorkandParis,wasa

Although the portrait’s rough brush­ 2 Eastlakestudiedwithleadingart­ - down, mod­

CMAJ | FEBRUARY 21, 2017 | VOLUME 189 | ISSUE 7 E283 HUMANITIES

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E283 Can Med Can Med

4. - Can Med Assoc J Assoc Med Can . . 367. - 2017 Jan. 23). 85. - Defining features: scientific and Defining features: scientific and . . 6. - Sir Andrew MacPhail: physician, philos­ Sir Andrew MacPhail: physician, L Hic est locus ubi mors gaudet succur- Hic est locus Designing the medical museum. In: museum. In: the medical Designing : Maude Abbott and the malformed malformed : Maude Abbott and the The face of medicine. Visualising medicalThe face of medicine. Visualising Maudie of McGill: Dr. Maude Abbott and Maude Abbott of McGill: Dr. Maudie . . 323 A RS. D. M SED.

118: ordanova Shortt opher, founding editor of CMAJ Healing spaces, mod- D, editors. Healing spaces, Schrank S, Ekici and the body. London (UK): ern architecture, Routledge; 2017:171 Fraser vitae rere MD, editors. Women heart. In: Tobin BF, Goggin Burlington of death. and the material culture (VT): Ashgate Publishing; 2013:331 on postage stamps: Famous Canadian women women. Maude Abbott. Famous Canadian Avail­ able: http://famouscanadianwomen.com/stamps /abbott.htm (accessed Dr. A. D. Blackader and the journal. Dr. A. D. Blackader and the Hunter masculinities in late nineteenth-century Paris. Man­ 2016. chester (UK): Manchester University Press; J 1978; Assoc J 1929; 21: 367.b2 . Oxford (UK): of heart surgery. Oxford (UK): the foundations 1992. Dundurn Press; Waugh Adams medical portraits, 1660–2000. London (UK): Reak­ portraits, medical tion Books; 2000.

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The authors thank Chris Acknowledgements: The authors thank Chris Lyons, Osler Library of the History of Medicine, ­ McGill University, and Rod Green, Masters Gal lery Ltd., Calgary, for their help.

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52. VOLUME 189 VOLUME - | Portraits of McGill Pathol­ . Maude Abbott — A memoir. Maude 6. - Autobiographical sketch (1928). sketch Autobiographical HE.

, O’Malley J MES. MES. Chair, Department of SocialChair, Department R bbott McGill Med J 1959;28:127 Fraser A The ogy: George Adami and Maude Abbott. In: The Osler Library Newsletter. No 120. Montréal: McGill Library; 2014:4 Toronto: Macmillan; 1941. MacDermot

. . FEBRUARY 21, 2017 FEBRUARY 1 2 3 | Richard Fraser MSc MDCM MSc MDCM Fraser Richard Medical Museum,Director, Maude Abbott Montréal, Que. McGill University, Adams PhD Annmarie Professor, Faculty of Medicine,Studies of Medicine, Que. McGill University, Montréal, Mary Hunter PhD of ArtAssociate Professor, Department Studies,History and Communication Que. McGill University, Montréal, References . A comprehensive bibliography of Eastlake and herA comprehensive bibliography work is available at http://cwahi.concordia.ca/ sources/artists/nameSearch.php?artist=eastlake. series commemorating This article is part of a the Canadian Medicalthe 150th anniversary of Association.

- CMAJ 20th–century Canada. -

James R. Wright Jr. MD PhD Professor, Departments of Pathology & Laboratory Medicine, and Paediatrics, Cumming School of Medicine, University of Calgary, and Calgary Laboratory Services — Alberta Children’s Hospital site, Calgary, Alta. century medical pioneer. Furthermore, the pioneer. Furthermore, century medical ern monumentality suitable for a 20th a for suitable monumentality ern artist’s attention to portraying Abbott’s Abbott’s portraying to attention artist’s of her a detailed rendering likeness through knowledgeintimate Eastlake’s evinces face intricate the by shown (as sitter her of the distinctive curlshading of Abbott’s skin, of her gaze). Byof her lip and the intensity way, Eastlake pro­ painting Abbott in this as an innovative moted her own identity her ties to Abbott. artist and revealed identity as a womanAbbott’s progressive through emphasized likewise was doctor and internationalEastlake’s modern style the portrait is not reputation. Therefore, to friendship,simply a personal testament vision of modern but it is also a shared womanhood in mid ISSUE 7 ISSUE | VOLUME 189 VOLUME | FEBRUARY 21, 2017 FEBRUARY | CMAJ E282