THE EARLY YEARS OF ART HISTORY IN ENGLISH-SPEAKING CANADA:

MCMASTER, TORONTO AND QUEEN'S UNIVERSITIES, CA. 1930-1945

by

Carrie L. Vassallo Department of Visual Arts

Submitted in partial fulfillment of the requirements for the degree of Master of Arts

Faculty of Graduate Studies The University of Western Ontario London, Ontario July, 2001

©Carrie L. Vassallo 2001 THE UNIVERSITY OF WESTERN ONTARIO FACULTY OF GRADUATE STUDIES

CERTIFICATE OF EXAMINATION

Chief Advisor Examining Board

Advisory Committee

The thesis by

Carrie L. Vassallo

entitled:

The Early Years of Art History in English-Speaking Canada: McMaster, Toronto and Queen' s Universities, ca. 1930-1945

is accepted in partial fulfillment of the requirements for the degree of Master of Arts

Date ------Chair of Examining Board

II Abstract

The history of art history as an academic discipline in Canada is a subject which has been accorded limited scholarly attention to date. This thesis explores the founding years of art history in English-speaking Canada by analyzing the ways in which the discipline was established at McMaster, Toronto and Queen's Universities during the 1930s- a major undertaking given the serious economic turmoil of the Depression years.

Chapter One reviews art history's history as an academic discipline in German­ speaking Europe, the United States and Britain, for Canada's first professional art historians were largely educated in those countries. Furthermore, an examination of the various art-related educational bodies, cultural institutions and government initiatives which had developed in Canada prior to the 1930s, foregrounds the intellectual and historical milieu which prevailed when art history was introduced at universities in

English-speaking Canada. This discussion also offers insight into the various research resources and pedagogical opportunities available to professors and students of art history at the time.

Chapter Two examines the integral role played by the Carnegie Corporation of

New York, a major American philanthropic organization, in the institutionalization of art history in Canada. This organization provided funding and teaching resources, and facilitated the importation of trained art historians to staff the newly-founded art departments at McMaster, Toronto and Queen's, among other Canadian institutions in the

1930s. The Carnegie Corporation also promoted a vision which strongly encouraged university extension work in the arts. Art education was viewed by the Carnegie

Corporation as central to the cultural well-being and growth of a progressive, democratic

iii society - a mission statement that was seemingly transferable to the young nation of

Canada. A comparative study of the early years of art history at McMaster, Toronto and

Queen's illustrates how the Carnegie Corporation set out to further its goals and the diverse ways in which these goals were interpreted in a Canadian context. The diversity which typified the early years of art history at these institutions was conditioned by a variety of factors which included pre-existing regional art institutions and educational structures and, most importantly, the personalities and interests of the scholars who formed Canada' s first generation of professional art historians.

Chapter Three focuses exclusively on the foundational decade of art history at

McMaster University (1933-1943), the first institution in English-speaking Canada to formally establish an academic program in the history of art. This chapter explores the pluralistic nature of the early years of art history at McMaster by critically analyzing the funding and scholarly resources donated to the university by the Carnegie Corporation and the academic and community-oriented activities of the art historians who were imported to staffthe university's newly-founded Department of Fine Arts until its cancellation in 1943, owing to wartime conditions. The legacy of McMaster' s

Department of Fine Arts during its foundational decade, with regard to the furthering of the study of art history in Canada and abroad, is also considered, particularly the success of its students who graduated from this period. Ultimately this investigation of the foundational decade of art history at McMaster serves a dual purpose which aims to both emphasize the university's often neglected role as a pioneering institution for the study of art history in English-speaking Canada, and to suggest the broader implications of the pluralism which characterized the early years of art history in Canada as a whole.

IV Dedication

To Joe: For his patience.

v Acknowledgements

This thesis would never have been possible had it not been for the contributions of several individuals to whom I wish to express my sincere gratitude:

Kathryn Brush for her outstanding guidance as thesis advisor and for her generous support throughout my academic career at The University of.Westem Ontario

Roger Clark for his insight as second reader and for opening my eyes to the various opportunities which exist in art education

John Hatch for his encouragement and friendship as mentor

Kenneth Morgan and Mark Steinacher at the Canadian Baptist Archives at McMaster University, Harold Averill, Loryl MacDonald and David Tortell at the University of Toronto Archives, and Paul Banfield at Queen's University Archives for their assistance and for responding to my numerous requests and queries

Kim Ness and Gerrie Loveys at the McMaster Museum of Art for their interest in my project and for giving me access to their incredible resources

Joe Grossi and the staff at Grossi Physiotherapy for the unlimited use of their fax machine, photocopier and printer

My parents, Arlene and Gary Vassallo, for believing in my ability

VI Table of Contents

Page

Certificate of Examination n Abstract m Dedication v Acknowledgements v1 Table of Contents vn List of Figures 1x List of Appendices x1

1 The Pluralistic Origins of Art History in Canada 1 Precedents for the Study of Art History in Canada 2 German-Speaking Europe 2 Britain 5 United States 10 The Study of Art and Archaeology in Canada Before 1930 16 Canadian Archaeology and the Royal Ontario Museum 16 A National Gallery for Canada 20 Early Artists' Associations and Art Education in Canada 24 The Canadian Government and Cultural Priorities 27 Questions Surrounding the Early Years of Art History in Canada 29

2 Fostering the Study of Art History in Canada in the 1930s 31 The Early Years of "Fine Arts" at McMaster University 3 7 The Early Years of"Fine Art" at the University of Toronto 45 The Early Years of"Art" at Queen's University 53 The Early Years of Art History at McMaster, Toronto and 61 Queen's Universities in Comparative Perspective

3 A Case Study of the Early Years of Art History at McMaster University 65 "Fine Arts" and "The New McMaster" 65 An Examination of the Carnegie Arts Teaching Set 67 Balancing Academic and Extension Work in Art History/Appreciation 71 The Cancellation of McMaster's Department of Fine Arts 80 The Revival of McMaster's Department of Fine Arts 83 The Legacy ofthe Early Years of McMaster's Department ofFine Arts 86 Observations on the Introduction of Art History in Canada 90

Figures 92

Appendices 102

Bibliography 170

vii Vita 183

viii List of Figures

Full citations for the texts/documents referenced below can be found in the bibliography.

Figures Page

1 Lester D. Longman. Marmor. By McMaster University. 92 Hamilton: Board of Publications, McMaster University, 1935. Photo by Cunningham's.

2 Naomi C. A. Jackson. Semi-processed McMaster University 93 Photograph Collection. McMaster News Photographs. No. 872.

3 Edward John Gregory Alford. "People Who Do Things." 94 Saturday Night. 15 December 1934. Photo by Bernard Glemser.

4 Peter H. Brieger. "Departmental Profile: Peter H. Brieger." 95 Newsletter: Department of Fine Art, University of Toronto. Fall 1987. Pg. 3.

5 Conference of Canadian Artists Photographs. No. 20. Standing 96 (L-R) unidentified, John Alford, Randolph Hewton, Arthur Lismer. Seated (L-R) Robert Ayre, Walter Abell. Photo by Hazen Sise.

6 Conference of Canadian Artists Photographs. No. 15. Standing 97 Andre Bieler. Seated (L-R) Harry Orr McCurry, unknown, Thomas Hart Benton, Elizabeth Harrison, Edward Rowan, unknown. Photo by Hazen Sise.

7 Claude Gellee (1600-82). Pastoral. 1662. Etching. 16 x 22 em. 98 McMaster Museum of Art, Hamilton. The Art Collection of McMaster University. By Kim Ness. Hamilton: McMaster University Press, 1987. 92.

8 Jean Fran9ois Millet (1814-75). The Gleaners. Etching. 99 18.9 x 25.4 em. McMaster Museum of Art, Hamilton. The Art Collection of McMaster University. 101.

9 Herman Van Swanevelt (1600-55). The Salutation. Etching. 100 18.3 x 27.7 em. McMaster Museum of Art, Hamilton. The Art Collection of McMaster University. 158.

ix 10 James Abbot McNeill Whistler (1834-1903). Fumette. 1858. 101 Etching.16.2 x 10.8 em. McMaster Museum of Art, Hamilton. The Art Collection of McMaster University. 285.

X List of Appendices

Full citations for the texts/documents referenced below can be found in the bibliography.

Appendix Page

1 Copyright Release. Canadian Baptist Archives, McMaster 102 University.

2 Copyright Release. Queen's University Archives. 103

3 Copyright Release. University of Toronto Archives. 104

4 Longman, Lester D. Letter to Charles M. Johnston. 27 July 105 1977.

5 University of Toronto. "Art and Archaeology." Faculty of 109 Arts Calendar 1933-34.

6 "Memorandum on Continuance of Fine Arts Department for 110 Discussion April 13, 1942."

7 "Carnegie Report, June 1933, Hamilton Programme." 112

8 McMaster University. "Fine Arts." Faculty of Arts Calendar 118 1934-35.

9 McMaster University. "Fine Arts." Faculty of Arts Calendar 119 1936-37.

10 "Report of Progress in Fine Arts and Music at McMaster 120 University, 1934-35."

11 "McMaster Art Lectures, Carnegie Public Lecture Series for 125 1935-36."

12 McMaster University. "Fine Arts." Faculty of Arts Calendar 126 1938-39.

13 "McMaster Art Lectures, Carnegie Public Lecture Series for 127 1936-7."

14 McMaster University. "Fine Arts." Faculty of Arts Calendar 128 1952-53.

xi 15 University of Toronto. "Fine Art." Faculty of Arts Calendar 129 1935-36.

16 University of Toronto. "Fine Art." Faculty of Arts Calendar 130 1939-40.

17 Alford, Edward John Gregory. Letter to Reverend Henry 132 John Cody. 5 December 1934.

18 Trotter, Reginald G. Letter to Harry Orr McCurry. 9 August 137 1933.

19 Constable, William George. "Art Activities in Canadian 140 Universities."

20 Queen's University. "Fine Art." Faculty of Arts Calendar 143 1937-38.

21 Queen's University. "Art." Faculty of Arts Calendar 1939-40. 144

22 Queen's University. "Art." Faculty of Arts Calendar 1948-49. 145

23 "Programme of the Conference of Canadian Artists." 146

24 Lesch, Rudolph. Letter to Howard P. Whidden. 28 July 1932. 148

25 "List of Textiles, Carnegie Corporation Gift to McMaster 150 University."

26 "List of Art Works, Donated by the Carnegie Corporation to 153 McMaster University."

27 Weyhe, E. Letter to Howard P. Whidden. 19 August 1932. 158

28 "Report of Progress in Fine Arts at McMaster University 167 1 for the YearEndingApril30 \ 1939."

xii Chapter One

The Pluralistic Origins of Art History in Canada

The history of art is one of the youngest branches of the humanities in Canadian university education. It was not until the 1930s that the first formal undergraduate courses in the history of art were introduced in English-speaking Canada at institutions including

McMaster, Toronto and Queen's Universities. This was relatively late in comparison to

Europe and the United States. By the 1920s, for example, the academic institutionalization of art history was well underway at American universities.

Furthermore, during the 1930s, when the history of art was introduced into the Canadian university curriculum, there were no professionally trained art historians in Canada who could have staffed the new art departments.

This absence of qualified professors meant that scholars had to be imported from countries such as Germany, Britain and the United States, where the discipline had reached professional status earlier on. Canada's first professional art historians,

McMaster University's Lester D. Longman (1905-87) and the University of Toronto's

Edward John Gregory Alford ( 1890-1960) and Peter H. Brieger ( 1898-1983 ), exemplify this situation, for these "founding fathers" of art history in English-speaking Canada were educated in American, British and German universities. At this time, too, artists who were informally trained in the history of art often offered courses in "art appreciation" for university credit. The Swiss artist Andre Bieler ( 1896-1990) adopted this approach at

Queen's University.

This thesis explores the founding years of art history in English-speaking Canada

( 1930-45) and analyzes the unique circumstances which led to it being introduced at 2

McMaster, Toronto and Queen's Universities during the 1930s. 1 A study ofthe early years of art history at these institutions can help shed light on the ways in which the discipline became rooted in Canadian university education as well as on the diverse academic traditions which shaped it.

Precedents for the Study of Art History in Canada

German-Speaking Europe

It was principally in the universities of Germany, Austria and Switzerland that the methods and framework of the discipline of art history were first developed in the second half of the nineteenth century. But even prior to art history's entry into the academic arena, the renowned German archaeologist Johann J. Winckelmann (1719-68) wrote

Geschichte der Kunst des Altertums (1764), one of the earliest "histories of art" since

Giorgio Vasari's (1511-74) Le Vite de piu eccellenti pittori, scultori ed architetti (1550 and 1558).2 Like Winckelmann, many of the earliest historians of art in German-speaking

1 Prior to the formal introduction of art history at these institutions, professors of history, religious studies and languages, for example, would often integrate "art appreciation" into their curriculum. I have limited my research to McMaster, Toronto and Queen's Universities because these institutions were pioneers in the institutionalization of art history as an academic discipline in Canada. However, fme arts education was not limited to these universities alone in the first half of the twentieth century. By the 1930s, for example, Alberta, Mount Allison, and Saskatchewan Universities had also established fme arts programs, although the curriculum at these institutions tended to concentrate more on studio work and "art appreciation" as opposed to the history of art. See Robert Ayre, "Fine Arts in Canadian Higher Education," The Humanities in Canada Watson Kirkconnell and A.S.P. Woodhouse (Ottawa: Humanities Research Council of Canada, 1947) 220-228. For more on the University of Alberta's Banff School of Fine Arts see Donald Cameron, Campus in the Clouds (Toronto: McClelland and Stewart Limited, 1956). For more on the study offtne arts at Mount Allison University see Virgil Hammock, "Art at Mount Allison University," Liberal Education and the Small University in Canada, ed. Christine Storm (Montreal and Kingston: MeGill-Queen's University Press) 105-113. It should also be noted that some limited historical research has been undertaken on the study of art history in French-speaking Canada. See Olga Hazan, "La Premiere Chaire d'Histoire de I' Art au Canada," Association for Canadian Studies 18 (1996): 18-21. The study of art history had been established in universities in France in the second half of the nineteenth century; however, the influence of France was felt on a lesser scale in Canada, with the exception of Quebec. For more on the history of art history as an academic discipline in France see Lyne Therrien, L'Histoire de L' Art en France: Genese d'une Discipline Universitaire (Paris: Editions du C. T. H. S., 1998). Also see Jacques La Yalleye, Introduction a I' Archeologie eta L'Histoire de I' Art, 3rd ed. (Belgium: Duculot, 1972). 3

Europe came to the discipline from the neighbouring fields of archaeology, philosophy, philology, theology, law, or via previous employment as curators or librarians.

The first full professorship in the history of art was established in 1813 at

Gottingen and was held by Johann Dominic Fiorillo of Hamburg (1714-1821).3 By mid- century the study of art history began to flourish in Berlin, where in 183 3, for instance,

Franz Kugler (1808-58) was appointed as Professor ofthe History of Art at Berlin's

Academy of Art. Kugler' s three volume Handbuch der Kunstgeschichte (1842) was one of the first works of its kind to attempt a reading of the "entire realm" of art history from prehistoric times to the present.4

The history of art received professional status in German-speaking Europe during the late nineteenth century with the establishment of permanent chairs in art history and the founding of specialized scholarly joumals.5 This largely occurred following the first

International Congress ofthe History of Art held in 1873 at the Austrian Museum of Art and Industry in Vienna. Topics of discussion included the establishment of the history of art as an academic discipline, the increased availability of visual resources to professors

2 For more on Winckelmann and Vasari's contributions to the study of art history see Alex Potts, Flesh and the Ideal: Winckelmann and the Origins of Art History (New York: Yale University Press, 1994) and Patricia Lee Rubin, Giorgio Vasari: Art and History (New Haven: Yale University Press, 1995).

3 Erwin Panofsky, "Three Decades of Art History in the United States: Impressions of a Transplanted European," Meaning in the Visual Arts: Papers in and on Art History (Garden City: Doubleday Anchor Books, 1955) 323 .

4 Udo Kultermann, The History of Art History (New York: Abaris Books, 1993) 89-91.

5 For instance, by 1874, eight permanent chairs for professors of art history were established at Bonn (1860), Vienna (1863), Strasbourg (1871), Leipzig (1872), Berlin (1873), Prague (1874), Giessen (1874) and Konigsberg (1830). See Kathryn Brush, The Shaping of Art History: Wilhelm Voge, Adolph Goldschmidt. and the Study of Medieval Art (Cambridge and New York: Cambridge University Press, 1996) 19. 4 and students of art history, and the necessity of a scholarly journal for the history of art, which eventuated in the Repertorium fur Kunstwissenschaft in 1876.6

Scholars such as Alois Riegl (1858-1905) and Heinrich Wolfflin (1864-1945), for example, belonged to what can be described as the "first generation" of professional art historians who were formally educated in the German-speaking universities in the 1880s and 1890s.7 Riegl, who originally studied art at the Austrian Institute ofTechnical

Research, started his teaching career in 1895 at the University of Vienna where he was appointed to a full professorship in 1897.8 He is perhaps best known for his Stilfragen

(1873), a book on the history of ornamentation. Wolfflin, who was a student of Jakob

Burckhardt (1818-97) at Basel, was appointed to his teacher's chair in 1893. 9 His

Kunstgeschichtliche Grundbegriffe: Das Problem der Stilentwicklung in der neueren

Kunst (1915) was very influential in the development of formalist approaches in Britain and the United States following its translation into English in 1932. 10

From the mid-nineteenth century up until the rise ofNazi socialism in the 1930s, much of the framework for the discipline as we know it today was formed in the German-

6 Brush, The Shaping of Art History 20.

7 Other scholars who belong to this "ftrst generation" of professionally trained art historians were Aby Warburg (1866-1929), Wilhelm Voge (1868-1952) and Adolph Goldschmidt (1863-1944). See Kathryn Brush, "German Kunstwissenschaft and the Practice of Art History in America after World War I. Interrelationships, Exchanges, Contexts," Marburger Jahrbuch fiir Kunstwissenschaft 26 (1999): 8. Both Voge and Goldschmidt were trained under Anton Springer (1825-1891) at Leipzig.

8 In 1887 Riegl assumed Franz Wickhoff's (1853-1909) position in the Department ofTextiles at the Austrian Museum for Art and Industry. Kultermann 162-163.

9 Often designated as the ftrst "cultural historian," Jakob Burckhardt is known for his application of cultural history to the history of art, particularly the art of the Italian Renaissance. In 1844, Burckhardt was appointed as Privadozent (private tutor) at the University of Basel, Switzerland and in 1845 became assistant professor at Basel where he lectured on the history of Western art until 1853. See Kultermann 95- 97. 5 speaking universities, and by such influential teachers as Heinrich Wolfflin, Anton

Springer, Adolph Goldschmidt, Wilhelm Voge, Max Dvorak (1874-1921) and Max J.

Friedlander (1867-1958). Yet in 1933 many ofthe most eminent art historians were forced to leave Germany and Austria for other countries such as Britain, the United States and even Canada. Canada's only example of a German emigre art historian who settled permanently in the country was Peter Brieger. Brieger, who took his Ph.D. at the

University of Breslau in 1924, was among the earliest art historians hired at the

University ofToronto. 11 The arrival of German emigre art historians ultimately had a significant impact on the state of the discipline in the countries in which they settled, influencing art history's transition from "art appreciation" to a study more academic in nature.

Britain

The history of art emerged at a considerably slower pace in Britain as compared to

German-speaking Europe. However, in 1869 a first step was made with the founding of

Slade Chair of Fine Art at Oxford University. Felix Slade (1790-1868), a wealthy attorney and art collector, provided the endowment for the introduction of three fine arts professorships at the Universities of Oxford, London and Cambridge. 12 John Ruskin

(1819-1900) was the first to hold the Slade Chair at Oxford, a position he held for two

10 For more in Wolfflin see Kultermann 176-180.

11 Ulrike Wendland, Biographisches Handbuch Deutschsprachiger Kunsthistoriker im Exil, vol. I. (Munich: Saur, 1999) 70-72.

12 Wolfgang Kemp, The Desire of My Eyes: The Life and Work of John Ruskin, trans. Jan van Heurck (New York: Farrar, Straus and Giroux, 1990) 9. 6 terms from 1869 to1879 and from 1883 to 1885. 13 To counter what he envisioned as the immoral nature of British industrialism, Ruskin lectured on the virtues of the art of the

Middle Ages, particularly that of medieval Venice as described in his famous Stones of

Venice (1850-53). 14 Ruskin also supplemented the Oxford Slade Chair by personally funding the creation of a drawing mastership, the premise being that by drawing from nature students would make the connection between art and nature and, consequently, art and work. 15

Ruskin's moralizing educational agenda arose partly in response to popular notions surrounding the value of art in British society, which by the 1850s had largely shifted towards economic concerns. In 1835 and 1836 a Select Committee sat in the

British House of Commons with the objective of "inquiring into the best means of extending a knowledge of the ARTS and PRINCIPLES OF DESIGN among the

People." 16 It was determined that Britain was lacking artistic maturity in comparison to other nations, and this was viewed as having detrimental economic consequences, especially in the realm of material production. It was recommended that art should be made more accessible to the manufacturing class. This recommendation ultimately led to

13 Ruskin was an Oxford graduate himself, having obtained a B.A. and M.A. in 1841 and 1843 respectively. For more on Ruskin see Dinah Birch, Ruskin and the Dawn of the Modern (New York: Oxford University Press, 1999); Solomon Fishman, The Interpretation of Art: Essays on the Art Criticism of John Ruskin, Walter Pater. Clive Bell. Roger Fry and Herbert Read (Berkeley: University of California Press, 1963); George P. Landow, The Aesthetic and Critical Theories of John Ruskin (Princeton: Princeton University Press, 1971 ); Roger B. Stein, John Ruskin and Aesthetic Thought in America. 1840-1900 (Cambridge: Harvard University Press, 1967).

14 Kemp 353. For a detailed account of Ruskin's career as a university professor see Kemp 329-391.

15 The drawing mastership was ultimately unsuccessful; Ruskin's lectures were more popular among the student body than the drawing classes. 7 the establishment ofthe South Kensington Museum in 1857 by the Government

Department of Science and Art, directed by Henry Cole (1880-82).

The South Kensington collection was based primarily on the history of material production with many examples drawn from the Great Exhibition of the Works of

Industry of All Nations of 1851. 17 The guiding premise at South Kensington was that if the manufacturing class saw "aesthetically pleasing" commodities, they would desire and thus emulate, such objects. It was this sort of "vocational" education as seen at South

Kensington that Ruskin did not approve of, thus explaining his preference for the

"virtuous" Middle Ages and his initiation of a drawing mastership. 18 Ruskin's work, however, was a seemingly minor step in the institutionalization of art history in Britain. 19

Yet, his work was to have strong resonance in North America because of his close friendship with Harvard University's first art historian Charles Eliot Norton (1827-

1908).20

It was not until the founding of the Courtauld Institute of Art at the University of

London in 1931 that the history of art was firmly established as an academic discipline in

16 Louise Purbrick, "The South Kensington Museum: The Building of the House of Henry Cole," Art Apart: Art Institutions and Ideology Across England and North America, ed. Marcia Pointon (Manchester and New York: Manchester University Press, 1994) 70.

17 Purbrick 73. Inspired by the Great Exhibition the Department of Science and Art was first established in 1852 and was originally named the Department of Practical Art. The Department of Science and Art became committed to various aspects of art education as well as to the formation of museums to counter the perceived artistic immaturity in Britain. See Purbrick 76-77.

18 G. W. Kitchin, Ruskin in Oxford and Other Studies (London: John Murray, 1904) 38.

19 In "Art as a 'Piece of History'" Ellis Waterhouse describes the art history of the Slade Professorship tradition as "an occasional intellectual dessert." See Ellis Waterhouse, "An Un-English Activity? -II, Art as a 'Piece of History'," The Listener 6 November 1952: 761.

20 John Lewis Bradley and Ian Ousby, eds., The Correspondence of John Ruskin and Charles Eliot Norton (Cambridge: Cambridge University Press, 1987). 8

Britain. One of the main forces behind the organization of the Courtauld Institute was

Arthur Lee, Viscount Lee ofFareham (1868-1947) who was known for both his political and philanthropic activities. 21 Lee and his American wife were admirers of an approach to the history of art that they had witnessed at Harvard University, an approach which correlated lectures in art history with the study of original art works from the university's collection. In 1927 Lee initiated a motion to have a similar program introduced at the

University of London. After the new program was approved in 1929, Lee enlisted several wealthy patrons, including Samuel Courtauld (1876-1947), to assist with the establishment of the program.22

Samuel Courtauld, a wealthy artificial silk manufacturer, was a major patron of various London arts organizations. He was also an avid art collector who over the years had acquired an important collection oflmpressionist paintings. Following the death of his wife in 1931, Courtauld donated his house in Portman Square as well as a major portion of his art collection to Lee's project with the intent of creating "a centre for the international community of artists, art historians, museum curators and critics."23 Under the direction of William George Constable ( 1887 -1976), the Courtauld Institute of Art accepted its first cohort of students in pursuit of an art history degree in 1932.24 The

21 John Murdoch, The Courtauld Gallery at Somerset House (London: Thames and Hudson Ltd., 1998) 8.

22 Lee obtained monetary donations from Lord Duveen, Sir Robert Witt, Sir Herbert Cook, Alderman John Gross of Sheffield and Sir Martin Conway. Murdoch 9.

23 Murdoch 8. Courtauld's donation was especially significant, for owing to the Great Depression there had been some reluctance to continue the project.

24 Denys Sutton, "Obituary: W. G. Constable," Apollo 104:173 (1976): 82. A former student of law and the Slade School, Constable spent the majority of his early museum career at the National Gallery in London where he became Assistant Director 1931. He remained at the Courtauld Institute until 1938, when he accepted a position as Curator of Paintings at the Museum of Fine Arts, Boston. Constable assisted and reported on the National Gallery of Canada in the 1920s and 1930s and lectured across Canada in 1933. At 9

Courtauld Institute was especially significant in its separation of the study of art history from other branches of art education, including technical training or art appreciation?5

The Courtauld Institute thus elevated the study of art history in Britain to a professionalized plane. This professionalism was enhanced after 1933 with the arrival of scholars in exile from Nazi Germany and with the arrival of the renowned Warburg

Library from Hamburg.26 The Courtauld Institute of Art is central to the discussion of the founding years of art history in Canadian university education. Clearly, Canada's colonial ties to Britain are an important consideration in this regard. Many of Canada's early art historians, for example, the University of Toronto's John Alford, were products ofthe

Courtauld Institute. Furthermore, prior to the establishment of graduate programs in the

that time he issued a report on "Art Activities in Canadian Universities" which will be discussed in the following chapter.

25 Some of the earliest lectures at the Courtauld Institute were given by Roger Fry, T. D. Kendrick, Kenneth Clark, F. K. Waterhouse, A. E. Popham and J. Byam Shaw. See J. G. Links, "Obituaries: W. G. Constable," The Burlington Magazine 118:878 ( 1976): 311-312. Roger Fry noted how the study of art history was neglected in Britain until the founding of the Courtauld Institute of Art. See Roger Fry, Art­ History as an Academic Discipline (Cambridge: Cambridge University Press, 1933) 2.

26 The Warburg Library, created by Aby Warburg in 190 I, was an important art historical resource in Hamburg, especially for scholars such as Erwin Panofsky ( 1892-1968) who taught art history at the University of Hamburg from 1921-1933 before emigrating to the United States. Following the Nazi takeover of Germany it became necessary to remove Warburg's library (which had reached to over 60, 000 books). Fritz Sax! (1890-1948), Warburg's assistant, dismantled the library and made arrangements to have it moved to London. The significance of the Warburg Library to the Courtauld Institute is best described by art historian Nikolaus Pevsner ( 1902-83) who left Germany and assumed a teaching position at the University of London in 1935: "For when the history of art as an academic subject at last made an appearance in this country - as late as 1931, the date of the foundation of the Courtauld Institute of Art in the University of London- it was more an outcome of the rapid spreading of the subject in America than of its well-tested existence on the continent. The Courtauld Institute has established itself fmnly as a centre of art-historical training, and post-graduate research a little later made the best possible start when the Warburg Institute succeeded in extricating itself from the Nazis and in re-opening in London as a school of the university." See Nikolaus Pevsner, "An Un-English Activity? -1, Reflections on Not Teaching Art­ History," The Listener 30 October 1952: 716. The aforementioned Viscount Lee was instrumental on Britain's end in assisting the removal of the Warburg Library from Germany. For more on Aby Warburg see Ernst Hans Gombrich, Aby Warburg: An Intellectual Biography (London: The Warburg Institute, 1970). 10 history of art in Canada, the Courtauld Institute provided an alternative to the United

States for Canadian students who wished to undertake graduate studies in the field.

United States

The history of art was first introduced in the United States during the late nineteenth century at Harvard and Princeton Universities.27 In the decades that followed, these two institutions became the leading academic centres in the field and were largely responsible for the institutionalization of art history in America. Because of Canada's proximity to the United States it is especially important to consider how the discipline developed at these institutions.

Often termed as "the father of art history in North America," Charles Eliot Norton became the first Professor of Fine Arts at Harvard University in 1875, and instructed courses on the arts of antiquity and the Middle Ages.28 Influenced by his close friend

John Ruskin, Norton's primary art historical area of interest became medieval art, especially that of medieval Venice.29 Like Ruskin, Norton also recognized the

27 In the early nineteenth century lectures on or related to the history of art or art appreciation were offered sporadically in the United States; however, no professorships were organized at this time. In 1832 Joseph Henry instructed a fme arts course at the College of New Jersey (it became Princeton University in 1906) which included the history of art ranging from Egypt to the Gothic. Harvard's Henry Adams (I 838-1918) also privately printed Mont Saint-Michel and Chartres in 1904. For more on the early study of art history in the United States see Craig Hugh Smyth and Peter M. Lukehart, eds., The Early Years of Art History in the United States: Notes and Essays on Departments. Teaching and Scholars (Princeton: Princeton University Press, 1993).

28 Sybil Gordon Kantor, "The Beginnings of Art History at Harvard and the "Fogg Method"," The Early Years of Art History 161.

29 After graduating from Harvard in 1846, Norton began a career in business, then pursued his interest in literature. Norton turned to the study of art after visiting extensive museums, galleries and churches during his travels in Europe. His friendship with Ruskin came to largely influence his approach to the history of art as a result of his comparable disdain for the immoral nature of modern industrial society. See Kathryn McClintock, "The Classroom and the Courtyard: Medievalism in American Highbrow Culture," Medieval Art in America: Patterns of Collecting. 1800-1940, exh. cat., ed. Elizabeth Bradford Smith (Pennsylvania: Pennsylvania State University, 1996) 41-54. Also see Lillian B. Miller, Patrons and Patriotism: The 11 importance of drawing to the student of art history and thus appointed an applied arts instructor, Charles Herbert Moore (1840-1930), to facilitate this element ofthe curriculum. 30 In 1891 Harvard University received a substantial bequest from William

Hays Fogg intended for the establishment of a university art museum.31 When the Fogg

Art Museum opened in 1895, Moore was appointed jointly as director and curator. This forged a lasting relationship between Harvard's art history curriculum and the Fogg's collection. Apart from serving as an exhibition space, the Fogg also housed the art history department, thereby permitting Harvard's students to learn directly from original works of art and to develop valuable museological skills. This was a highly influential approach to the study of art history that was later imitated by the Courtauld Institute.32

Within a decade ofNorton's appointment at Harvard, Princeton University also established a program in the history of art. 33 In 1882 Allan Marquand (1853-1924), whose background was in theology and philosophy, was appointed to teach a course on the art of the Early Christian, Byzantine, Romanesque and Gothic periods in Princeton's

Philosophy Department.34 In contrast to Norton, Allan Marquand's primary area of

Encouragement of the Fine Arts in the United States. 1790-1860 (Chicago and London: The University of Chicago Press, 1966) 24-32.

30 While Norton focused on the moral dimensions of art, Moore had students execute drawings from still life, plaster casts and copies of Ruskin's illustrations from Stones of Venice. See McClintock "The Classroom" 44.

31 McClintock, "Academic Collecting at Harvard," Medieval Art in America 172-181.

32 Harvard graduates such as Bernard Berenson (1865-1959) refined Norton's Ruskinian theories and set the tone for connoisseurship studies at that institution. See Kantor 161.

33 For the history of Princeton's Department of Art and Archaeology see Marilyn Aronberg Lavin "Princeton: The Beginnings Under Marquand," The Early Years of Art History 7-12. Also see Sarah Andrews, "Academic Collecting at Princeton," Medieval Art in America 182-184. 12 interest was the Renaissance; he is most recognized for his work on the Della Robbia family. It is important to note that the early scholars of art history in America, such as

Norton and Marquand, came to the discipline without any formal training in the field. 35

However, these "gentlemen scholars" were well-bred, well-read and well-traveled, and they ultimately laid firm foundations for the introduction of the new discipline in the

United States.36

By World War I the history of art acquired the status of a serious academic discipline in the United States with the establishment of professional associations such as the College Art Association of America (1912). 37 As the study of art history began to flourish in American colleges and universities, questions were raised surrounding the role of fine arts in higher education in America. 38 The College Art Association's Bulletin, first published in 1913, was dominated in its early years by debates concerning the

34 Like Norton, Marquand was from a wealthy family and the endowment for the program came from Henry Marquand, Allan's father. Allan Marquand also became museum director at Princeton, purchasing works himself as well as encouraging friends and alumni to donate. Lavin 7.

35 This is described by Harvard philosopher George Santayana as "The Genteel Tradition". See George Santayana, "The Genteel Tradition in American Philosophy," Winds of Doctrine (New York: Charles Scribner's Sons, 1913) 186-215.

36 James Ackermann attributes the early association of art history with gentility to the fact that only the wealthy could travel to Europe to see original art works. See James S. Ackermann and Rhys Carpenter, Art and Archeology (New Jersey: Prentice-Hall Inc., 1963) 189.

37 For a concise history of the College Art Association of America see W. L. M. Burke, "The Early Years of the College Art Association," College Art Journal 1:4 (1942): I 00-104.

38 According to a survey from 1912 by Earl Baldwin Smith, 95 American institutions of higher education that offered a four-year liberal arts degree (out of a survey of 400), offered courses in art history. Sixty­ eight of the 95 had a special chair in the history of art or archaeology, and overall there were 117 teachers of the history of art in the United States by 1912. See Earl Baldwin Smith, The Study of the History of Art in the Colleges and Universities of the United States (Princeton: Princeton University Press, 1912). This survey was brought about by a request from Adolfo Venturi to Allan Marquand for information related to the development of the discipline in the United States to be presented at the Tenth International Congress of Art Historians held in Rome in October 1912. 13

"place" and "value" of fine arts in college and university education. At this point, some emphasis continued to be placed on the connection between art and morality?9

Following World War I, the professionalization of art history in the United States was accelerated with the development of graduate programs, the appearance of internationally recognized publications by American scholars, increased contact with scholars from abroad, and the acquisition of important visual resources. America's second generation of art historians demonstrated a more sophisticated level of scholarship, particularly those from Princeton and Harvard Universities. One of the leading scholars in Princeton's Department of Art and Archaeology was Charles Rufus

Morey (1877-1955) who taught at that institution from 1906 to 1943.40 Morey was one of the founders of the aforementioned College Art Association in 1912 and established the

Princeton Index of Christian Art in 191 7. He also organized the Princeton publication series of books on illuminated manuscripts (which continues today) and was a founder of

Art Studies, a periodical published jointly by the Princeton and Harvard art departments from 1923 onwards.41 Morey, whose approach was largely historical in nature, instructed courses on early Christian art as well as manuscript illumination. In contrast to the

39 In an article entitled "The Place of the Fine Arts in Higher Education," Ralph Adams Cram writes "[a]rt has real value, however, apart from historic education. It is not an amenity of life, but a heritage, an attribute of wholesome living." See Ralph Adams Cram, "The Place of Fine Arts in Higher Education," Bulletin 1.4 (1918): 129-135. Canadians were welcome in the College Art Association from its inception. See Jean Sutherland Boggs, "The History of Art in Canada," Scholarship in Canada. 1967: Achievement and Outlook, ed. R. H. Hubbard (Toronto: University of Toronto Press, 1968) 45.

40 Other scholars hired at this time were Oliver Tonks in 1906, Frank Jewett Mather in 1911, George Wicker Elderkin in 1912 and Earl Baldwin Smith in 1916. See David VanZanten, "Formulating Art History at Princeton and the "Humanistic Laboratory"," The Early Years of Art History 176. For more on Charles Rufus Morey see Craig Hugh Smyth, "The Princeton Department in the Time of Morey," The Early Years of Art History 37-42.

41 Morey later published the texts Early Christian Art and Medieval Art in 1942. See Craig Hugh Smyth, "Concerning Charles Rufus Morey," The Early Years of Art History 119. 14

Harvard approach, Princeton scholars such as Morey tended to focus more on the iconography of art works.42

Harvard's most renowned scholar during the 1920s was Arthur Kingsley Porter

(1883-1933). A medieval scholar like Morey, Porter was recognized prior to his appointment at Harvard as a first-class scholar for his work on The Construction of

Lombard and Gothic Vaults (1911) and Lombard Architecture (1915).43 When he accepted a position at Harvard in 1920 he had already begun Romanesque Sculpture of the Pilgrimage Roads (1923), the publication for which he is widely known. At Harvard

Porter acted in an advisory capacity for the Fogg Museum, thereby contributing to the important connection between Harvard's art history curriculum and the Fogg's art collection. 44 In 1909 a former Harvard graduate, Edward W. Forbes (1873-1969) became

Director of the Fogg and appointed another Harvard alumnus, Paul J. Sachs (1878-1965) as Assistant Director in 1915.45 Both Forbes and Sachs, who were from immensely wealthy families, purchased many items for the Fogg and were responsible for building the collection into one of international importance, unparalleled at any other university in the United States. Sachs introduced Harvard's first course in museum administration in

1921; this added another professional dimension to Harvard's prestigious program.

42 Kantor 167.

43 McClintock "Academic Collecting" 175. Porter received a medal from the Societe Francaise d' Archeologie and an honorary degree from Marburg. See Linda Seidel, "Arthur Kingsley Porter: Life, Legend and Legacy," The Early Years of Art History 105.

44 In the early years of Porter's tenure at Harvard, he advised Forbes on the Fogg's first major acquisition of Romanesque sculpture. McClintock, "Academic Collecting" 176.

45 McClintock "Academic Collecting" 174. 15

American art history, like its British counterpart, also profited immensely from the great exodus of scholars who were forced to leave Europe with the rise ofthe Nazi regime in the early 1930s.46 Surely, art history was a formalized discipline in America prior to the arrival ofthe refugee scholars; however, the increased contact with a number of the most eminent German-speaking art historians contributed towards continued growth in the field. The refugee scholars took positions at various institutions throughout the United States, including Harvard and Princeton Universities and New Yark

University's Institute of Fine Arts, which was founded by Walter Cook (1888-1962) in

1932. In 1932 Princeton University also founded the Institute for Advanced Study, a centre for post-doctoral study.47 Erwin Panofsky, Walter Friedlander (1873-1966), Paul

Frankl (1889-1963) Richard Krautheimer (1887-1994), Jakob Rosenberg (1893-1980) and Karl Lehmann (1894-1960) were but a few of the distinguished emigre scholars who taught at these and other American universities.48 By the 1930s, both Britain and America became important international centres for the study of the history of art, broadened by the influx of scholars from the German-speaking universities in Europe.

46 Panofsky 321-346. Another source on the arrival of Gennan-speaking scholars in exile is Colin Eisler, "Kunstgeschichte American Style: A Study in Migration," The Intellectual Migration: Europe and America. 1930-1960, eds. Donald Fleming and Bernard Bailyn (Cambridge: Harvard University Press, 1969) 629. For a reinterpretation ofPanofsky's and Eisler's works see Brush "Gennan Kunstwissenschafi." In this article, Brush argues that the arrival of Gennan-trained emigres on American shores in 1933 affirmed and reinvigorated structures and institutional and personal links that were already well established, for the Americans and Gennans had been in close contact since the Great War.

47 Charles Rufus Morey was a chief adviser for the School of Humanistic Studies branch of the Institute. See Smyth 119.

48 However the teaching of the emigre scholars was not limited to such institutions as Princeton and New York Universities. Krautheimer for instance, began his teaching career in the United States in Louisville, Kentucky (1935-37), followed by Vassar College in Poughkeepsie, New York and lastly at the New York 16

The Study of Art and Archaeology in Canada Before 1930

Prior to the 1930s there was little interest in the academic study of art history in Canada.

This situation is perhaps best described by Canada's first professional art historian, Lester

Longman, in a letter from 1977 in which he recorded his impression of the state of arts in

Canada upon his arrival from the United States in 1933: "Art seemed to be regarded as having cultural and emotional value, but little academic and cognitive significance."49 As we turn to an examination ofthe founding years of the discipline in Canada, it is helpful to consider some of the nation's early art-related educational bodies, cultural institutions, associations and government initiatives in order to better understand the intellectual and historical milieu which prevailed when the new discipline was introduced in the 1930s.

This discussion will also shed light on the nature of the research resources and pedagogical opportunities which were available to Canada's first generation of art historians.

Canadian Archaeology and the Royal Ontario Museum

A related academic tradition existed at the University of Toronto prior to the 1930s, namely, the study of archaeology. Since the nineteenth century, the practice of archaeology in Canada followed two main directions: the study of Canada's earliest settlements and indigenous peoples, and the excavation of sites in Egypt, Crete and Asia

University's Institute of Fine Arts. See Kultennann 223. For a list of European scholars in art history who emigrated to the United States in the 1930s see Eisler 629.

49 Lester D. Longman, letter to Charles M. Johnston, 27 July 1977. This letter was obtained at the McMaster Museum of Art. See Appendix 4. Longman wrote this letter in response to a series of questions posed by Charles M. Johnston for his two-volume history of McMaster University. See Charles M. Johnston, McMaster University: The Toronto Years vol. I (Toronto and Buffalo: University of Toronto Press, 1976) and McMaster University: The Early Years in Hamilton vol. 2 (Toronto, Buffalo, London: University ofToronto Press, 1981). 17

Minor. Some of the earliest developments in the field of archaeology occurred in Ontario following the establishment of the Canadian Institute in Toronto. Founded by Sir Sanford

Fleming (1827-1915) in 1849, the Canadian Institute was largely responsible for transforming the study of archaeology in Canada from an antiquarian study to a practice more scientific in nature. 50 The original purpose of the Canadian Institute was to encourage study in the physical sciences and the arts with the aim of fostering advancements in fields such as engineering and architecture. The focus shifted to archaeology in 1852 with Daniel Wilson's (1816-92) arrival at the Institute, and with the founding of the Canadian Journal, the first publication of its kind to discuss archaeology

1 as a science in Canada. 5 Wilson' s main contribution to archaeology was his pioneering avocation that the collection and excavation of objects should not revolve around curiosity alone, but be concerned with preservation and the construction of a scientific and historic truth. Wilson's attitude towards scientific archaeology very much echoed then-current intellectual paradigms such as Charles Darwin' s (1809-82) evolutionary theory.

Another key figure in nineteenth-century Canadian archaeology was David Boyle

(1842-1911 ). Self-trained, Boyle was heavily involved in the early surveys and excavations of Ontario. Beginning in 1887 he issued an Annual Archaeological Report

50 Gerald Kilian, "Toward a Scientific Archaeology: Daniel Wilson, David Boyle and the Canadian Institute 1852-96," Bringing Back the Past: Historical Perspectives on Canadian Archaeology, eds. Pamela Jane Smith and Donald Mitchell (Hull: Canadian Museum of Civilization, 1998) 15-24. The Canadian Institute operated from 1849-96.

51 Born in Scotland, Daniel Wilson came to Canada after being appointed as chair of history and English at University College, Toronto. ln Britain he was a respected "prehistorian" for he published Archaeology and Prehistoric Annals of Scotland in 1851. His article "Brain-Weight and Size in Relation to Relative Capacity of Races," Canadian Journal (1876) is one of his most recognized publications. Wilson was President of the University of Toronto from 1880-92. See Kilian 17. 18 for Ontario. From 1884 to 1896 Boyle was curator-archaeologist at the Canadian Institute

Museum where he exhibited many of his own findings as well as those of his amateur counterparts. 52 It is evident that neither Wilson nor Boyle had anything to do with the history of art per se; however, their pioneering efforts in the collection, description and classification of objects had a great influence on the development of archaeological science in Canada. 53

Likely the only individual in Canada prior to the 1930s whose study of archaeology had potential for developing into art historical study was Charles Trick

Currelly (1876-1956). Currelly was born in Ontario and was educated in the natural sciences and theology at Victoria College, University ofToronto.54 Following his graduation from Toronto in 1902, he undertook excavation projects in Egypt and Crete; meanwhile, there was a movement in Toronto for the establishment of a university museum spearheaded by Sir Byron Edmund Walker (1848-1924). 55 Walker was

52 Boyle emigrated to Canada from Scotland in 1856 and was trained as a blacksmith. For more on Boyle see Kilian 21-23.

53 The training of archaeologists in Canadian universities did not flourish until the 1950s and 1960s. This expansion occurred in response to Canadians leaving the country for educational purposes and also coincided with Canada's Centenary, which resulted in a growth of both universities and museums in Canada. See Jane H. Kelly and Olga Klimko, introduction, Bringing Back the Past 3-11. Also see Archie F. Key, Beyond Four Walls: The Origins and Development of Canadian Museums (Toronto: McClelland and Stewart Ltd., 1973).

54 Courses in the natural sciences at Toronto included biology, chemistry, physics, geology and mineralogy. During his undergraduate years Currelly also had training in fieldwork, surveying, plotting and examining cuttings. Currelly received his B.A. in 1898 and M.A. in 1902. See C. T. Currelly, I Brought the Ages Home (Toronto: University ofToronto Press, 1956) 12-28.

55 Walker was Chairman of the Board of Trustees at the Royal Ontario Museum from 1912-1924, and on his death he donated his personal collection of Japanese woodblock prints to the museum. Walker was also a founding member of the Toronto Art Gallery, a trustee of the National Gallery of Canada and an avid art collector. See Art Gallery of Toronto, Fifty Years and the Future (Toronto: Art Gallery of Toronto, 1950). Also see Jean Sutherland Boggs, The National Gallery of Canada (Toronto: Oxford University Press, 1971). 19

Chairman ofthe Board ofTrustees at the University ofToronto (1892), and after 1907,

6 Chairman ofthe Canadian Bank of Commerce. 5 It was Walker's proposal to the Board of Governors at the University of Toronto that led to Currelly's appointment in 1905 to collect objects for a university museum. In 1912 the museum was adopted by the Ontario

7 Government as the Royal Ontario Museum (ROM). 5

In its founding years the ROM was conceived as a scientific institution with a dual mission: to operate as a research organization through the University of Toronto and as an educational centre for the non-university public. 58 It was originally divided into five museums (Archaeology, Geology, Mineralogy, Paleontology and Zoology) with

Currelly as Director from 1914 when the museum was officially opened to the public. 59

Not only was Currelly involved in amassing a world-renowned collection at the ROM, but he also instructed courses in the history of art at the University of Toronto prior to any formal initiation of an art history program at the university. Currelly held the position of Professor ofthe History oflndustrial Art at Toronto and taught courses on ancient history illustrated by the monuments, and on Greek sculpture and architecture.60 The nature ofCurrelly's approach to archaeology at the University of Toronto and the ROM

56 Lovat Dickson, The Museum Makers: The Story of the Royal Ontario Museum (Toronto: Royal Ontario Museum, 1986) 8.

57 Currelly 130.

58 The administrative relationship between the ROM and the University of Toronto was highly problematic from the very beginning due to conflicting interests. In 1968 the ROM separated from the university and became a separate self-governing body. See C. Swann, "Another Step," Rotunda I: 1 (I 986): I.

59 Dickson 33-39.

60 University of Toronto, "Art and Archaeology," Facultv of Arts Calendar 1933-34 (Toronto: University of Toronto, 1933) 182. See Appendix 5. Following the establishment of the Department of Fine Art at the University of Toronto, Currelly as well as fellow ROM archaeologists Bishop William Charles White and Homer A. Thomson taught art-related courses. See Boggs "The History of Art" 45-46. 20 can be described as art historical where he leaned more towards acquisition as opposed to fieldwork. 61 Surely, Currelly's pioneering work at both the ROM and the University of

Toronto was promising, yet despite some of the art historical leanings in his collecting practice, archaeology was certainly his major priority.

A National Gallery for Canada

Prior to the 1930s Canada's National Gallery demonstrated limited promise in terms of encouraging the study of art history in the country. At the turn of the century, art collecting and philanthropy in Canada was sporadic in nature, a trend which is clearly reflected throughout the entire history of the National Gallery of Canada. While meagre, the National Gallery did provide, however, an important resource base as well as a place of employment for many of the graduates of Canada's early art history programs. It is thus important to highlight some of the key personalities and events surrounding the

National Gallery's early years. 62

The National Gallery of Canada was founded in 1880 by the Marquis of Lome,

Sir John Douglas Campbell (1845-1914), Canada's Governor General from 1878 to 1883, and his wife Princess Louise, the daughter of Queen Victoria. The National Gallery's collection originated with a small group of diploma paintings by the first artists of the

Royal Canadian Academy of Art.63 Only months prior to the founding of the National

61 David M. Pendergast, "The Royal Ontario Museum and Archaeology Abroad," Bringing Back the Past 96.

62 For a history of Canada's National Gallery see Boggs The National Gallery.

63 For a complete list of the charter members of the Royal Canadian Academy see Newton McTavish, The Fine Arts in Canada (Toronto: The McMillan Company of Canada Ltd., 1925) 26. Their frrst exhibition was held in Ottawa in March 1880. Lord Lome and his wife also made personal contributions to the gallery and encouraged English academicians to do the same. See Boggs The National Gallery 8. 21

Gallery in 1880, Princess Louise established the Royal Canadian Academy in the image of the Royal Academy in England.64 The relationship between the Royal Canadian

Academy and the National Gallery was incorporated in the Act of 1882, at which time the

Canadian Government made a financial commitment to the gallery. With the election of

Sir Wilfred Laurier (1841-1911), Canada's Prime Minister from 1886 to 1911, an annual subsidy to the National Gallery was established for the purchase of art works. In its early years, the gallery resided in various locations, first in a remodeled builder's workshop on

Parliament Hill and later in the Government Fisheries Building where it remained until

1912.65 The lack of a permanent location for the collection, coupled with an informal collecting policy, resulted in a great degree of instability for Canada's National Gallery in its founding years.

Following the appointment of a Government Advisory Council to the gallery in

1907, some serious collecting finally occurred. The Council's first members were Sir

George Alexander Drummond, a Montreal businessman and collector, the aforementioned Sir Edmund Walker, and Senator Arthur Boyer, who was also from

Montreal and was connected to the Montreal Museum of Fine Arts and the Montreal Art

Association.66 Walker became Chairman in 1910 following Drummond's death and was responsible for the great majority of purchases made between 1910 and 1924.67 He is

64 An amateur artist herself, Princess Louise sought to bring together the artists of Canada, just as England had with the founding of the Royal Academy in 1768. See McTavish 24.

65 ln 1912 the collection was moved to the Victoria Building where it remained until1916.ln 1916 a fire on Parliament Hill forced the collection to be moved into storage until 1921, when it was returned again to Victoria Museum.

66 Boggs The National Gallery 6.

67 Boggs The National Gallery 7. 22

recognized for his efforts to arrange the collection chronologically. At the time the

collection concentrated on both Canadian and European art. Walker was also responsible

for hiring the National Gallery's first full-time Director, Eric Brown (1877-1939), in

1910, shortly after he assumed the Chairman position. Brown was an Englishman who

worked directly with Walker on acquiring works, especially those from Europe.68

In 1913 the National Gallery of Canada was incorporated by an Act of Parliament.

This led to an increase in the purchasing power ofthe gallery to $100,000 per year. With

the arrival of World War I, this budget was short-lived.69 Yet despite these economic

constraints, important purchases were made in the realm of nineteenth-century French

painting, prints and drawings.70 This also influenced Walker and Brown's decision to

focus on the "national school" of painting: Tom Thomson and the Group of Seven.

Following Walker's death in 1924, various Chairmen filled his position. Brown remained

at the gallery until his death in 1939. He was supported by various advisors such as

England's Charles Ricketts (1866-1931) from 1924 to 1931, F. J. Shepherd from 1924 to

1929, and H.S. Southam until1939. Brown was also in contact with Britain's W. G.

Constable who reported on the function of Canadian museums in the 1920s, and later on the National Gallery' s collection in 1931. Acquisition funds had stabilized after the Great

68 For more on Brown see Florence Maud Brown, Breaking Barriers: Eric Brown and the National Gallery (Ottawa: National Gallery of Canada, 1964).

69 lt was not until 1923 that an acquisitions budget of this magnitude was reinstated. See Boggs The National Gallery 12.

70 Boggs The National Gallery 9. Sporadic donations also accounted for some expansion in the collection. Fifteenth-century Venice, sixteenth-century Florence, Flanders and Germany, seventeenth-century Rome, Flanders, Spain and Holland, and eighteenth-century England and France were also represented in the collection at this time. 23

War only to be minimized again with the onset ofthe Great Depression in 1929.71 Still between 1924 and 1939 Brown made important advancements in articulating a collection policy for the gallery, a policy which concentrated on the acquisition of European art from "the greatest periods" as well as a "representative" sampling of Canadian art. 72 He also initiated a reproduction program of Canadian art beginning in 1927. The program was directed largely towards public schools across the country that received print collections in two sizes (8" x 10" and 4 W' x 3 Yz"). The aim of the program was to foster a sense of national identity and pride among Canada's young people through the display of Canada's "greatest" artworks. The majority of works selected for the original series were twentieth-century examples and included reproductions of paintings by such artists as Tom Thomson (1887-1917), J.E.H. McDonald (1873-1932) and Arthur Lismer

(1885-1969).73

Individuals such as Sir Edmund Walker and Eric Brown had no professional training in art history, although their persistence and wise use of their limited resources, coupled with the assistance of British scholars such as Ricketts and Constable, enabled

71 Boggs The National Gallery 31. It should be noted that unlike other major international galleries, Canada's National Gallery had no major fmancial backing from a philanthropic organization or individual sponsor. Because Canadian tax-dollars accounted for the majority of the institution's purchasing power, the Gallery's acquisition budget was guided by the health of the Canadian economy.

72 Though late in occurrence, Brown was the first to articulate a formal collection policy for the museum. See Boggs The National Gallery 32.

73 There were 10 prints in total in the original reproduction series. Cornelius Krieghoff's Quebec habitant winter scene of 1849 and Horatio Walker's Oxen Drinking (1899) were the only examples from the nineteenth century. Other works included Homer Watson's The Flood Gate (1900-01) and Clarence Gagnon's Laurentian Village (c. 1924). The prints were accompanied with study guides prepared by Arthur Lismer which gave details on the work, biographical notes on the artist as well as lesson plans. See Joyce Zemans, "Establishing the Canon: Nationhood, Identity and the National Gallery's First Reproduction Programme of Canadian Art," Journal of Canadian Art History 15:2 (1995): 7-35. In this article Zemans highlights the overlooked fact that there was a national art reproduction program in place in Canada prior to the 1940s when the better-known Sampson-Matthews silkscreen project was initiated. 24 them to establish a respectable collection of art as well as a potential direction for the collection. Still, by the 1930s, the decade in which the history of art was introduced into the curriculum at Canadian universities, acquisitions at the National Gallery were hardly systematic and were often subject to the various whims and tastes of donors and administrative personalities. Ironically, it was not until the late 1940s that the National

Gallery of Canada, then over sixty years in existence, began hiring a professionally trained staff. In 1947 Robert H. Hubbard (1916-89) was hired as Curator of Canadian

Art. Hubbard was one of the earliest graduates of McMaster University's art history program and had obtained a Ph.D. from the University of Wisconsin. Another Canadian- born art historian, WilliamS. A. Dale (1921-) was also hired at the gallery in 1951 as a research assistant and held various posts leading to his appointment as Associate Director from 1961-65. Dale was an early graduate ofthe University of Toronto's art history program and had completed a Ph.D. at Harvard University. It is no coincidence that the first "scholarly" catalogues of the National Gallery's collection were produced following the addition oftrained professionals to the stafe4

Early Artists' Associations and Art Education in Canada

The years surrounding the establishment of the National Gallery of Canada were also characterized by the growth of artists' associations and technical art schools in Canada.

There is little evidence pointing to an interest in the history of art among these

74 The first catalogue was prepared by Hubbard and Kathleen Fenwick (190 1-73) with assistance from Toronto's Peter Brieger. See Boggs The National Gallery 45. Fenwick was British in origin and there is no indication that she had any professional training. Hubbard is recognized for his later works on the gallery's collection. See Robert H. Hubbard, The National Gallery of Canada: Catalogue of Painting and Sculpture, vol. 1 (Ottawa: University of Toronto Press, 1957). 25 organizations; however, they do indicate that Toronto and Hamilton were among the burgeoning Canadian centres for art education from the turn of the century onwards. 75

One forerunner to the establishment of the Royal Canadian Academy was the organization ofthe Ontario Society of Artists (1872), a group that held its first exhibition in 1873. 76 The activities of the Ontario Society of Artists were subsidized by small sums of money from the Ontario Government, which in turn purchased paintings from its exhibitions. The Ontario Society of Artists was not an educational body; however, this association was especially significant because it preceded the founding of the Art

Students' League ofNew York (1875) and the Society of American Artists (1878). 77

Some Ontario Society of Artists members went on to join the Royal Canadian Academy, while others such as T. Mower Martin (1838-1934), can be credited with assisting in the establishment of the Ontario School of Art and Design.

The Ontario School of Art and Design was founded in 1876 with support from the

Ontario Government, and was conducted by a council that included a representative from the Department of Education and members of the Ontario Society of Artists. 78 Other artists' associations founded in Toronto in these years were the Toronto Art Students'

75 Montreal was also an important centre; however, my discussion of the Quebec associations and institutions will be limited because they do not figure in the broad context of my thesis. Halifax, Nova Scotia, was a particularly important centre for art training at the turn of the century; however, philanthropic activity and collecting was not as great in this city as in centres like Toronto. Therefore it too will be excluded from my discussion. For additional information on art education in Halifax see Robert Stacey and Liz Wylie, Eighty/Twenty: One Hundred Years of the Nova Scotia College of Art and Design (Halifax: Art Gallery of Nova Scotia, 1988). Other significant schools developed in Ottawa, London, Winnipeg and Vancouver. See McTavish 53.

76 McTavish, II. The fLrst members of the Ontario Society of Artists were John A. Fraser, Robert F. Gagen, Charles Stewart Millard, Marmaduke Matthews, T. Mower Martin, James Hoch, and J. W. Bridgeman.

77 The Montreal Art Association was also founded in 1878. See McTavish 22. 26

League (1886) and the Women's Art Association of Canada (1890). The Ontario Society of Artists also realized one of its original aims as articulated in its constitution, namely, the creation of an art museum. 79 In 1900 the Ontario Society of Artists founded the Art

Gallery of Toronto (now the Art Gallery of Ontario) with a committee of businessmen, educators and artists chaired by Sir Edmund Walker. In 1903 Goldwin Smith (1823-

1910) donated his home "The Grange" to the Art Gallery ofToronto and official possession took place in 1912.80

Hamilton was another important centre for the establishment of both artists' associations and art schools. 81 In 1894 the Hamilton Arts and Crafts Association was established while the Hamilton Art League followed in 1895. In addition, a group of

Hamilton business and professional men who were seeking improvement in the instruction of fine and applied arts in Hamilton founded the Hamilton Art School in

1886.82 The school was a great success, for it produced leading Canadian artists such as

78 In 1890 it was renamed the Central Ontario School of Art and Design. Vocational art education in Canada was modeled largely after the South Kensington approach in Britain. See Roger Clark, Art Education: A Canadian Perspective (Toronto: Ontario Society for Education Through Art, 1994) 3-4. 79 Art Gallery of Toronto 8.

80 Art Gallery of Toronto 9. Goldwin Smith also donated a collection of paintings, some which he executed himself. Official possession occurred following the deaths of Smith and his wife. Similar to the National Gallery, the Art Gallery of Toronto initiated a reproduction program of Canadian paintings in the 1930s. Arthur Lismer also wrote the teaching manual for the Picture Study Set which was much broader in scope and included both nineteenth and twentieth-century examples. See Zemans 13.

81 "[D]uring the nineties and until about 1910 there existed a system of art schools in Ontario ofwhich the Toronto and Hamilton schools were most important." See McTavish 54. Hamilton's importance as a centre for art schools and artists' associations will be elaborated further in my discussion of the establishment of art history at McMaster University. For a concise history on art activities in Hamilton see Stuart MacCuaig, Climbing the Cold White Peaks: A Survey of Artists in and from Hamilton, 1910-1950 (Hamilton: Hamilton Artist's Incorporated, 1986).

82 MacCuaig Climbing 15. It is no surprise that businessmen were interested in developing a school for the improvement offme and applied art instruction for Hamilton was one of Canada's major industrial centres. Canadian artist John Gordon was hired as an instructor in 1886 and assisted in organizing the school. He was involved with the Hamilton Art School until 1932. 27

A. J. Casson (1898-1992) and the aforementioned J. E. H. MacDonald. Many former students also found gainful employment in industry.83 In 1909 the Hamilton Board of

Education absorbed the Hamilton Art School, which was later renamed the Hamilton

Technical Art School.84

The Canadian Government and Cultural Priorities

Until the Canada Council was formed in 1957, the Canadian Government did not develop a strategic patronage program in the arts. As seen earlier, the Government provided annual funding for the National Gallery of Canada, but this support was hardly consistent. However, during the Great War the Canadian Government did develop a temporary "patronage" program whereby artists were commissioned to depict the activities of Canadian soldiers in training and in action. 85 Conceived by Lord

Beaverbrook ( 1879-1964), Canada's British Minister of Information during the War, the

Canadian War Records program was originally designed to have British artists paint images of Canadian soldiers in action. This project was funded by the Canadian War

Memorials Fund and was officially started in November 1916. Group of Seven artists A.

Y. Jackson (1882-1974) and F. H. Varley (1881-1969) were the first to join the program after Beaverbrook requested that some Canadian artists participate as well. However, their participation was limited to within Canada only.86 During World War II this

83 McTavish 17.

84 The school was renamed again in 1923 as the Hamilton Technical Art Institute. See MacCuaig Climbing 18.

85 George Woodcock, Strange Bedfellows: The State and the Arts in Canada (Vancouver: Douglas and Mcintyre, 1985) 33. Woodcock is very critical of the Canadian Government's role as patron of the arts and describes the war art program as one of"employment" as opposed to "patronage." 28 program expanded greatly. Artists were selected from the ranks of the army, navy and air force and were led by Vincent Massey (1887-1967), then Canadian High Commissioner in London. 87 The purpose ofthis government initiative was twofold. First and foremost, the artists were commissioned to document the war activities overseas; thus subjects varied greatly, ranging from scenes of soldiers preparing for war to representations of battle and the aftermath. The second purpose of the program was to showcase Canadian art by circulating the works abroad. Despite the fact that this patronage was short-lived, the Canadian War Records program gave its participants an opportunity to work full-time as artists and to receive professional recognition as such. 88

86 The artists who were selected to participate in the World War I program did extend beyond the members ofthe Group of Seven. See Russell J. Harper, Painting in Canada: A History (Toronto: University of Toronto Press, 1966) 284. Also see Maria Tippett, Art at the Service of War: Canada, Art, and the Great War (Toronto: University of Toronto Press, 1984).

87 Harry Orr McCurry (1889-1964), then Director of the National Gallery, selected the participating artists. See Joan Murray, Canadian Artists of the Second World War (Oshawa: The Robert McLaughlin Gallery, 1981) 8. Vincent Massey was also an important supporter of the arts in Canada in the ftrst half of the twentieth century. Of his numerous philanthropic projects, Massey was the principal founder of Hart House at the University of Toronto. Hart House, which opened in 1919, started as a club for the male undergraduates, graduates and faculty at Toronto. It came to be the home of the university's Art Club, which was initiated by Massey 1916, while the building was still under construction, and was formally organized in 1917. Hart House was also home to a Sketch Club which provided both facilities and instructors for sketch classes. The Sketch Club organized exhibitions and visiting lectures, and in 1922 began collecting Canadian art works which were hung in the common areas of the building. Hart House is known today for its important collection of Canadian art, particularly its Group of Seven paintings. For more on Hart House see Jeremy Adamson, The Hart House Collection of Canadian Paintings (Toronto: University of Toronto Press, 1969). Massey viewed the arts as a source of national identity and pride. In a speech to the American Academy of Art and Letters in April 1929 he concluded with the following: "To the problem of peace, ladies and gentlemen, the arts have their proper contribution to make. If it has been said that with the advance of art peace will fmd a surer footing, the statement is no mere extravagance of rhetoric. When a natural sense of beauty captures us and our community ministers to that sense, life will be richer and men will be wiser. Then it is not too fantastic to suppose that our outlook on the world may be in a truer perspective and that we may, in a familiar phrase, be able to "see the parts as parts but with a feeling of the whole"." Vincent Massey, Good Neighbourhood and Other Addresses in the United States (Toronto: The McMillan Company of Canada Limited, 1930) 273.

88 During World War II the British Government initiated a similar war art program under Kenneth Clark, then director of the National Gallery in London. Britain's program, however, began in 1939 where Canada's was not formally arranged until 1943. See Murray 7-8. 29

Apart from the War Records Program, the Canadian Government did not formally articulate a commitment to the arts in Canada during the first half of the century. This surely affected the academic development of art collections in the nation, as seen with

Canada's National Gallery where sporadic gestures of support were hardly sufficient.

Furthermore, the perceived cultural role ofthe arts in Canada was undoubtedly overshadowed by the Government's commitment to the development of radio technology in the 1920s and 1930s. National radio broadcast was envisioned as serving an important unifying cultural function for Canadians.89

Questions Surrounding the Early Years of Art History in Canada

If there was no precedent for the formalized discipline of art history in Canada prior to the 1930s, how then did it come to be established at Canadian universities at this time? If neither the Canadian Government nor Canadian philanthropists had shown any serious commitment towards developing the academic study of art, who and what fostered the conception of art history as an academic discipline in Canada? Where did the funding come from which enabled the universities to purchase resources and hire scholars to lay the foundations for the study of art history? What sort of international links resulted from

89 Canadian National Railways President, Sir Henry Thornton (1871-1933) led the quest for radio technology in Canada, which by 1927 was available across the nation. Until 1936, with the establishment of Canadian Broadcasting Corporation (CBC), the purpose of radio in Canada was a highly debated issue. The mandate of the CBC was that all information was to be delivered publicly in both official languages and that it be Canadian in content and in character. Canada largely followed Britain's lead in the establishment of radio technology. The British Broadcasting Corporation was established in 1927 and aimed to serve a similar unifying, democratic purpose through national broadcast. See Frank Peers, "The Nationalist Dilemma in Canadian Broadcasting," Nationalism in Canada, ed. Peter Russell (Toronto: McGraw Hill Company of Canada Ltd., 1966) 252-267. Also seeS. M. Crean, Who's Afraid of Canadian Culture? (Don Mills: General Publishing Co., Ltd., 1976) and Janet Minihan, The Nationalization of Culture: The Development of State Subsidies to the Arts in Great Britain (New York: New York University Press, 1977). 30 the importation of art historians who staffed the newly established university positions?

How was any of this accomplished during the Great Depression? The following chapter addresses some of these issues by offering a comparative study ofthree universities in

English-speaking Canada which established a curriculum in art history during the 1930s. 31

Chapter Two

Fostering the Study of Art History in Canada in the 1930s

McMaster, Toronto and Queen's Universities were largely indebted to the Carnegie

Corporation of New York, a major American philanthropic organization, for providing both the resources and vision which guided the establishment of undergraduate study in art history at these institutions during the 1930s. In November 1911 Andrew Carnegie

(1835-1919) founded the Carnegie Corporation, which continues to operate today, under an act of the New York State Legislature. 1 During the first half of the twentieth century the Carnegie Corporation engaged in a broad spectrum of philanthropic activity in both the United States and the British Commonwealth, providing endowments to universities, libraries, adult education, medical centres, public parks, meeting and concert halls, public baths and churches. 2

Canada was a major benefactor of the Carnegie Corporation's generosity. This was for the most part due to Canada's geographic proximity to the United States which allowed for grants to be administered without major complications. Furthermore, because

1 Stephen H. Stackpole, Carnegie Corporation Commonwealth Program, 1911-1967 (New York: Carnegie Corporation ofNew York, 1963) 3. Andrew Carnegie was born in Dunfermline, Scotland, and emigrated with his family to the United States in 1848. Carnegie made his fortune in the American steel industry. In 1901 he sold the Carnegie Steel Company to J. P. Morgan for $500 million, which became the fmancial base for his philanthropic activity. For more on Andrew Carnegie and the history of the Carnegie Corporation see Robert M. Lester, Forty Years of Carnegie Giving (New York: Charles Scribner's Sons, 1941) and Burton J. Hendrick, The Life of Andrew Carnegie, 2 vols. (Garden City, New York: Doubleday, Doran and Company, Inc., 1932).

2 Margaret Beckman, Stephen Langmead and John Black, The Best Gift: A Record of the Carnegie Libraries in Ontario (Toronto and London: Dundum Press, 1984) 17. Andrew Carnegie was also known for his promotion of international peace, advancement of teaching, commitment to scientific research and for rewarding heroism. Carnegie's original capital gift ( 1911) consisted of $25 million and was intended "to promote the advancement and diffusion of knowledge and understanding among the peoples of the United States." Two months later, he made an additional gift of$75 million; the income earned by $20 million of this amount was to be allocated towards continuing gifts he had previously made for libraries and church organs in Canada, the United Kingdom and the British Colonies. In 1917 the Carnegie Corporation's parameters of expenditure in Canada and the British Colonies was extended beyond the realm of libraries and church organs by an amendment to the Corporation charter. See Stackpole 3-4. 32

Canada's cultural landscape was envisioned as being similar to that of the United States, the process of collecting data requisite for the allocation of funds was simplified. 3 One of the areas in which Canada greatly profited from the Carnegie Corporation's support was in the realm of art education; this led to the establishment of undergraduate courses in art history at McMaster, Toronto and Queen's during the 1930s. Before discussing the early years of fine arts programming at these institutions, it is necessary to review the various motivations behind the Carnegie Corporation' s philanthropic activities in the arts.

During the 1920s and 1930s the Carnegie Corporation devoted significant attention to the encouragement of the arts, particularly the visual arts and music.4

Frederick P. Keppel (1875-1943), Carnegie Corporation President from 1923 to 1941 , heavily influenced the diversity of arts programming in the United States and the

Commonwealth that developed during these years. 5 Throughout his tenure as President, the Carnegie Corporation emphasized a commitment to the cultural enlightenment of the

3 Lawrence J. Burpee, "Canada's Debt to the Carnegie Corporation," Queen's Quarterly (1958): 232-238. "The nearness of Canada and the resulting ready interchange of ideas and information with the United States, have put many American agencies in a position to extend to Canada enterprises similar to, or a part of, those undertaken in the United States. The American Library Association, the American Association for Adult Education, the American Association of Dental Schools, the American Council of Learned Societies, the American Council on Education, the American Federation of Arts, the College Art Association, have received grants for and have successfully carried on projects in Canada." See Burpee 233. One area in which Canadians benefited from the Carnegie Corporation was in terms of the building ofpub1ic libraries; 125 Carnegie libraries were built in Canada, Ill of which were built in Ontario. See Beckman, Langmead and Black 19.

4 Archaeology, architecture, city planning and drama also fell under the Carnegie Corporation's activities in the arts. See Brenda Jubin, Carnegie Corporation: Program in the Arts. 1911-1967 (New York: Carnegie Corporation of New York, 1968) 1. For the purpose of my thesis I will be focusing primarily on the Carnegie Corporation's philanthropic activities in the visual arts.

5 The development of scientific institutes for research was also an area in which the Carnegie Corporation invested during the early 1920s. See Ellen Condliffe Lagemann, The Politics of Knowledge: The Carnegie Corporation, Philanthropy, and Public Policy (Middletown: Wesleyan University Press, 1989) 95 . 33 public, which would stimulate the development of a progressive, virtuous America.6

Centres of"altemative education"- the library, adult education centre and art museum

-were seen as the most promising conduit for this endeavour.7

Keppel, the son of a New York art dealer who specialized in prints and engravings, had a personal interest in the visual arts. 8 This, coupled with the rapid growth in public interest in the arts that had developed in the United States following World War

I, helped determine the emphasis he placed on the fine arts during the interwar years.9

6 Lagemann 95-98. "The logic for this return to cultural philanthropy derived from the realization that there could not be general concurrence in the policy recommendations of experts in law, economics, the natural sciences, or other fields, unless the citizenry was prepared to respect and to follow the advice of those who knew more than they." See Lagemann 95. "The assumption evident in this aspect of the Corporation's interwar cultural philanthropy was that the excellent, tasteful, beautiful, and edifying would be preferred to the mediocre, tawdry, crass, and merely selfishly useful and practical, if the former were more generally accessible." See Lagemann 115.

7 Lagemann 96. For more on the Carnegie Corporation's involvement in the development of libraries and adult education in the United States see Lagemann 95-122.

8 Keppel was born on Staten Island and had worked at his father's business as a young man. He was a graduate of a classical liberal education at Columbia College where he eventually became Dean ( 191 0-17). Prior to taking the elected position as Carnegie Corporation President, Keppel worked for the Russell Sage Foundation. He is described as "much more gregarious" than his predecessors, James R. Angell (1920-21) and Henry S. Pritchett ( 1921-23), and "far more interested in people and their problems than in the discovery of a scientific calculus for social change." See Lagemann 10 I.

9 Jubin I. ln the early part of the twentieth century museum attendance in the United States was growing along with enrolment in art-related courses. The purchase of reproductions and original art works had also risen significantly. The Carnegie Corporation was responding to, and at the same time encouraging, the development of the arts in the United States. Further evidence of this flourishing American interest in the arts was the establishment of federal programs in the arts in the United States following WWI. See William F. McDonald, Federal Relief Administration and the Arts (Columbus: Ohio State University Press, 1969). During the Great Depression, the American government established the Works Progress Administration (WPA) under President Roosevelt's "New Deal." The WPA provided employment for those who had fallen out ofwork following the 1929 collapse ofthe New York Stock Market. The Roosevelt Administration made an important step that underscored the importance of a healthy arts culture in American society by initiating Federal Art Project (FAP) under the WPA umbrella. The FAP subsidized arts programs between 1933 and 1943, maintaining that artists were entitled to employment during the Depression and that the arts were of relevant public concern. See McDonald 346. 34

The main goal behind the Carnegie Corporation's art program was to encourage appreciation ofthe arts without debasing them in an effort to make them popular. 10

Following a Carnegie-sponsored study of "The Place of the Arts in American

Life," led by Richard F. Bach ofNew York's Metropolitan Museum ofNew York in

1924, several recommendations were made concerning how the Carnegie Corporation could most effectively go about encouraging the arts in the United States. 11 Colleges and universities were determined as central to this effort. 12 Put simply, in order to educate the public, educators needed first to be adequately trained. The creation of a resource base of educators to disseminate knowledge in the university, school and museum was imperative. The Carnegie Corporation identified several levels at which its support would be most effective in encouraging art education in the United States; this infrastructure was later extended to Canada. 13 From 1911 to 1967 the Carnegie Corporation devoted

10 According to Lagemann "[t]he Keppel cultural programs tended to provide reinforcement for the "high" cultural standards established by the cultural elites, and to do so without mediating the tension, endemic in American culture, between mission and market. This tension is best recognized in differences between "good" taste and "popular" taste; between the edifYing (designed to be instructive or uplifting) and the entertaining (designed to amuse or please); and between that which is created to be excellent and that which is created to sell." See Lagemann 97.

11 Following Bach's report a group of prominent American figures in the arts discussed how this would be brought to fruition. Royal Cortissoz (art critic for the New York Tribune from 1891-1944), Frank Jewett Mather (art critic for the Nation and Director of the Princeton University Art Museum), Richard Aldrich (a former music critic of the New York Times), Royal B. Farnum (Director of Art Education for Massachusetts and later director of the Rhode Island School of Design in Providence), the aforementioned Paul J. Sachs, and Walter Sargent (an architect active in the American Institute of Architects and in city planning) were among the conference members. It is important to note that the individuals represented at this meeting were male and largely traditional in terms of their views. See Lagemann 108.

12 Jubin 3-5 and Lagemann II 0.

13 The Carnegie Corporation's arts program was originally designed for the United States; however, for the reasons mentioned above, the program designed for the American public was "transferable" to Canada. 35 over $19 million to the arts, almost $2 million of which was directed towards the

Commonwealth nations. 14

The first level of support initiated by the Carnegie Corporation was the provision of graduate fellowships to counter the lack of qualified teachers in the visual arts in colleges and universities. These fellowships provided financial support and incentive for arts students to continue in the field. Although this program only lasted from 1925 until

1931, the Carnegie Corporation later provided tuition payments for art teachers and museum professionals to take art-related courses at Columbia University. Graduate students and art teachers also received Carnegie funding administered through the

Institute oflnternational Education to study abroad at major art historical centres such as

London's Courtauld Institute of Art and the Sorbonne in Paris. 15

In addition to fellowships, the Carnegie Corporation provided resource sets to facilitate the teaching of fine arts. The Arts Teaching Sets were first distributed in 1926 in both the United States and Canada. They contained 200 art history books, 1500 mounted photographs of architecture, sculpture, and painting, and small collections of prints and textiles, in addition to an oak cabinet to be used for storage. 16 The Carnegie Corporation

14 Commonwealth funding was divided into five categories: Architecture and Planning ($75,350), Art and Archaeology ($586,066), Dramatic Arts ($36,250), Museums ($588,030) and Music ($523,208).

15 Jubin 5-6.

16 Jubin 7-8. A more detailed account of the items received at Canadian universities will be addressed in the following chapter. The original sets were supplemented as needed and re-tooled for use in secondary schools. Between 1926 and 1941, 302 institutions in the United States and 69 in the British Commonwealth received teaching sets. From 1926 to 1939, Canadian universities, high schools and museums received teaching sets of values ranging from $2,000 to $5,372. The Canadian universities that received teaching sets included: Acadia (1927), Alberta (1933), British Columbia (1936) Dalhousie (1926), Manitoba (1934), McMaster (1932), Memorial (1932), Mount Allison (1933), Queen's (1926), Saskatchewan (1934) and Toronto (1926). See Jubin 112-113. According to Robert M. Lester, Secretary ofthe Carnegie Corporation, the original Arts Teaching Set also included an "annotated guide and catalog so prepared and printed as to be an admirable example of the graphic arts." The purpose of the teaching sets was to encourage an appreciation of the arts which was historically based but not necessarily a history of art; thus lantern slides, 36 also provided endowments for the establishment of visual arts departments in both colleges and universities ofthe United States and the Commonwealth. In addition to sponsoring art historians, the Carnegie Corporation sponsored resident artist programs in universities and colleges. This permitted artists to have their own studios on campus and direct contact with students. 17 Funding was also made available to subsidize visiting scholars, faculty travel and the purchase of supplementary teaching resources. 18

Public programs in art appreciation constituted another focus of the Carnegie

Corporation. These included, for example, the sponsoring of community projects, university extension work, adult education and art exhibitions. 19 University extension in particular was envisioned as an effective means of reaching the public. Extension services often included lecture series on art and its history, as well as concerts and circulating art exhibitions. In this vein the Carnegie Corporation also supported studies concerning the role of the museum as a cultural and educational institution, and endeavoured to improve this role by encouraging the relationship between museums and schools?0

casts, vases and pottery were excluded. Although the contents of the Arts Teaching Sets were relatively standardized, the recipients were not given any prescribed direction in terms of how they were to be utilized. See Robert M. Lester, Arts Teaching Equipment for Colleges and Secondary Schools (New York: Carnegie Corporation of New York, 1937) 278, 290. In this text Lester also notes that the number of mounted photographs was increased from 1,500 to 1,800 following the first distribution. Lester 280.

17 Jubin 10-11.

18 Jubin 9-10.

19 Performing groups in music and drama as well as the provision of funding for city and regional planning were also included. For more on "Arts Programs for the Public" see Jubin 11-13. Both the American Federation of Arts and the College Art Association were closely aligned with projects of this kind.

20 Jubin 13-15. The Carnegie Corporation extended its support of museums to the Commonwealth in 1931 by sponsoring reports on the museums of Canada, Australia and South Africa, for example. In Canada's case, these reports led to the provision of support for the development of Canadian museums. The Canadian Museum Committee received a total of$75,800. Furthermore, in 1936 the Carnegie Corporation helped to sponsor an "Exhibition of Contemporary Canadian Painting" for circulation in the southern dominions of 37

Libraries, studies in the arts, research, and publication were other areas which received support from the Carnegie Corporation. For instance, the Library of Congress was endowed with a Chair ofFine Arts in 1927. Studies pertaining to educational opportunities in the arts were also initiated. Research grants were provided to the

American Council of Learned Societies and the Carnegie Institution of Washington for the provision of research fellowships and publication subsidies. Four art journals, the

American Journal of Archaeology (1885-), American Magazine of Art (1909-), Art and

Archaeology (1914-34) and Art Bulletin (1913-), also received Carnegie support.

Individual scholars received grants in cases in which their area of research correlated with the Carnegie Corporation's interests. Many grants to individuals were directed towards scholars from Commonwealth countries who visited the United States to study in their field. 21

The Early Years of"Fine Arts" at McMaster University

McMaster University in Hamilton was the first Canadian university to receive funding from the Carnegie Corporation for the establishment of a department of fine arts.

Between 1932 and 1941, the Carnegie Corporation donated $49,500 for the purpose of work in art history at McMaster, and a Department of Fine Arts was established in

the British Empire through the National Gallery of Canada. Artists from various regions across the nation were represented in this exhibition. See National Gallery of Canada, Exhibition of Contemporary Canadian Painting, exh. cat. (Ottawa: National Gallery of Canada, 1936).

21 For more on "Libraries" see Jubin 15-16; "Studies" Jubin 16-17; "Research and Publication" Jubin 17-18 and "Grants to Individuals" Jubin 18-19. Canadian artist Arthur Lismer received a grant on three separate occasions: in 1934 to attend conferences in Africa and to study art education of children, in 1936 to lecture on art in South Africa, Australia and New Zealand and in 1938 to attend an educational conference in Hawaii. See Jubin 70. 38

1933.22 Prior to the Carnegie Corporation's involvement, McMaster's first Dean of

Women, Marjorie Carpenter, had taken preliminary steps to encourage art appreciation on campus.23 During the 1932-33 academic session, for instance, Carpenter delivered a series of lectures on the history of art which were attended by both undergraduate students from McMaster and Hamilton residents.24 The City of Hamilton also had an established artist's community as well as educational centres for technical education in the arts.Z 5 These factors helped encourage the Carnegie Corporation to support the development of art education at McMaster.

Frederick Keppel recognized McMaster's promise after he dealt with McMaster's

Chancellor, Howard P. Whidden (1879-1950) regarding funding for the general expansion ofthe university's library collection. In 1932 the Carnegie Corporation decided to supplement McMaster's library grant with funding that would enable the university to purchase fine arts teaching resources. The resources the university obtained

22 Jubin 36. According to the university's records the total amount donated by the Carnegie Corporation was $52,000. See "Memorandum on Continuance of Fine Arts Department for Discussion April 13, 1942," McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries 10: Organizations; Subsubseries 2: Carnegie Corporation; Box MNH, File I 0, Canadian Baptist Archives, McMaster University; hereafter 2/ 10/2; MNH/10, CBA, MU. See Appendix 6.

23 Carpenter was a classicist and had had publications in the field of philology. She was also known for her administrative skills. The Dean of Women position was created in 1929 and was intended to draw more female students to McMaster. See Johnston, McMaster University: The Early Years 30.

24 The Carnegie funding in fme arts was thus utilized prior to Lester Longman's arrival for lectures on campus as well as for extension work in music and art appreciation in Galt and Simcoe. These activities were organized by an Extension Committee which consisted of Whidden, Carpenter and George Haddow, a professor in the English Department. Although Carpenter was not trained in the history of art, her active interest in the fine arts was important in securing the Carnegie grant and also provided a precedent for Longman. "Carnegie Report, June 1933, Hamilton Programme" McMaster University; Office ofthe Chancellor; Series 2: Specified Correspondence; Subseries 2: University Activities; Subsubseries 5: Fine Arts Department; Box MMZ, File 4, CBA, MU; hereafter 2/2/5; MMZ/4. See Appendix 7.

25 For more on art activities in Hamilton see MacCuaig, Climbing. Also see Stuart MacCuaig, The Women's Art Association of Hamilton: The First Hundred Years (Hamilton: The Art Gallery of Hamilton, 1996). It should be noted that McMaster University relocated from Toronto to Hamilton in the 1930s; therefore, it is difficult to discern what sort of influence the art community and centres for technical training would have had on the university by 1932. 39 included the standard elements found in a Carnegie Arts Teaching Set: books, original prints, photographic reproductions and textile samples. McMaster also received supplementary funding for the purchase of slides.26 This was a curious situation, for when the Carnegie Arts Teaching Sets were originally sent to Canadian universities in 1926,

McMaster University was not on the receiving list. In addition to supplying instructional tools, the Carnegie Corporation also provided McMaster University with a professionally trained art historian to teach the history of art on campus and to encourage art appreciation in Hamilton and its surrounding communities.

Lester Longman, an American scholar with a Ph.D. from Princeton University who had been a two-time Carnegie fellow, was appointed by Keppel in 1933 not only as

McMaster's first professor in fine arts but also as the first professionally trained art historian to teach at a university in English-speaking Canada (fig. 1).27 Longman had gained prior teaching experience at Ohio State and Columbia Universities, where he gave courses on both medieval and Renaissance art; his Ph.D. dissertation focused on

26 Johnston, McMaster University: The Early Years 51. In February 1932 Keppel informed Whidden that the Carnegie Corporation had resolved to grant the university the sum of $15,000 "toward support of a two­ year program in fine arts development." Frederick P. Keppel, letter to Howard P. Whidden, 29 February 1932, McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries 2: University Activities, Subsubseries 2: Carnegie Corporation; Box MNH, File 9, CBA, MU. It was from this fund that the resources were purchased, totaling $5,000.

27 Longman's original title was Special Carnegie Lecturer in the history and appreciation of art. In 1934 his title was shifted to Assistant Professor. See Johnston McMaster University: The Early Years 52-53. Because Longman was a Princeton graduate an important relationship was forged between McMaster and Princeton during the foundational era of McMaster's Fine Arts Department. For instance, in 1934 Charles Rufus Morey, Chairman of Princeton's Department of Art and Archaeology, donated, on behalf of Cyrus McCormick, a full set of publications from Princeton's department. Charles Rufus Morey, letter to Lester D. Longman, 5 July 1934; McMaster University, Office of the Chancellor; Series 2: Specified Correspondence; Subseries l: McMaster University Faculty and Officials; Subsubseries 4: Appointments; Box MMV, File 99. CBA, MU. McMaster's "Princeton connection" will be addressed in more detail in the following chapter. 40

Valencian painting in the Quattrocento?8 Upon his arrival, Longman found the academic element of art history at McMaster virtually non-existent; in fact, he would later describe his role at McMaster as "missionary work."29 In the founding years of McMaster's art

program, no degree was offered; however, students were permitted to take courses from the Department of Fine Arts as optional courses within various departments. Longman

first offered courses in the history of art during the 1934-35 academic session. His

curriculum included courses on ancient and medieval art and architecture and

Renaissance painting.30 The following year Longman expanded the curriculum to include

courses on Italian and northern Renaissance art and architecture, and modem art and

architecture. 31

The philosophy of community support and university extension that was so

central to the Carnegie Corporation's program in the arts was strongly supported at

28 Longman came highly recommended by Princeton's Morey as well as by Professor Ralph Fanning from Ohio State University. Morey commented on Longman's success in his course work at Princeton, his research experience in Europe and his teaching ability. For more on Longman's academic career see "History and Qualifications, Lester D. Longman," McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries 1: McMaster University Faculty and Officials; Subsubseries 4: Appointments, Box MMV, File 99,CBA, MU.

29 In his letter of27 July 1977 to Johnston, Longman describes his personal situation when he was offered the teaching position at McMaster: "The time was March or April 1933, however, just after Roosevelt had closed the banks and my first child was just born. It was the depths of the (D]epression and there were almost no jobs available in any field. The outlook was bleak for the fall term of 1933. So I decided it would be best to accept Chancellor Whidden's offer even though it would be a kind of missionary work in a place where I would have no colleagues in my field and no library resources." Appendix 4.

30 McMaster University, "Fine Arts," Faculty of Arts Calendar 1934-35 (Hamilton: McMaster University, 1934) 71-72. See Appendix 8.

31 McMaster University "Fine Arts," Faculty of Arts Calendar 1935-36 (1935) 77-78; Faculty of Arts Calendar 1936-37 (1936) 76-77. See Appendix 9. Longman's course in modem art and architecture included a Canadian component that supplemented his discussions of American and European art from 1700 to the present. 41

McMaster by Whidden.32 In his capacity as "art educator" for Hamilton and the surrounding regions, Longman was involved in many activities that included encouraging art appreciation via lectures to clubs, associations, high-schools and church groups in

Hamilton as well as lectures to groups in such neighbouring towns and cities as Ingersoll,

Woodstock, Paris and London. Longman also brought in visiting scholars from other universities to lecture at McMaster on art and music appreciation, organized art exhibitions and concerts at the university, and showed moving pictures.33

The community element of McMaster's art program was enhanced in 1935 when

Longman, along with Whidden and the Hamilton businessman and artist, Lawrence R.

Greene, founded the Hamilton Art Association.34 The Hamilton Art Association organized a series of twenty-four lectures each season at McMaster's Convocation Hall as well as various art exhibitions. These exhibitions, which were held at the G.W.

Robinson Department Store in the heart of downtown Hamilton, featured works from

32 Johnston McMaster University: The Early Years 52. Although Longman was more interested in developing the academic element of art history at McMaster, he did become very much involved in encouraging art appreciation as well. The difference between Longman and Whidden's views on the role of art education will be further addressed in the following chapter.

33 "Report of Progress in Fine Arts and Music at McMaster University, 1934-35," McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries 2: University Activities; Subsubseries 5: Fine Arts Department; Box MMZ, File 4, CBA, MU; hereafter 2/2/5; MMZ/4. See Appendix 10. Reports were submitted annually to the Carnegie Corporation as a record of the activities in the Department of Fine Arts.

34 McMaster Professor of Classics, Clement Hodgson Steam ( 1877 /8-1967) was secretary and trustee of the Hamilton Art Association. See MacCuaig Climbing 116. He was also a leader in the Extension Department at McMaster. There is a minor discrepancy surrounding the question of who founded the Hamilton Art Association. MacCuaig states that the association was "largely the creation of Dr. Howard Whidden." See MacCuaig Climbing 114. However, in his letter to Johnston of27 July 1977 Longman writes: "In the spring of 1935 I organized a Hamilton Art Association. This was not expected of me, but it was welcomed after it got under way." Appendix 4. In fact, he later acknowledges Greene's involvement as the association's first president, but makes no mention of Whidden in the context of the Hamilton Art Association. For more on Longman's 1935-36 program of activities see "Report of Progress in Fine Arts and Music at McMaster University 1935-36," McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries 2: University Activities; Subsubseries 5: Fine Arts Department; Box MMZ, File 4, CBA, MU; hereafter 2/2/5; MMZ/4. 42

European, American and Canadian collections and the work of local artists.35 In the

1935-36 "Carnegie Public Lecture Series" Longman lectured on a variety of topics such as "Flemish Painting in the Eighteenth Century," "The English Pre-Raphaelite

Movement," "Some Modem "Isms"-Futurism, Dadaism, Super-realism, etc." and

"Contemporary English and Canadian Painting."36 By the third year of Longman's lecture series, crowds of over five hundred came on buses to hear him speak. Reviews of

Longman's public lectures were regularly published in the Hamilton Spectator, another reflection of his popularity in Hamilton.37

In 1936 Longman left McMaster for an appointment as Head of the Art

Department at the University oflowa. He was replaced by Stanley Hart (1898-1953), an

M.A. graduate from Columbia University who had devoted himself to the study of art history, after having previously focused on English literature.38 Hart's background in the history of art was not as extensive as Longman's, although he was known for his lecturing ability which made him a suitable candidate for the McMaster program.39 Hart made only minor changes to the curriculum Longman had organized. For instance, in the

1938-39 academic session, he introduced a new course entitled "Types of Art." This

35 One of the major achievements of the Hamilton Art Association was its creation of an awareness within the community that Hamilton was in need of a new public art gallery. See MacCuaig Climbing 115.

36 "McMaster Art Lectures, Carnegie Public Lecture Series for 1935-36," McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries 2: University Activities; Subsubseries 5: Fine Arts Department; Box MMZ, File 4, CBA, MU. See Appendix 11 .

37 Johnston McMaster University: The Early Years 53 .

38 Prior to his arrival at McMaster, Hart had taught at Columbia University. His interests were in the areas of Renaissance and modem painting and sculpture as well as Russian architecture, for which he received additional Carnegie funding in 1939. See "Curriculum Vitae and Letters ofReference, Stanley Hart," McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries I: McMaster University Faculty and Officials; Subsubseries 4: Appointments; Box MMV, File 89, CBA, MU.

39 However, Hart's suitability as a professor at McMaster University was later called into question. 43 course presented a survey of art as a reflection of "human interest and activity" and was also intended to introduce students to theories of beauty, thereby enabling them to judge art works critically.40

Hart continued with the community activities initiated by Longman- the extension work associated with the Hamilton Art Association and the lectures in the region. Beginning in October 1936 Hart organized the "Carnegie Lecture Series" in art appreciation, and lectured on topics such as "The New Realism: Italian Painting in the

Fifteenth Century," "Rembrandt, Spiritual Explorer," "The Twentieth Century Revolt in the Arts: The New Theories," and "Machine Age and Development of the Skyscraper."

He also organized exhibitions, visiting speakers and delivered lectures in towns including

Galt, Woodstock, Kitchener-Waterloo and far-away Belleville. 41

Although Hart had achieved a measure of success in continuing Longman's work, his position- and the Fine Arts Department at large -was discontinued at the end of the 1942-43 academic session. This was largely because the Carnegie Corporation had cancelled its funding in the arts due to wartime conditions. McMaster University, faced

40 McMaster University, "Fine Arts," Faculty of Arts Calendar 1938-39 (1938) 93-94. See Appendix 12. lt also seems that Hart attempted to institute a degree of Master of Arts in Fine Arts at McMaster in 1939, but it was rejected by Whidden who was concerned with the lack of course offerings needed to satisfY university regulations. See Howard P. Whidden, letter to Elven John Bengough, 8 February 1939. McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries I: McMaster University Faculty and Officials, Subsubseries 3: Faculty Members; Box MMV, File 17, CBA, MU; hereafter 2/ I /3; MMV 117.

41 "McMaster Art Lectures, Carnegie Public Lecture Series for 1936-7," McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries 2: University Activities; Subsubseries 5: Fine Arts Department; Box MMZ, File 4, CBA, MU. See Appendix 13. For a summary of Hart's activities in 1937-38 and his plans for 1938-39, see Stanley Hart, letter to Howard P. Whidden, 7 October 1938, McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries I: McMaster University Faculty and Officials, Subsubseries 3: Faculty Members; Box MMV, File 17, CBA, MU. Although Hart continued with Longman's extension work his "power of organization [and] initiative in connection with work outside the University" was called into question. See George P. Gilmour, letter to unknown recipient, 6 April 1943, McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries 1: McMaster University Faculty and Officials; Subsubseries 3: Faculty Members; Box MMV, File 18, CBA, MU. 44 with reduced enrolments, could in no way assume the financial burden of continuing the

Fine Arts Department in any official capacity.42 This resulted, in tum, in the collapse of the Hamilton Art Association which was forced to disband as well.43 Hart returned to the

United States where he enlisted in war service. He was employed in Washington as

Educational Director and Command Chief of Management and Training for Civilian

Personnel for the United States Air Force until his unexpected death in 1953.44

McMaster's Fine Arts Department was revived in 1951 with an endowment from the Atkinson Charitable Foundation, a Canadian philanthropic organization.45 Regularly scheduled courses were held again beginning in 1951 under the direction McMaster' s new Head of Fine Arts, Naomi C. A. Jackson (later Groves) (1910-) (fig. 2). A native of

Montreal, Jackson was the niece of Canadian artist A. Y. Jackson (1882-7 4 ). She obtained a Ph.D. in art history from Harvard-Radcliffe in 1950 after completing a dissertation on the German sculptor Ernst Barlach (1870-1938).46

42 "Memorandum on Continuance of Fine Arts Department for Discussion April 13, 1942," 2/ 10/2; MNH/10, CBA, MU. Appendix 6.

43 MacCuaig Climbing 116.

44 George P. Gilmour, "Alumni News," McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries I : McMaster University Faculty and Officials; Subsubseries 3: Faculty Members; Box MMV, File 18, CBA, MU.

45 In 1951 the Atkinson Foundation authorized a grant of$20,000 to McMaster University for the purpose of re-establishing the Department afFine Arts. This grant was made in view of the excellent resources the University had previously accumulated: over 2,000 books, I ,500 mounted photographs, 15 portfolios of reproductions, over 15,000 slides, 110 framed prints and a music collection of 2, I 00 records, 325 books and 150 scores. See "Atkinson Foundation Grant for Fine Arts at McMaster University," McMaster University; Office ofthe Chancellor; Series 2: Specified Correspondence; Subseries 10: Organizations; Subsubseries I: Atkinson Foundation; Box MMZ, File 2, CBA, MU.

46 While McMaster's Department of Fine Arts was closed from 1942-51 , some courses continued to be offered by professors from other departments as well as by visiting scholars from other universities, both during the academic session as well as during summer school. See McMaster University "Fine Arts," Faculty of Arts Calendar 1949-50 (1949) 126-127. The curriculum developed significantly following the re-opening of the department under Jackson's direction. See McMaster University, "Fine Arts" Faculty of Arts Calendar 1952-53 (1952) 119-120. See Appendix 14. Jackson graduated with both a B.A. (1933) and 45

The Early Years of"Fine Art" at the University of Toronto

The University of Toronto was the second university in English-speaking Canada to establish an undergraduate program in the history of art. Between 1934 and 1940, the

Carnegie Corporation donated $40,000 towards a professorship in fine arts at Toronto.47

In 1934 John Alford, a British scholar with a B.A. and an M.A. from King's College,

Cambridge, was appointed as Chair of the Department of Fine Art at the University of

Toronto (fig. 3).48 Prior to his appointment at Toronto, Alford was a lecturer on the history of art at the University of London (1930-32) and at the Courtauld Institute of Art

(1932-34).49 The search for Toronto's Chair ofFine Art began as early as 1928 and involved administrative personalities such as Reverend Henry John Cody (1868-1951 ),

Toronto's President from 1932 to 1946, Sir Robert Falconer (1868-1943), the aforementioned Vincent Massey, and the Carnegie Corporation's Frederick Keppel. 5°

M.A. (1935) in French and German from McGill University and throughout her studies she maintained her interest in art by studying and sketching in both Canada and Europe. On a Canadian Federation of University Women travelling fellowship ( 1936/37) Jackson undertook research at Weimar and studied art history at both Berlin and Munich universities. See "Biographical Information on Naomi C. A. Jackson," McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries I: McMaster University Faculty and Officials; Subsubseries 4: Appointments; Box MMV, File 93, CBA, MU.

47 This endowment was supplemented with an additional grant of $5,508 for a lectureship in fme arts. See Jubin 36. Toronto also received a Carnegie Corporation Arts Teaching Set worth $5,000 in 1926. See Jubin 113.

48 Although hired after Longman, Alford held the first official "Chair of Fine Art" in Canada. For more on Alford see Department of Graduate Records (Edward John Gregory Alford), A 1973-0026/04(026), University of Toronto Archives; hereafter UTA.

49 "Alford, Edward John Gregory," Who's Who in Canada, vol. 8 (Toronto: International Press Limited; New York: Brentanos, 1958/60) 11-12.

50 Although a Department of Fine Art was not introduced at Toronto until the 1930s there had been prior interest expressed in developing this area of study at the university; this is evident from Toronto's Alumni President's valedictory address from 1908: "A Faculty of Fine Arts, too, is a desideratum, the need of which is, more and more, forcing itself upon our attention. Fortunately we have on the Board of Governors at least one gentleman who is thoroughly imbued with the usefulness and urgent need of such an addition to our sphere of instruction and its value as a means of higher culture. With the assistance and insistence of an educated opinion without the walls it carmot be long before we shall be in a position to add to our very 46

One of Alford's greatest and perhaps most influential supporters was the Courtauld

Institute's W. G. Constable.51

Cody's ideas surrounding "The Place of the University in National Life" very much echoed how the Carnegie Corporation envisioned the role of cultural philanthropy in a nation. 52 In an address to the Canadian Educational Association in 1935, Cody described the university as "at once a source of individual culture and of public service. It deepens and enriches personality, and through the enriched personality of its members, it can be a servant of the whole nation. Culture and service are its ideals. "53 In a later passage on "The University as the Servant of the Community," he further elaborated on the role of the university in the dissemination of culture:

"The university must not overlook its duty to present and conserve aesthetic values. The beautiful is linked with the true and the good. The history and interpretation of art will stimulate an appreciation for the beautiful and will exercise a beneficent influence in every field of human activity. The great aim of art is to present the reality of things under the form of the beautiful. More and more the university will become the apostle of things pure and lovely and of good report."54

Although Cody's humanistic outlook towards the university and culture meshed perfectly with Keppel's ideals, the study of visual art at the University of Toronto did not

creditable reputation as a school of belles letters some evidence at least that the beaux arts are not wholly neglected among us." Irving Clarence Heward, "Alumni President's Valedictory, 1908" University of Toronto Monthly ( 1908): 316.

51 See correspondence of Reverend Henry John Cody and William George Constable from October 1933 to June 1934, Office of the President (Cody), A68-0006/08(05), UTA.

52 E. Lisa Panayotidis, "Ruminations on the Value of the Fine Arts at the University of Toronto, 1934- 1946," Abstracts from the Universities Art Association of Canada Annual Conference. Ontario College of Art and Design, Toronto, November 4-6, 1999 Toronto: Universities Art Association of Canada, 1999, 18.

53 Reverend Henry John Cody, "The Place of the University in National Life," The University of Toronto Quarterly 4 (1935): 421.

54 Cody 430-431. 47 necessarily develop accordingly. In fact, it appears that Alford did not share in this

"American" vision of art education; this may have resulted from his British training. In an article published in the University of Toronto Monthly shortly after his arrival, Alford described how he envisioned the place of fine arts education at the University of Toronto.

His viewpoint diverged markedly from that of Cody.

"Why a Department of Fine Art at all? To teach students to draw and paint and carve, either for recreation or profit? Primarily, no. To develop, rather, an appreciative and critical eye and mind for the material environment both natural and arte factu, in which we live and which, under the working of our minds and hands, is undergoing perpetual change. The history of civilization is largely an account, in a series of chapters, of the creation of a material environment (we recognize the chapters as Palaeolithic, Neolithic, Egyptian, Greek, Medieval, Renaissance and so on) which would at once express and satisfy not only the crude material needs but also the spiritual and intellectual beliefs and urges of the peoples who made it and who lived in it."55

Alford taught the first formalized courses in the history of art at the University of

Toronto through the newly founded Department afFine Art during the 1935-1936 academic session. Even in its first year, the program organized by Alford was much more complex in comparison to that at McMaster, chiefly due to the inclusion of a drawing/design element in the curriculum, a possible borrowing from the Slade School or

6 the Harvard-inspired Courtauld methodology. 5 Another sign of Alford's British educational heritage is revealed through his avocation that the study of fine art was

55 Edward John Gregory Alford, "Why a Department of Fine Art?," University of Toronto Monthly 1 (1935): 3.

56 Alford's approach has also been described as belonging to the tradition of Roger Fry. See Boggs "The History of Art" 46. As mentioned, studio courses were also instituted at this time. Toronto was one of the earliest Canadian universities to offer a program in studio art. I will only be addressing the element of Toronto's course offerings in studio art in the context of art history. See "The Studio Program," Newsletter: Department of Fine Art, University of Toronto l (Falll987): 3. 48 necessary to counter some of the ills of industrialism. His position bore a striking resemblance to the ideology behind London's South Kensington Museum.

"Moreover, the industrial era, so rich in the sheer mass of material production, has been in aesthetic quality among the poorest of which we have any record and has resulted, in this respect, in a lowering of the standard of living, which must be offset against the immense gains, for example in hygiene and physical ease and security of life." 57

Art history topics offered in the first year of the Toronto program ranged widely to include a broad spectrum of historical periods, from the pre-classical to the nineteenth century, with a strong medieval and Renaissance component. Courses on medieval art and architecture, the Italian Renaissance, and art in the eighteenth and nineteenth centuries, for example, were among the earliest offerings in art history at the University of Toronto. 58 This curriculum was supplemented by archaeology courses offered by the aforementioned Royal Ontario Museum archaeologists, Currelly, Thompson and Bishop

White.59 Toronto's archaeology curriculum included courses on the arts of ancient Egypt,

Mesopotamia and China and introductory courses on classical art and archaeology.60

57 Alford 4.

58 For a complete listing of course offerings see Unjversity of Toronto, "Fine Art," Faculty of Arts Calendar 1935-36 (1935) 189-190. See Appendix 15.

59 The Anglican Bishop White was keeper of the East Asiatic Collection at the ROM from 1934-48 and was Professor of Chinese Studies at the University of Toronto. Thompson was director of the Rockefeller excavations at the Agora (Athens) and was a Professor of Classical Archaeology at the University of Toronto. See Boggs "The History of Art" 44.

6° For a complete listing of course offerings see University of Toronto, "Archaeology" Faculty of Arts Calendar 1935-36 (1935) 188. Prior to Alford's arrival the Department of Archaeology was called the Department of Art and Archaeology. Earlier art historical courses offered through this department by Currelly and Thompson included a course in the history of art, and ancient history illustrated by the monuments. See University of Toronto "Art and Archaeology," Faculty of Arts Calendar 1933-34 Appendix 5; and Faculty of Arts Calendar 1934-35 (1934) 182-183. 49

During the early years of Toronto's Department of Fine Art, Alford initiated a balanced curriculum between art history, archaeology and studio work.61 Currelly,

Thompson and Bishop White often utilized works from the ROM for illustrative purposes, while courses in the history of art and drawing took place for the most part in a classroom setting. Because ofthe early connection between Toronto's Department of

Fine Art and the ROM, a strong tradition in the study of ancient art was forged at the

University ofToronto.62

Another focal area established in the early years of Toronto's Department of Fine

Art was the study of medieval art. This, however, had little to do with the proliferation of medieval art objects in the ROM' s collection (which at the time was minimal), but was largely due to the influence ofthe second professional art historian hired at the university.

In 1936 the medieval element of Toronto's art history program was greatly enhanced with the appointment of the German emigre art historian Peter Brieger (fig. 4).63 A native of Germany, Brieger took his Ph.D. in 1924 at the University of Breslau, where he was also a lecturer. Like Alford, Brieger was appointed by the Carnegie Corporation and was a lecturer in the history of art at the Courtauld Institute before emigrating to Canada.

6 1 There is no doubt that Alford envisioned the study of art history as a fi eld that could be informed by various disciplines: "The Department of Fine Art, then, does not aim to deal merely with the history and criticism of painting and sculpture-- the "Fine Arts" in the narrower sense. Its work, as at present planned, includes the co-operation of members of the Departments of Architecture, Archaeology, Anthropology and Philosophy and the Ontario College of Art in a series of courses designed as an introduction to the history of art and the principles of criticism, which will enable any student in the Faculty of Arts to make him or herself acquainted with some branch of visual aesthetic as part of the "liberal education," which it is the first function of the university to provide." See Alford 3.

62 Joseph W. Shaw, "Letter from the Chairman," Newsletter: Department of Fine Art, Universitv of Toronto 1 (Fall 1987): 1.

63 For more on Brieger's career and publications see "Departmental Profile: Peter H. Brieger," Newsletter: Department of Fine Art, Universitv of Toronto I (Fall 1987): 3; also Department of Graduate Records (Peter H. Brieger), A 1973-0026/037(056), UTA. 50

Following Brieger's arrival there was a shift in Toronto's art history curriculum.

From this time onwards course selections were divided into Pass Courses and Honour

Courses. This resulted in a significant expansion of course offerings through the

Department of Fine Art. For example, courses on descriptive and systematic drawing applied to architecture, and architectural model-making, were offered as Pass options, and Renaissance and modem architecture, history of criticism, and architectural drawing were offered as Honour options.64 Considering Brieger's art historical background it is interesting to note that a course on medieval art and architecture was offered each year as a Pass and Honour Course open to all students in the Department of Fine Art. 65

In 193 8 Toronto's Department of Fine Art appointed the artist Charles Fraser

Comfort ( 1911-1994) as Lecturer of Fine Art. Comfort was born in Edinburgh and moved to Winnipeg at the age of eleven. He studied at the Art Students' League in New York in

1922, and moved from Winnipeg to Toronto in 1925; he became a member of the Ontario

Society of Artists in 1927. Comfort began his teaching career at the Ontario College of

Art in 1936 and continued his work there following his appointment at Toronto. The fact that the Department of Fine Art hired Comfort, an artist who had no formal training in the history of art, points to the importance of studio work in the Toronto art program. In his curriculum Comfort focused on the methods of the Old Masters and had his students

64 University ofToronto, "Fine Art," Faculty of Arts Calendar 1936-37 (1936) 144-146. The Pass Course/Honour Course format remained consistent during the founding years of Toronto's Department of Fine Art, with various shifts in terms of course offerings. Some other early course offerings in Fine Art included Flemish and German painting and sculpture ofthe fifteenth and sixteenth centuries (1938-39), Baroque architecture (1939-40), elements of town planning (1940-41), and the development of the material culture of eastern Canada ( 1944-45).

65 Ancient art and architecture was also offered as a Pass and Honour Course in 1936-37 and in 1937-38; however, beginning in 1939-40, medieval art and architecture was the only course permitted to satisfy both groupings. The fact that medieval art and architecture was offered on an annual basis to both the Pass and Honour students demonstrates how integral this subject was to Toronto's program in its foundational era. See University of Toronto, "Fine Art," Faculty of Arts Calendar 1939-40 (1939) 145-147. See Appendix 16. 51

work with various historical techniques such as fresco or tempera, and also introduced his

students to modern styles of painting such as Cubism. His purpose in introducing his

students to such diverse techniques and methods was not so much to professionally train them as artists, but rather to expose them to various artistic media which in turn would

enhance their art historical knowledge. 66

It appears that the community element of art education so advocated by the

Carnegie Corporation did not develop to the same extent at Toronto as was the case at

McMaster. Alford delivered some lectures to the non-university public; however, he

made it known to Cody that having to offer art appreciation courses in addition to the

academic curriculum was far too demanding in terms ofworkload.67 It seems that Alford

set the tone for the way in which the extension element of Toronto's program developed.

This is not to say that scholars like Alford and Brieger were inactive outside the university realm; their contributions were simply not as "community oriented" as were

Longman's and Hart's. For instance, in 1939, Alford received funding from the Carnegie

Corporation to prepare a report on the training of teachers of art for the schools of

66 In February 1943 Comfort was appointed as the first Official War Artist for the Canadian Army. In 1946 he returned to the University of Toronto as Associate Professor in the Department of Art and Archaeology (the Department of Fine Art was temporarily renamed). From 1960-65 he was Director of the National Gallery of Canada. See Patricia E. Glover, introduction, Charles Fraser Comfort Fifty Years, exh. cat. (Winnipeg: Winnipeg Art Gallery, 1972). For more on Comfort Department of Graduate Records (Charles Fraser Comfort), A 1973-0026/066(0 12), UTA.

67 Edward John Gregory Alford, letter to Reverend Henry John Cody, 5 December 1934, Office of the President (Cody), A68-0006/0 18(04 ), UTA. See Appendix 1 7. Alford informed Cody that the proposed workload was far more than he had experienced at the Courtauld Institute and that he was unwilling to compromise in this regard. "At the Courtauld Institute, where a very special academic and pedagogic competence is looked for, no teacher, even when on the whole-time staff, is required to lecture for more than two or three hours a week. This small amount of lecturing is due in part to the conditions I have tried to indicate, in part to the fact that no lecturer is considered competent outside the area in which he is specialized and in part to the assumption that he requires the greater part of his time for personal study." Still Alford gave a series of lectures on phases of painting in medieval times beginning with "Giotto and Medieval Painting" in November 193 5 and he also spoke at the opening of a Van Gogh exhibit at the Toronto Art Gallery in November 1936. For newspaper clippings related to these lectures see Department of Graduate Records (Edward John Gregory Alford), Al973-0026/04(026), UTA. 52

Ontario, and again in 1940, to prepare a report on methods of art education with reference to the training ofteachers.68 Furthermore, when McMaster University's Department of

Fine Arts was forced to close, both Alford and Brieger displayed their genuine concern by agreeing to travel to Hamilton once a week per term to keep the study of art history

"alive" on the campus.69 When the Carnegie Corporation discontinued funding at the

University of Toronto, the Department of Fine Art was able to maintain its academic programming because Toronto was a wealthier, more established institution. From the

1940s onwards, Toronto's faculty and curriculum expanded greatly. Over the long term this led to the University of Toronto styling itself as the "national school" of art history in

Canada.70

Alford left the University of Toronto in 1945 for a position as Professor of

Aesthetics and History of Art at the Rhode Island School of Design. Brieger, by contrast, stayed at Toronto for his entire career. He became Acting Head ofthe Department of Fine

Art in 1947, and Head ofthe Department the following year. In addition to his support of

McMaster University, Brieger also assisted the National Gallery of Canada with the publication of the first scholarly catalogue of its collection in 1948. He was later involved

68 Jubin 69.

69 A letter from Brieger to Clement H. Stearn reads: "Rumors have reached us here, that the Department of Fine Art at McMaster is going to be closed down for the duration. I do not know the reasons, but I think, it is sad, that a sister department, which is even older than ours, should cease to exist for the time being. I was wondering, whether the services of our department could be made use of, in order to preserve a certain continuity. If it seems desirable, I think, I can say (not officially, since I have not discussed it with Alford, but personally) that a short course in the history of art could be arranged." Peter H. Brieger, letter to Clement Hodgson Steam, 3 May 1943, McMaster University; Office ofthe Chancellor; Series 2: Specified Correspondence; Subseries 2: University Activities; Subsubseries 5: Fine Arts Department; Box MMZ, File 9,CBA,MU.

70 Toronto established the frrst Canadian doctoral program in the history of art in 1969. For more on Toronto's graduate program in art history see Robert Deshman, "The Graduate Program," Newsletter: Department ofFine Art. University of Toronto I (Fall 1987): 2-3. 53 in organizing an exhibition there on Art and the Courts: France and England from 1259 to

1328 (1972). 71 He was also the founding president ofthe Universities Art Association of

Canada (1959-68) and the Canadian representative to the Comite International d'Histoire de l'Art (until1968). Both Alford and Brieger had a significant impact on the development of art history at the University of Toronto and nationwide through their many pioneering initiatives.

The Early Years of"Art" at Queen's University

Queen's University also received art-related funding from the Carnegie Corporation during the late 1920s and 1930s; however, the nature ofthe arts programming which developed at Queen's differed sharply from that at McMaster and Toronto. This can be largely attributed to the character of the Carnegie Corporation grants received at Queen's as well as to the vision of the administrators, scholars and philanthropists who were active in the realm of art education at the university.

As early as 1926 Queen's University received an Arts Teaching Set with a value of $5,000. 72 There was also a burgeoning art community in Kingston in the late 1920s which was led by the Kingston philanthropist Agnes Etherington (1880-1954).

Etherington was the founding president of the Kingston Art and Music Club, a club

71 Boggs The National Gallery 45; also see Philippe Verdier, Peter Brieger and Marie Farquhar Montpetit, Art and the Courts: France and England from 1259 to 1328, exh. cat. 2 vols. (Ottawa: National Gallery of Canada, 1972).

72 Jubin 113. Like McMaster and Toronto, Queen's received a teaching set which included books, original prints, photographic reproductions of architectural monuments of the Greek, Roman and medieval periods, and textiles. See E. C. Kyte "Report of the Librarian," Principal's Report 1926-27 (Kingston: Queen's University, 1927) 31-32. 54 founded in 1926 to sponsor various lectures and concerts for the residents of Kingston. 73

In 1933 Reginald G. Trotter, a history professor at Queen's and then president ofthe

Kingston Art Association, applied to the Carnegie Corporation for funding to support a resident artist who could encourage the arts on campus and in the community.74 In contrast to McMaster and Toronto, Queen's was not initially looking to establish an academic program in art history. If a chair of fine art were to be established at Queen's, it would only happen following the firm establishment of an interest in the arts on the university's campus and within the larger community. 75 In 1933 Trotter applied for a

Carnegie grant through the Canadian Committee, whose secretary was H.O. McCurry, then Assistant Director of Canada's National Gallery. Trotter's application reads (in part):

"Our plan for enlarged activity centres around the idea of securing a professional artist to work in our midst. Art as a vital part of contemporary living is at present something foreign to the Kingston community as a whole. It should be domesticated there. If we could find an artist willing to come to Kingston to live and work, the University would be willing to co­ operate by making available ample studio quarters in which he might carry on his own work and in which also members of the Association, drawn both from town and from university, might find opportunity of working under his inspiration and direction."

In his application Trotter also described the type of individual the Kingston Art

Association was looking for to fill this position.

73 Etherington was also a member of the Committee on Art and Public Lectures at Queen's, a group which organized lectures on art, poetry and music as well as concerts. See C. F. Gurnmer, "Report of the Committee on Art and Public Lectures," Principal's Report 1925-26 (Kingston: Queen's University, 1926) 87-88.

74 The Kingston Art Association was a university-based offshoot of the Kingston Art and Music Club. Trotter worked directly with the National Gallery's Director and Assistant Director, Eric Brown and H.O. McCurry, who were both committed to the development of art education in Canada. See Agnes Etherington Art Centre 9; also Boggs The National Gallery 44-45. McCurry became Director of the National Gallery in 1939 (untill955) after Eric Brown's sudden death.

75 Frances K. Smith, Andre Bieler: An Artist's Life and Times (Toronto and Vancouver: Merritt Publishing Company Limited, 1980) 80. 55

"The sort of man we have in mind would have to be what one might call a "jack of all arts", the more proficient the better. The position would offer a splendid opportunity to a promising young artist who, besides his technical competence, possessed the knack of interpreting art to the layman in such fashion to impart enthusiasm and to stimulate artistic endeavour. We are not thinking of a professional art school but a centre of art interest for the community, which, if it is to serve its needs, must be available at merely nominal expense to all who may be interested."76

The Carnegie Corporation agreed to fund Trotter's "experiment" which led to the appointment of Canadian artist Goodridge Roberts (1904-74) as Resident Artist at

Queen's in November 1933.77 Roberts, a Fredericton native, attended the Ecole des

Beaux-Arts in Montreal from 1923 to1925 and also studied at the Arts Students' League in New York. According to various Kingston Art Association reports and a report submitted by Queen's to the Carnegie Corporation, Roberts held art classes for children, high-school students, university students and other adults in 1934. His art classes at

Queen's Summer School were very well attended by schoolteachers and also by Kingston residents. He gave weekly lectures on art, illustrated with lantern slides and photographs, on topics such as "Art and Its Place in Life," "Michelangelo" and "Rubens."

Furthermore, Roberts organized various loan exhibitions of art from the National Gallery and other collections. These exhibitions were held at the Douglas Library and were supplemented by informal lectures given by Roberts, and sometimes by the artists

76 Reginald G. Trotter, letter to Harry Orr McCurry, 9 August I933, Locator No. I250, Office of the Principle, Series I, Box II, Carnegie Corporation Grant I933-37, Queen's University Archives; hereafter QUA. Printed (in part) in Smith 82. See Appendix 18. McCurry endorsed Trotter's application to the Carnegie Corporation as an "experiment" that could be of valuable interest to other universities in the country. This is also documented in a letter of I2 October 1933 from Harry Orr McCurry to Frederick P. Keppel, Locator No. 1250, Office of the Principle, Series I, Box 11, Carnegie Corporation Grant 1933-37, QUA.

77 The Carnegie Corporation donated $1,500 to Queen's University, the amount requested by Trotter and endorsed by McCurry. See Agnes Etherington Art Centre, William Goodridge Roberts 1904-1974: Drawings, exh. cat. (Kingston: Agnes Etherington Art Centre, 1976) 7. 56 themselves. The members of the Kingston Art Association enjoyed special privileges in these activities, including the use of the Carnegie teaching set on a bi-weekly basis as well as private previews of the exhibitions. 78

Roberts continued this style ofprogramming at Queen's until 1936 when the

Carnegie grant was discontinued, most probably due to the Corporation's shift in focus towards museum work. 79 Following the cancellation ofthe Carnegie grant, Queen's

University Principal, William H. Fyfe, approached Agnes Etherington to support continued work in the study of art at Queen's. At this time Etherington made a commitment of $2,000 for an initial two years which was to be used for the provision of a course in art through the Faculty of Arts which could be accepted for credit towards a university degree.80

Etherington's interest in supporting a more "academic" art program at Queen's might have been influenced by a report on "Art Activities in Canadian Universities" written by W. G. Constable in 193 3 following a lecture tour across Canada. 81 In this report Constable emphasized the importance of offering accredited art courses at the university, specifically those in art history:

78 "Carnegie Art Grant 1933-34," Locator No. 1250, Office of the Principle, Series I, Box 11, Carnegie Corporation Grant 1933-37, QUA. $1,000 ofthe grant was allocated for Roberts' salary and the remaining $500 for operating expenses. At the conclusion of the 1933-34 grant Queen's requested that it to be increased to $2,500.

79 Smith 80.

80 Smith 82.

81 Fyfe received a copy ofthis report in December 1933. See Smith 82. In a letter to Constable, Fyfe thanks him for his report and admits that he would "[u]ltimately ... hope to see art among the optional subjects of study for the B. A. degree." William H. Fyfe, letter to William George Constable (undated), Locator No. I250, Office ofthe Principle, Series I, Box II, Carnegie Corporation Grant 1933-37, QUA. 57

"Thus the provision of an art school by a University does not absolve it from the responsibility of considering the part which art may play in education as a whole, and providing for it.

Experience shows that the most satisfactory method of making this provision is through the history of art. The attempt to teach what is called "art appreciation" generally results in little but an accumulation of jargon and of vague knowledge which is neither a training for the mind nor useful in itself.

The historical approach has the following advantages:

(1) In its teaching, the same standards of accuracy and the same systematic study can be exacted as in any other type of history.

(2) It trains and develops the appreciative faculty in a way in which no direct approach is capable, by its influence in widening sympathies, and establishing more catholic standards.

(3) Its teaching can be more easily assimilated to the teaching of other University subjects, so that it can more easily be made a part of a university curriculum. It can utilize for its own purposes existing University courses, such as those in political history, literary history, philosophy, classical archaeology, etc. and can usefully cooperate with such technical departments of the University as a school of art and a school of architecture.

The art history professor or lecturer in a University can then be a valuable coordinating force, in certain cases. 82

With financial assistance from Agnes Etherington, Queen's University was able to continue its work in the fine arts. Andre Bieler, who was selected to replace Roberts, had the added responsibility of creating an accredited art course in the Faculty of Arts for the

1936-37 academic session. Although Bieler did not have any formal training in the

82 William George Constable, "Art Activities in Canadian Universities," Locator No. 1250, Office of the Principle, Series 1, Box 11, Carnegie Corporation Grant 1933-37, QUA. See Appendix 19. ln the following section Constable describes the necessity of art history being recognized as a university course: "If art history is to play its part in University work, it must be fully recognized as an integral part of that work. Courses which play no part in degree work will simply become the resort of dilettanti or of the outside public. It is enough at first if an art history course be recognized as one of the courses leading to a degree, in combination with others. Combination with political history and language courses is particularly appropriate. Later, if good students are forthcoming and the demand seems to exist, the question of a degree in the subject could be considered." 58 history of art, he had travelled widely though Europe and the United States and had studied at the Lycee Carnot and the Ecole du Louvre in Paris and at the Arts Students'

League in New York before settling in Montreal.83

The first art-related course that Bieler offered at Queen's consisted of two half- courses in art history, each with a studio period. These half-courses were held in alternating years. For example in the 1937-38 academic session, Bieler offered Fine Art

2, a course on ancient, Oriental and Aboriginal art. Its complement Fine Art 1 covered the medieval, Renaissance and modem eras. The studio component was intended to provide an opportunity for students to draw from the ancient works of art, still life, and the living model. Students also studied reproductions of Old Master paintings and modem art during the studio period. 84 From 193 8 to 1940 Bieler attempted to offer the course as one entire unit, which surveyed prehistoric through contemporary art along with the studio period; however, in 1941 he returned to the two half-course format. 85

During Bieler's early years at Queen's several changes were made to the curriculum. In the 1948-49 academic session, Bieler listed three optional courses as opposed to two, although they were still offered in alternate years. This permitted some expansion in terms of period coverage. For instance, Art 1 became a study of prehistoric art in Europe as well as ancient, Classical, Oriental, and North American art. Art 2 covered Early Christian, Romanesque and Gothic, and Renaissance and Baroque art in

Italy, while Art 3 examined Renaissance and post-Renaissance art in northern and

83 Bieler was born in Switzerland and emigrated to Canada as a child. For more on Bieler's life see Smith.

84 Queen's University, "Fine Art," Faculty of Arts Calendar 1937-38 (Kingston: Queen's University) 196- 197. See Appendix 20.

85 See calendar entries Queen's University, "Art," Faculty of Arts Calendar 1938-39 (1938) 131; Faculty of Arts Calendar 1939-40 ( 1939) 131; see Appendix 21; Faculty of Arts Calendar 1940-41 (1940) 132. 59 western Europe and modem art of the nineteenth and twentieth centuries. A studio period remained a requirement for each option.86

In addition to teaching, Bieler was also expected to continue with the community activities initiated by Roberts, for despite the loss of the Carnegie funding, this was still a major interest of Etherington and the Kingston Art Association. 87 The increased contact with the community is said to have had a profound influence on Bieler, which led him to become an advocate for the artist in Canadian society. 88 One of the greatest problems

Bieler recognized through his extension work was the lack of understanding between artists from the eastern and western parts of the country. In 1940 Frederick Keppel gave

Bieler an opportunity to address this issue by inviting him to organize a conference at which artists, art critics and art educators from all over Canada could meet and discuss topics related to the place of the artist in Canadian society. Bieler was provided with

$3,000 to cover the travelling expenses of the Canadian delegates and the few Americans who were invited to attend the conference. 89

The Conference of Canadian Artists, also known as the Kingston Conference, was held from 26 to 29 June 1941 at Queen's University, with the final day in Ottawa. The

86 Queen's University, "Art," Faculty of Arts Calendar 1948-49 (1948) 97. See Appendix 22. Students were permitted to take each of these courses and count them towards a degree either as a group or as free options.

87 Smith 82. Bieler continued to participate in the activities of the Kingston Art Association by opening his lectures to the community, providing studio classes for children, high-school students and adults, and also by organizing exhibitions at the Douglas Library. See Queen's University, Annual Reports 1935-36 (Kingston: Queen's University, 1936) 63.

88 Smith 84. Bieler gave numerous radio talks and approached art organizations and institutions including the Ontario Society of Artists and the National Gallery of Canada. He also spoke at the Conference on Canadian-American Affairs on "National Aspects of Contemporary American and Canadian Painting." This conference was organized by the Carnegie Endowment for International Peace at Queen's University and St. Lawrence University ( 193 7). He taught painting at the Banff Summer School in 1940.

89 Smith 89. 60

University of Toronto's John Alford was invited to the conference as a speaker; he delivered a lecture entitled "A Historical Survey of the Position of the Artist in

Society."90 Professor Walter Abell (1897-1956) spoke on the related topic of"Art and

Democracy."91 Other speakers included Bieler, McCurry, Canadian artists Arthur Lismer and A. Y. Jackson as well as a contingent of Americans. They included Edward Rowan,

Assistant Chief of the Fine Arts Project under the Works Progress Administration, the artist Thomas Hart Benton and R. J. Gettens, a research fellow in art conservation at

Harvard's Fogg Museum (figs. 5 and 6).92 The conference, attended by 150 delegates, was viewed as a success for it led to the establishment of the Federation of Canadian

Artists.93 One ofthe lasting achievements ofthe Kingston Conference and the Canadian

Federation of Artists was a report entitled "Brief Concerning the Cultural Aspects of

Canadian Reconstruction," which was submitted to the Special Committee on

Reconstruction and Re-establishment in the Canadian House of Commons during June

1944. Many ofthe issues raised in this report surfaced again in the Federation's report to

90 Andre Bieler and Elizabeth Harrison, eds., The Kingston Conference: Proceedings (Kingston: Queen's University, 1941) 73-78. Also see Helene Sicotte "A Kingston, II y a 50 Ans, La Conference des Artistes Canadiens," Journal of Canadian Art History 14:2 (1991): 28-48.

91 Bieler and Harrison 22-33. Like Alford, Abell had received a grant from the Carnegie Corporation to teach fine arts at Acadia University in 1928. He had an important role in the promotion of fine arts education in the Maritime provinces and later in Quebec and Ontario. Abell was one of the co-founders of the Maritime Art Association and was involved in the publication of Maritime Art (1940-43). Following the Conference of Canadian Artists the journal shifted its focus to include Canada as a whole and was re­ named Canadian Art (1943-66). For more on Abell see Helene Sicotte "Walter Abell au Canada, 1928-44," Journal of Canadian Art History 11:1 (1988): 88-105. The founding of Maritime Art was especially significant, for other art-related journals such as RACAR and the Journal of Canadian Art History were not founded until 1974.

92 For a complete listing of speakers and topics see "Programme ofthe Conference of Canadian Artists," Locator No. 2050, Andre Bieler Papers, Box 3, QUA. See Appendix 23. The conference was photographed by Hazen Sise of Montreal. See "Conference of Canadian Artists Photographs," Locator No. 2050, Andre Bieler Papers, Box 3, QUA.

93 Smith 94-97. 61 the Royal Commission on National Development in the Arts, Letters and Sciences in

1949, which ultimately led to the establishment ofthe Canada Council in 1957.

Bieler remained at Queen's as Professor of Art until his retirement 1963. The first formally trained art historian at Queen's, Gerald E. Finley ( 1931-), a Canadian with a

Ph.D. from Johns Hopkins University, replaced Bieler and ushered in a more comprehensive curriculum akin to that which had been established at Toronto almost twenty years earlier. One final contribution Bieler made at Queen's was his assistance with the establishment ofthe Agnes Etherington Art Centre which opened in 1957.94 The

Agnes Etherington Art Centre was intended to serve both the university and the community, thereby extending the philosophy which guided Bieler's career at Queen's.

The Early Years of Art History at McMaster, Toronto and Queen's Universities in Comparative Perspective

After examining the early years of art history at McMaster, Toronto and Queen's

Universities, it becomes clear that although the Carnegie Corporation played an instrumental role in the organization and establishment of the study of art history at these institutions, there were various factors which led to each university developing an art program of unique character. First, it is important to emphasize that these institutions received differing levels of funding from the Carnegie Corporation, which ultimately determined the scope of their faculty numbers and teaching resources. One could argue that the programs at McMaster and Toronto were more "traditional" in the sense that the earliest art historians hired at these universities were professionally trained in the discipline. Yet although McMaster and Toronto's scholars had specialized training, the

94 Upon her death in 1954, Etherington willed her house to Queen's University for this purpose. See Ralph Allen, introduction, Permanent Collection 1968 (Kingston: Agnes Etherington Art Centre, 1968). 62 nature of that training was not uniform. McMaster's first art historians, Longman and

Hart, were educated in the United States, while Toronto's first art historians, Alford and

Brieger, were educated in Britain and Germany respectively. The fact that Longman and

Hart were trained in the United States seems very significant when one considers how much McMaster's program epitomized the community-oriented values that the Carnegie

Corporation was attempting to promote through the study of art history.

Toronto did not adhere so much to the values prescribed by the Carnegie

Corporation. Although Toronto profited greatly from the Corporation's support of Alford and Brieger in the early years, that institution displayed a greater independence which can be explained by various factors. There had, for example, been some teaching in art history at Toronto prior to the establishment of the Department of Fine Art (e.g., courses in the Department of Art and Archaeology). McMaster had no such tradition (with the exception of Carpenter's evening lectures) and greatly relied on the resources provided by the Carnegie Corporation. Toronto by contrast, had access to the collections of the

ROM for instructional purposes. Furthermore, because Alford and Brieger were from

Europe it is possible that their teaching philosophies were not entirely compatible with those of the Carnegie Corporation. Although they were both involved in art-related activities with the non-university public, these activities were more inclined towards major provincial and national projects as opposed to small-town community programs.

The curriculum adopted at Toronto was also broader in scope than at McMaster

University, which had neither the benefit of a second art historian, nor an established archaeology program. Furthermore, Toronto did not rely entirely on the Carnegie

Corporation for financial support, a circumstance which undoubtedly encouraged greater 63 autonomy in the development of its program. When the Carnegie Corporation cancelled its fine arts funding in the early 1940s, Toronto's Department ofFine Art was able to survive. By contrast, McMaster's Department of Fine Arts did not have the resources to endure on its own when the Carnegie Corporation's financial support was discontinued.

The study of art history at Queen's developed in an entirely different manner than at McMaster and Toronto. Queen's received considerably less funding from the Carnegie

Corporation. This may have been because that institution was not interested in developing a formal program in the history of art, particularly due to the presence of

Bieler who was not a professionally trained art historian, but rather an artist. Although the community outreach so eagerly espoused by the Carnegie Corporation did develop at

Queen's, this seems to have developed more in response to Agnes Etherington's values

(which were shared by Bieler), as opposed to being conceived as a requisite activity on which future Carnegie Corporation funding relied. Etherington's philanthropy at Queen's was equally significant, for because the university did not rely on Carnegie Corporation funding, Queen's, like Toronto, was able to maintain its fine arts program during World

War II. Another similarity between Queen's and Toronto was that both institutions had studio components in their fine arts curriculum. It appears, however, that Toronto's studio curriculum was broader in scope than that at Queen's.

Yet, despite such differences, McMaster, Toronto and Queen's were united by a significant historical factor as early centres for the study of art history in Canada: they arose in geographic proximity to one another at a time when Canada as a nation was facing serious economic hardship. The catalytic role of the Carnegie Corporation in fostering the study of art history at these universities must thus be emphasized. Although 64 each of McMaster, Toronto and Queen's Universities had independently expressed interest in fine arts education prior to the early 1930s, it is highly questionable whether the history of art would have taken root at any of them during the first half of the twentieth century had it not been for the stimulus afforded by the Carnegie Corporation.

In fact, it was not until Canada's Centennial Year in 1967 that Canadian universities would again see such a flourishing in art education.

Of the McMaster, Toronto and Queen's triad, it can be argued that McMaster

University best realized the goals of the Carnegie Corporation through its art program.

The following chapter will examine the founding years of art history at McMaster in more detail, particularly with respect to the Carnegie grant. This will serve to further clarify the Carnegie Corporation's philosophy surrounding art education and the means by which it was fulfilled at McMaster during the 193 Os and early 1940s. 65

Chapter Three

A Case Study of the Early Years of Art History at McMaster University

Although McMaster University was the first institution in Canada to establish an academic program in the history of art, its pioneering status has received scant scholarly attention to date. This is because McMaster's Department ofFine Arts, founded in 1933, was later overshadowed by the departments at universities such as Toronto and Queen's, which developed more continuous programs in the history of art. Yet close study of the early years of McMaster's Department of Fine Arts is crucial to understanding the genesis of art history in Canada. This history can be traced by considering the circumstances surrounding the establishment of McMaster's Department of Fine Arts in the 1930s, its cancellation in the 1940s, and its subsequent revival in the 1950s.

"Fine Arts" and "The New McMaster"

When McMaster established its Department of Fine Arts, the university was still a newcomer to the Hamilton region, having recently relocated there from Toronto in 1930.

Sponsored by the wealthy Baptist merchant, Senator William McMaster ( 1811-87),

McMaster University first opened in Toronto in 1890 as an independent Baptist university governed by the Baptist Convention of Ontario and Quebec (1889). 1 Apart from the theology professors, there were never any requirements that students or faculty had to be Baptist. In order to maintain its denominational character, however, McMaster

University would not accept funding raised by taxation, and thus only gifts were deemed

1 W.S.W. McLay, C.W. New, and G.P. Gilmour, McMaster University 1890-1940 (McMaster University: Hamilton, 1940) 7, 19. Senator McMaster founded and became the first president of the Canadian Bank of Commerce in 1867. Prior to his death he promised his entire estate, approximately $900,000, to the establishment of McMaster University which was incorporated and passed into law in Aprill887. See Johnston, McMaster University vol. 1 (Toronto and Buffalo: University of Toronto Press, 1976) 48. 66 appropriate.2 During the Toronto years, the history of art was not a formal part of the curriculum at McMaster. However, both art appreciation and practical art instruction were taught at Moulton College, a private school for girls, which was supported by

Senator McMaster's wife Susan Moulton and funded by McMaster University.3

McMaster's relocation to Hamilton arose largely from the need for additional space owing to the emergence ofthe natural sciences as part of the university's expanding curriculum. Because the university was still an independent Baptist institution, it rejected a $1 million offer from the City ofHamilton to assist in the construction ofthe

"New McMaster;" however, the university did accept $500,000 raised by voluntary donors from the region.4 Soon after the relocation Chancellor Howard Whidden approached the Carnegie Corporation ofNew York for assistance, and this ultimately led to the endowment for fine arts work. Like donations from individuals, monies from charitable organizations were also accepted at McMaster. 5

The fact that the Carnegie Corporation began its support of McMaster in the early

1930s is especially significant, because by the time the university had re-established itself in Hamilton, it was faced with the economic turmoil of the Great Depression, which resulted in serious financial setbacks for the institution. Many of the supporters of the

"New McMaster Campaign," not foreseeing the Depression, had promised funds they

2 McLay, New and Gilmour 11. For more on the founding of McMaster University see Johnston McMaster University 45-68.

3 Kim Ness The Art Collection 1.

4 Johnston McMaster University xi.

5 In 1932, a visiting representative from the Carnegie Corporation, Hugh C. Gourlay, came to make recommendations on the development of McMaster's library. Gourlay ended up succeeding McMaster's Head Librarian, Dorothea Hallford, in 1935. Johnston McMaster University: The Early Years 51. 67 were no longer able to provide. This resulted in McMaster's need to tighten its budget.

For example, early in 1933 a 5% salary cut was imposed on university salaries under

$4,000, and a 6% cut on salaries above this amount.6 Although all Canadian universities felt the economic constraints of the Depression years, McMaster's situation was particularly fragile because of both the expenses associated with re-locating andre- building and the institution's mandate to preserve its denominational character by relying only on private donations. Therefore, although Marjorie Carpenter had informally offered single lecture courses in the field of classical and medieval art during the 1931-32 academic session, it is important to emphasize that an official appointment in the history of art would not have occurred during the early 1930s had it not been for the support of the Carnegie Corporation. 7

An Examination of the Carnegie Arts Teaching Set

One of the most important resources that encouraged the development of art education at

McMaster was the Carnegie Arts Teaching Set, purchased in 1932.8 The teaching set served a variety of functions, both on and off-campus, in the teaching of the history and

6 In his discussion of the salary cuts at McMaster Johnston writes: "this tum of events helped to reduce the relocated institution's 'anticipated assets' by some half million dollars, an ominous inroad into the $2 million the university had hoped to originally collect from supporters and well-wishers." See Johnston McMaster University: The Early Years 40.

7 Johnston writes that Longman's appointment in 1933 "would have been out of the question in the strained circumstances of the Depression had not the Carnegie Corporation provided a grant to cover his salary." See Johnston McMaster University: The Early Years 52.

8 In a letter October 1936 to May McCarten (Secretary, Office of the Chancellor, McMaster University), Longman described his impression of the teaching set as "absolutely indispensable to the art courses which were developed; no courses could have been granted without it or its equivalent as a nucleus, nor could the public lectures to the people of the city have been given without the reference materials." Longman wrote this letter after re-locating to the State University oflowa. His comments were in response to a request by Robert M. Lester of the Carnegie Corporation. Lester D. Longman, letter to May McCarten, 6 October 1936, McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries I: McMaster University Faculty and Officials; Subsubseries 4: Appointments; Box MMV, File 99, CBA, MU. 68 appreciation of art. It was placed in a large room in University Hall, which subsequently became the Fine Arts Library. McMaster ordered the teaching set of mounted photographs, etchings and textiles, along with the Carnegie collection of books on art, through the College Art Association. 9 Rudolph Lesch Fine Arts Incorporated ofNew

York supplied the reproductions, etchings and textile samples, and E. Weyhe Books, also ofNew York, supplied the books. 10 McMaster University still retains a substantial portion of the original teaching set. 11 A consideration of these teaching resources offers a more in-depth view ofthe early years of art history at McMaster University.

The Carnegie Corporation, for example, donated samples of textiles which were mounted on matte board and contained in a metal box. The original textile collection of

35 samples, which are preserved at the McMaster Museum of Art, range in date from the sixteenth to twentieth centuries and are derived from various nations. They include a

Sumatran "Silk and Metal Weave" from the nineteenth century, a Chinese "Silk and

Paper Weave" from the eighteenth century, a French "Block Printed Linen," also from the eighteenth century, and a Persian "Silk Weave" from the sixteenth to seventeenth

9 Howard P. Whidden, letter to College Art Association, 13 June 1932, McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries 2: University Activities; Subsubseries 5: Fine Arts Department; Box MMZ, File 1, CBA, MU. The first shipment of prints, drawings and textiles was sent on 28 July 1932. Additional prints were sent on 29 August 1932. Rudolph Lesch, letter to Howard P. Whidden, 28 July 1932, McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries 2: University Activities; Subsubseries 5: Fine Arts Department, Box MMZ, File 1, CBA, MU. See Appendix 24.

10 Carpenter was the first professor to utilize the teaching set. McMaster University, letter to Rudolph Lesch, 27 September 1932, McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries 2: University Activities; Subsubseries 5: Fine Arts Department; Box MMZ, File l,CBA, MU.

11 Not all of the resources in the teaching set can presently be accounted for, such as the list of mounted photographs. However, according to Lester's report on the Arts Teaching Sets the standard photograph collection included examples of architecture, sculpture and painting ranging from the classical to modem periods, with a section specifically on American works. The largest concentration of photographs was from the medieval and modem periods. See Lester Arts Teaching 280. 69 centuries. The purpose of the textiles was to illustrate differences in design and colour with respect to geography, period and technique. 12

Some of the etchings donated by the Carnegie Corporation held at the McMaster

Museum of Art include Claude Gellee's Pastoral (1662), Jean Franyois Millet's The

Gleaners, Herman van Swanevelt's The Salutation, and James Abbott McNeil Whistler's

Fumette (1858) (figs. 7-10). 13 It is important to note that although these etchings were originally intended as examples of the various processes of print making, they later formed the nucleus of the university's art collection. They also provided a basis for the university's interest in prints which developed considerably during the 1960s. 14

The first shipment from E. Weyhe consisted of 160 books. 15 Like the textiles and the prints, the original book list provides some insight into the early years of McMaster's art history program. For instance, it is apparent that students were expected to have some reading knowledge of both German and French. Eckart von Sydow's Die Kunst der

Naturvolker und der Vorzeit (1923), Wilhelm von Bode's Die Kunst der Frtih-

12 See "List of Textiles, Carnegie Corporation Gift to McMaster University" courtesy of the McMaster Museum of Art. See Appendix 25. The textile samples were assembled and mounted by Florence Niblack who was a collector of rare textiles. She was assisted by Frances Morris of the Metropolitan Museum of Art. For more on the textiles see Lester Arts Teaching 279-280.

13 There are no dates available for neither the Millet, nor the Van Swanevelt. See "List of Art Works, Donated by the Carnegie Corporation to McMaster University" courtesy of the McMaster Museum of Art. See Appendix 26. All of the etchings listed are held in the collection of the McMaster Museum of Art. Also see Kim Ness The Art Collection 92, 101 ,158, 285.

14 See Arts Teaching Lester 280. "While regular exhibition of the prints did not occur until the 1960s, when jurisdiction of the works moved from the Library to the Art Department, these prints are the precursor of the present formally arranged, educationally orientated art collection." Ness The Art Collection 2.

15 There was some variance in terms of the book collections due to the difficulty of securing sufficient copies of certain selections. In such cases substitutions were made. See Lester Arts Teaching 281. For a complete listing of books see E. Weyhe, letter to Howard P. Whidden, 19 August 1932, McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries 2: University Activities; Subsubseries 5: Fine Arts Department; Box MMZ, File 1, CBA, MU. See Appendix 27. Included with the list is an invoice for the books dated 6 September 1932. 70

Renaissance (1923), Gustav Pauli's Die Kunst des Klassizismus und der Romantik

( 1925) and Emile Male's series of publications on L' Art Religieux du Moyen Age en

France are some examples of books donated by the Carnegie Corporation which were written in a language other than English. The German content, which significantly outweighs the French, is not surprising considering that German art history had long influenced the American art history curriculum. 16

The books in the first shipment covered a wide spectrum of art historical periods and subject matter. Survey books such as Helen Gardner's Art Through the Ages: An

Introduction to Its History and Significance (1926) and classic texts like Vasari's Lives were included. There were also monographs on selected artists such as Giotto, Titian and

Rembrandt and books on "national" schools, including French, Italian, Dutch, Flemish,

German and Indian art (which included the art of Japan, India, and China). Also included were books on architecture which ranged in subject matter from Henry Adams' Mont. St.

Michel and Chartres toLe Corbusier's Towards a New Architecture (1927). Books on such topics as ancient and modern art, prints, technique, aesthetics, textiles, ornament, furniture and antiques were also a part of the original book collection. Nowhere on the list were there books concerned with the art of Canada. Although of limited relevance in terms of the academic program, Canadian art was of some significance for the

Department's extension work.

16 See Brush "German Kunstwissenschajf' for more on the pre-1930s connections between German and American art history. 71

Balancing Academic and Extension Work in Art History/Appreciation

Although Howard Whidden and Lester Longman may have had differing visions of the role of fine arts education- Whidden's vision was more inclined towards encouraging art appreciation in the community, while Longman's vision leaned more towards things academic- a comfortable medium was found in the early years of McMaster's

Department of Fine Arts. This medium very much echoed the Carnegie Corporation's vision of art education, and is reflected in the unpublished progress reports which were sent to the Carnegie Corporation during the years of the organization' s support of

McMaster. 17

The first report, sent in June 1933, described Carpenter's activities during the

1932-33 academic session, prior to the establishment ofthe Department of Fine Arts.

This report describes both the activities in art and music at McMaster during that year.

Various lectures were given in both subject areas. For instance, the American art historian Walter Pach (1883-1958) spoke on Picasso, Matisse and Derain. There were also special lectures for theology students on church music by W. H. Hewlett, Principal of the Hamilton Conservatory of Music, and church architecture by Hamlin, a prominent

Toronto architect. According to the report, audiences of 150 attended the lectures by Pach and Hamlin. Carpenter also gave weekly lectures on Renaissance and modem art; 35 students took her course for credit while over 100 additional individuals attended her lectures. In terms ofthe use of resources, 1,000 books from the art collection were in

17 In my archival research I was able to locate a complete set of reports for Carpenter and Longman's work at McMaster; however, not all of the reports from the Hart years were found. An examination of correspondence between Hart and Whidden has assisted in filling in these gaps in the archival sources. 72 circulation, and students were encouraged to attend musical events to supplement the lectures they attended.

Furthermore, the Extension Committee organized a successful series of lectures on art and music in Simcoe. The lectures on art were delivered by Arthur Lismer, then

Director of Art Education at the Toronto Art Gallery. Lismer spoke on topics such as

"The Origins of the Italian Renaissance" and the "Renaissance in Florence, Rome and

Venice." The report also details the resources acquired during the 1932-33 academic session. For instance, 600 slides from Prestel Gesellschaft Publications for Renaissance and Modem Art were acquired as well as a victrola, victrola records and a slide cabinet.

At the end of the report, various suggestions were made regarding additional resources required for the following year. 18

The Longman years at McMaster (1933-36) saw a dramatic expansion in terms of arts programming both on and off campus. Although Longman took over the organization of activities in art and music, he was supervised and assisted by Whidden, Carpenter and

Haddow. In his first year as Special Carnegie Lecturer in the History and Appreciation of

Art, Longman gave a year-long course on ancient and medieval art and architecture in

McMaster's Convocation Hall. His lectures were delivered twice weekly (the second was a repeat) and were attended on average by an audience of275, both students and

Hamilton residents, 23 of whom who took the course for credit. Longman also gave

"interpenetrating lectures" to other departments such as French, German, Classics,

English and Philosophy- where the history, criticism and appreciation of art were of

some interest.

18 See "Carnegie Report, June 1933, Hamilton Programme," 2/2/5; MMZ/4, CBA, MU. Appendix 7. 73

Longman gave extension lectures on various art-related subjects, 20 in total, in neighbouring towns such as Simcoe, Brantford and Grimsby. Several outside lecturers also visited McMaster University and their lectures were open to McMaster students and the public alike. For instance, the aforementioned Charles Rufus Morey from Princeton lectured on the "Excavations at Antioch" to an audience of approximately 350. Charles

Trick Currelly of the ROM lectured on the "Common Things of the Common People in the Time of Christ" with some 300 persons in attendance. Four exhibitions were held at

McMaster during Longman's first year; for example, 501 people attended an exhibition of "Contemporary French Painting" assembled by the College Art Association. 19

Longman resumed his activities in a similar fashion the following year but to a much greater extent. During the 1934-35 academic session he delivered two weekly lectures on Renaissance art which had an average attendance of 300 persons, 27 of whom took the course for academic credit. Longman continued with the interpenetrating lectures and also gave academic courses on ancient and medieval art and architecture.

Both classics and theology students were encouraged to attend Longman's lectures on these subjects.

In the course of his extension activities Longman gave 29 lectures to clubs, associations and church groups in Hamilton as well as to community groups in outlying towns such as Ingersoll, Woodstock, and further away in London and at Moulton College in Toronto. He also lectured at high schools and organized roundtable discussions which were broadcast on the radio.20 Toronto's Alford visited McMaster as an outside lecturer,

19 See "Report of Progress in Fine Arts and Music at McMaster University, 1934-35," 2/2/5; MMZ/4, CBA, MU. Appendix 10. Musical recitals and lectures on music were also organized during the year.

20 Professors Steam and Haddow accompanied Longman in the roundtable discussions. 74

bringing in an audience of225. Seven exhibitions were held and had excellent attendance rates; 429 people attended an exhibition on "Facsimile Reproductions of Renaissance

Paintings" while 481 attended an exhibition on "Paintings, Prints and Sculpture by

Hamilton Artists." Moving pictures, a new addition, were shown on the "Excavations at

Luxor" and the "Temples and Tombs of Ancient Egypt." A significant development during the 1934-35 academic session was the formation ofthe aforementioned Hamilton

Art Association. A lecture on this subject was delivered by Longman in St. Catharines in order to encourage that community to establish its own art association, as had been done the previous year in Ingersoll and Woodstock. The Hamilton Art Association was also

intended to serve as a centre for the smaller art associations in the neighbouring communities which were included in the extension work of the Department of Fine

During his final year at McMaster (1935-36) Longman continued his work in these diverse areas. Twice weekly he lectured on modem art and architecture and he also

gave lectures and courses on ancient, medieval, Italian Renaissance and northern

Renaissance art.22 Extension lectures were given in Woodstock and St. Catharines, as

well as for Moulton College, clubs, associations and church groups. Visiting speakers

included Professor Clarence Ward (1884-1973) of Oberlin College, where Longman had

completed his A. B. in 1927; in addition, seven exhibitions with a total of3,000 attendees

were held.

21 Music appreciation lectures and recitals were continued as well as victrola concerts. The Fine Arts Library, which had been separated from the main library the previous year, also continued to expand.

22 Twenty-three students took the course in modem art and architecture for credit and approximately 300 people were in attendance each week. Ninety-one students attended his other courses and approximately 20 students enrolled in them for academic credit. See "Report of Progress in Fine Arts and Music at McMaster University 1935-36," 2/2/5; MMZ/4, CBA, MU. 75

The first full year of the Hamilton Art Association was deemed unanimously to be a "great success." The Association's membership totalled 454. Five large exhibitions were held at the G.W. Robinson Department Store, on subjects ranging from "Paintings from Hamilton Homes" to "Contemporary Italian Painting" and a "Retrospective

Exhibition of Canadian Painting." Other new initiatives at McMaster in Longman's final year included the "Lending of Library Prints" program, which permitted students and professors to borrow the framed facsimile prints donated by the Carnegie Corporation for a charge of 10 cents per two-week loan.23 Over a three-year period Longman achieved a remarkable balance between the academic and extension aspects of McMaster's art program. His resignation was reported with "sincere regret," given the "fine success" he had achieved in "laying the foundations for a worthy [D]epartment of Fine Arts."24

The less qualified Stanley Hart replaced Longman as Assistant Professor of Fine

Arts in 1936. From 1936 to the end ofthe 1942-43 academic session, Hart continued with the work initiated by Carpenter and Longman. Hart's success at McMaster and in the community, however, was not as great as Longman's. This was the result of a combination of circumstances; most significant was the fact that Hart was not as

23 There was also continued expansion of the art library and of music recitals, lectures on music appreciation, and victrola concerts.

24 A notice of his resignation was printed in the 1935-36 report. It reads: "It is with sincere regret that we have to report the resignation of Dr. Longman who has recently accepted an important appointment at the University of Iowa as head of the Department of Art. During the three years he as been connected with McMaster University he has given himself unstintedly to the task of furthering the Appreciation of Art in the University and its immediate vicinity in laying the foundations for a worthy Department of Fine Arts. With what fine success he has achieved even more than we ventured to hope for in such a short period, this and previous reports of progress furnish abundant evidence. We cannot speak too highly of Professor Longman and his work." 76 respected by the university's administration as was Longman. World War II was also a complicating factor. 25

In October 1937, one year after Hart's arrival, a report entitled "Three-Year Plan of Future in the Fine Arts at McMaster University and in the Niagara Peninsula" was submitted to the Carnegie Corporation. This eleven-page report described some of the immediate goals for continued growth in the Department of Fine Arts, which necessitated additional funding. The first half of the report dealt with the continuation and expansion of extension work in art. One noteworthy development in this regard was the organization of an art committee in Belleville. A series of lectures on Renaissance and modem art was organized for that centre. The second half of the report articulated important academic objectives at McMaster. One of these was the formation of a graduate program in Fine

Arts, an initiative which was ultimately rejected by the governing bodies at the university due to a lack of course offerings.26 A request was also made for additional resources for the Fine Arts Library- books, journals, and prints- all of which were needed if

McMaster was to establish a graduate program.

Hart saw the establishment of a graduate program as a necessary step because at that time there were no graduate programs in the history of art available in Canada.

Meanwhile McMaster had three students who wished to continue their studies in art history but were unable to leave Canada to undertake graduate studies without substantial scholarships.27 The proposed graduate program consisted of courses in the history of art

25 See Johnston McMaster University: The Early Years 84.

26 See the letter of8 February 1939 from Howard P. Whidden to Elven John Bengough, 2/ 1/3; MMV/ 17, CBA,MU.

27 "[T]heir fmancial situation is such that unless they are exceptionally fortunate in wirming scholarships at such institutions as Harvard and Princeton, they must give up the idea of acquiring that training necessary 77 divided into three groups- general surveys, specialized courses and research seminars.

A request was also made at this time for an assistant for Hart; this too, did not come to fruition. The fact that Hart's "Three-Year Plan" was unsuccessful seems to have been detrimental to his career at McMaster University.

At the end of the 1938-39 academic session, Hart reported to the Carnegie

Corporation on the activities ofthe Department of Fine Arts. Hart's academic and extension work format was quite similar to Longman's. In terms of academic work he offered courses in ancient through modem art and added "Types of Art" to the curriculum. The total registration in these courses was 217. Hart also continued with the interpenetrating lectures which affected approximately 400 students.

By 1939 membership in the Hamilton Art Association had reached 500. Hart gave weekly lectures on "Varieties of Artistic Experience," which were attended by McMaster students and the citizens of Hamilton. Five art exhibitions were held; these included

"Japanese Coloured Prints" and the "Annual Exhibition of the Work of Hamilton

Artists." Extension lectures were delivered in Galt, Woodstock and Kitchener-Waterloo.

Due to distance, the extension work in Belleville was cancelled; however, its community association continued to operate. Hart also gave special lectures to various clubs in

Hamilton and elsewhere as well as via radio broadcast.28

for the teaching of the Fine Arts." See "Three Year Plan of Future Expansion in the Fine Arts at McMaster University and in the Niagara Peninsula," McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries 2: University Activities; Subsubseries 5: Fine Arts Department; Box MMZ, File 5, CBA, MU.

28 See "Report of Progress in Fine Arts at McMaster University for the Year Ending April 30th, 1939," McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries 2: University Activities; Subsubseries 5: Fine Arts Department; Box MMZ, File 4, CBA, MU; hereafter 2/2/5; MMZ/4. See Appendix 28. 78

Professor Emmerson H. Swift (1889-1975) of Columbia University spoke as a visiting lecturer on "The Great Church ofHagia Sophia at Constantinople" to an audience that "filled Convocation Hall." It is interesting to note that both Longman and Hart invited professors from their alma maters to speak at McMaster. This is demonstrative of the early connections forged between McMaster University's Department of Fine Arts and the art departments at major American institutions such as Princeton and Columbia

Universities. These connections were crucial when it came to McMaster's fine arts students continuing with graduate work in the history of art in the United States.29 Hart's report included a section on "Scholarships in Fine Arts Won by McMaster Graduates" where this fact is clearly illustrated. For instance, John Rupert Martin (1917-2000)

(McMaster '38) was admitted into the graduate program in fine arts at Princeton

University, and after his first year was in line for an important graduate fellowship.

Another student, Robert H. Hubbard (1916-89) (McMaster '37) spent the summer of

1938 at the University of Paris at the Institute of Art and Archaeology on a scholarship awarded by the Institute of International Education. He also received another scholarship from the Belgian-American Educational Foundation to take university summer courses in fine arts in Brussels, and he obtained a fellowship at the University of Wisconsin for the

1939-40 academic year to continue in graduate work in the fine arts. That McMaster's fine arts students were winning prestigious fellowships to attend graduate schools where

29 McMaster's Princeton connection continues today, Dr. Hayden B.J. Maginnis, currently Professor of Art History at McMaster's School of the Arts (formerly the Department of Fine Arts), obtained his Ph. D. from Princeton University. McMaster's Department of Fine Arts was also named the Department of Art and Art History, and until recently the School of Art, Drama and Music. See James Deaville "Director's Message," McMaster University School of the Arts Newsletter, 1:1 (Winter 2000): I. 79 they could continue their studies in the history of art testifies to the strength that

McMaster's program had achieved in its early years.30

According to a report from the 1939-40 academic session Hart carried on with the same academic curriculum as the previous year. A 15% increase in registration in the academic courses had occurred. He also gave lectures to over 400 students in the

Departments of English, History and Theology where he occasionally lectured on medieval art and iconography. There was, however, a sharp decrease in the community's participation in extension activities from this point onwards as a result of the War. The majority of the Hamilton Art Association's sister associations also experienced a falling off in memberships, thus limiting the number of exhibitions held during the year. The

Hamilton Art Association held only one exhibition, yet it continued with the public lecture series which consisted of 24 lectures in total. Lectures and single exhibitions were held in Galt and the Kitchener-Waterloo region, and two exhibitions were held in

Woodstock. Hart also delivered single lectures to various groups on the recent trips he had taken to Russia and Finland. 31 The decrease in the Hamilton Art Association's activities was a major factor in the decision to cancel McMaster's Department of Fine

Arts.

30 Another student who received art history scholarships was Elizabeth Smith ( 1912-) (McMaster '35). Smith was awarded a scholarship from New York University where she undertook graduate work, as well as an award from the Institute of International Education for study in Europe during the summer of 1939. 1 See "Report of Progress in Fine Arts at McMaster University for the Year Ending April 30 \ 1939," 2/2/5; MMZ/4, CBA, MU. Appendix 28.

31 Although I did not locate the reports pertaining to the activities of the 1940-41 and 1941-1942 academic sessions, related correspondence, especially that pertaining to the cancellation of McMaster's Department of Fine Arts, reveals a continued downward spiral in relation to extension work. According to university calendars, the academic curriculum remained the same, although by 1940 enrolment would have decreased as a result of the War. 80

The Cancellation of McMaster's Department of Fine Arts

A preliminary discussion concerning the cancellation of McMaster's Fine Arts

Department took place on 5 January 1942. By this time Whidden had retired and had been replaced by George P. Gilmour (1900-63).32 According to a record ofthe preliminary discussion, one of the most tenuous issues involved in the cancellation of the

Fine Arts Department was the fact that McMaster had received substantial funding from the Carnegie Corporation.

"1. The Board of Governors, having accepted from the Carnegie Corporation considerable sums, can probably not dispense with this Department without further trial, without endangering the success of any future appeal. It may also be a matter of honour not to invoke the war as an excuse for discontinuance until at least one more experiment has been tried. "33

As a denominational university McMaster relied on private donors. The Carnegie

Corporation had provided considerable resources to the institution, and not only with respect to art education. Surely it was not in the institution's best interests to offend the

Carnegie Corporation; however, because the fine arts funding had been discontinued and the wartime situation hardly permitted a surplus in the university's coffers, the options were limited.

The fact that Hart had not met the expectations of his position was another significant matter addressed in the preliminary discussion.

32 In 1942, Gilmour officially succeeded Whidden who had retired in 1941. See Johnston McMaster University: The Early Years 94-95. "With his shaky health and his lengthy service, Whidden ... was due for retirement, but he too may have been a casualty of the war. The special problems it posed for the university seemed to call for the leadership and energy of a younger generation." See Johnston McMaster University: The Early Years 96.

33 "Preliminary Discussion on Fine Arts Department January 5, 1942," McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries 10: Organizations; Subsubseries 2: Carnegie Corporation; Box MNH, File 10, CBA, MU; hereafter2/ I0/2; MNH/ 10. 81

"2. Evidently the three year plan outlined for 193 7-40 has not been successfully pushed in detail. In addition, it appears that the Hamilton Art Association is diminishing in importance, and the attempts to give extension lectures in neighbouring centres are meeting with less success than formerly."34

Several alternatives to cancelling the department were presented, but it was ultimately decided to discontinue McMaster's Fine Arts Department following the 1942-43 academic session.35

The McMaster University Board of Governors Executive's "Memorandum on

Continuance of Fine Arts Department for Discussion Aprill3, 1942" stated that "[t]he problem of continuing the Fine Arts Department in 1942-43 has been raised by the necessity of wartime economics and the cessation of the Carnegie grants that carried the work until this year."36 The memorandum identified four areas which favoured the cessation of the Department.

" 1. The Board would be relieved of Professor Hart's salary of $3300; or a major part of it, if

2. A small part ofthe work could be offered by other members ofthe staff or by visiting lecturers.

3. The withdrawal of all work in this department would not seriously upset the curriculum, and would recognize that in wartime student

34 "Preliminary Discussion on Fine Arts Department January 5, 1942," 2/10 /2; MNH/ 10, CBA, MU.

35 Other alternatives to cancelling the department included reducing Hart's lecture load and replacing the extension lectures, which had lost appeal for the public, by working with art teachers of the Hamilton Board of Education. It was also suggested that Hart could lecture in churches on topics such as "religious art and architecture," and that more interpenetrating lectures could be offered through the Departments of History, English and Theology. The suggestions made to save the Department of Fine Arts seemed to have little concern with preserving the academic study of art history at McMaster. Although Whidden had retired by the time this discussion took place, it is possible that his mentality, which was more concerned with the community element ofthe·art program, had in some ways carried over. "Preliminary Discussion on Fine Arts Department January 5, 1942," 211 0/2; MNH/10, CBA, MU.

36 "Memorandum on Continuance of Fine Arts Department for Discussion Apri113, 1942," 211 0/2; MNH/ 10, CBA, MU. Appendix 6. 82

interest may well be diverted into other channels, especially since a drop in attendance is to be anticipated in the upper years.

4. Mr. Hart is probably not the best man for permanent work here."37

The issue of the Carnegie Corporation's support of McMaster was raised again as a reason to continue the department's activities at a minimum level during the 1942-43 academic session.

"1. The Carnegie Corporation has given us some $52000, to set up work and to provide us with what is probably the best library and slide-collection in Ontario. While no further help will be forthcoming for this work, the Corporation's help may be sought at a later date for some other project, such as Adult Education in this district, or equipment for a new library building; and our dropping of the Art work after investing in it only about $5600 of our own money to date might prejudice our case in a later approach."38

Hart, who "had never enjoyed the full confidence of the administration anyway," was informed ofthe pending closure ofthe Department of Fine Arts in the spring of

1942.39 Despite his initial enthusiasm, Hart was seemingly not appropriate for the position. The notion that Hart was not the "best man for permanent work" at McMaster was most certainly a determining factor in the closure of the department. In a letter of reference to Whidden, Emmerson Swift of Columbia noted that despite Hart's accelerated lecturing ability in the undergraduate survey, great things were not expected of him in a professional sense. He was weak in the art historical periods pre-dating the Renaissance, and also lacked linguistic and archaeological training. Furthermore, Swift revealed that

37 "Memorandum on Continuance ofFine Arts Department for Discussion April 13, 1942," 2/10/2; MNH/10, CBA, MU. Appendix 6.

38 "Memorandum on Continuance of Fine Arts Department for Discussion April 13, 1942," 2/ 10/2; MNH/10, CBA, MU. Appendix 6.

39 See Johnston McMaster University: The Early Years 84. 83 there had been some conflict at Columbia between Hart and the current Chairman of the

Department of Fine Art. The Chairman was more interested in research and graduate instruction as opposed to Hart's forte -undergraduate work. Swift concluded that Hart would not "attain great distinction as a scholar."40 McMaster's Board of Governors

Executive was very much aware of this situation when it discontinued the Department of

Fine Arts.

The Revival of McMaster's Department of Fine Arts

A serious effort was made to continue academic activity in art history at McMaster during the 1940s. Single lecture courses were offered through the Classics and Romance

Languages Departments, thereby re-establishing the situation that predated the founding of the Department of Fine Arts. The extension work in art appreciation, however, was not maintained. In addition, Alford and Brieger from Toronto's Department of Fine Art offered courses in the history of art during the 1943-44 academic session.41 The

Department of Fine Arts, however, was not brought back to life until the early 1950s.

40 Swift wrote: "Since Professor Hart was primarily an undergraduate teacher and had devoted his energies to instruction than to publication and research, a somewhat strained situation developed in which a temperamental antipathy between Professor Hart and the new Chairman came to the fore." Emmerson H. Swift, letter to Howard P. Whidden, 18 June 1936, McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries I: McMaster University Faculty and Officials; Subsubseries 4: Appointments; Box MMV, File 89, CBA, MU.

41 Their activities were described in a McMaster University press release which reads: "Both men who are to teach are well known to members of the Hamilton Art Association and to others interested in the building up of the excellent art library and slide collection at McMaster. Professor E. J. G. Alford, head of the Department of Fine Art at the University of Toronto, will visit the university each Friday morning to deliver illustrated lectures in a survey ofthe history of art, chiefly designed for students of the Junior Division. Dr. P. Brieger, assistant professor of Fine Art at Toronto, will come into Hamilton during the second term, probably Saturday mornings, to lecture on some more specialized field. Any who are interested are at liberty to attend these lectures on payment of the usual fee required for attendance without examination or credit." See press release entitled "Fine Arts Lectures at McMaster," McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries 2: University Activities; Subsubseries 5: Fine Arts Department; Box MMZ, File 9, CBA, MU. 84

In November 1950, President Gilmour appealed to the Atkinson Charitable

Foundation, a Canadian philanthropic organization based in Toronto, for funding to

support various projects at McMaster, including the revival of the Department ofFine

Arts.42 The fact that McMaster had attempted to continue work in the arts following the

department's cancellation was considered a significant factor when Gilmour applied to the Atkinson Foundation for funding. The quality of the Fine Arts Library, for the most

part established during the 1930s with the assistance ofthe Carnegie grant, was

envisioned as another redeeming factor. In his bid to the foundation Gilmour also noted

that a number of McMaster's graduates had continued with graduate study in art history

and had attained considerable success. 43

President Gilmour was successful in his application to the Atkinson Charitable

Foundation, which authorized a grant to McMaster University in the sum of $20,000 to

be paid in three instalments of $7,000, $7,000, and $6,000 until the end of the 1953-54

42 The Atkinson Charitable Foundation began operating actively in 1950, and by 1958 had disbursed $4,496,914 to 402 charitable projects within Ontario, in areas such as education and health and social welfare. See the press release entitled "Atkinson Foundation Makes Grant Payments of$664,837 in 1957," McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries 10: Organizations; Subsubseries 1: Atkinson Foundation; Box MMZ, File 2, CBA, MU. Apart from fine arts funding, Gilmour also requested funding to create a bursaries fund, support to expand the Department of Political Economy by appointing a chair of Political Science, a grant for the purchase of books in order to fill out the library's collection (particularly in the arts and social sciences), and assistance in the realms of medical service and cultural activities. George P. Gilmour, letter to Alex C. Givens, 10 November 1950, McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries 10: Organizations; Subsubseries 1: Atkinson Foundation; Box MNH, File 3, CBA, MU. For more on Gilmour's appointment to the new office of President see Johnston McMaster University: The Early Years 200.

43 A press release announcing the "Atkinson Foundation Grant for Fine Arts at McMaster University" reads: "The grant has been made in view of the excellent equipment and materials for such work now in possession of the University, and in order to re-establish a department which was conducted between the years of 1933 and 1943 and discontinued because ofwar conditions." On the graduates of McMaster's former program Gilmour wrote: "Our work consisted chiefly of lecture courses, leading to a B. A. degree with specialization in this field, and a number of our graduates in the 1930's went on to doctoral studies at Princeton and elsewhere, and are filling important teaching posts, such as that occupied by Professor George [Stephen] Vickers at the University of Toronto." George P. Gilmour, letter to Alex C. Givens, 15 January 1951, McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries 10: Organizations; Subsubseries 1: Atkinson Foundation; Box MNH, File 3, CBA, MU. 85 academic session. This permitted the Department of Fine Arts to re-open in September

1951.44 McMaster hired its third professional art historian, Naomi Jackson, and the revived Department of Fine Arts found a new home in the recently-constructed Mills

Memorial Library where the art collection was housed and where lectures were enhanced by the provision of new audio-visual equipment.45 McMaster's appointment of Jackson was pioneering for the university at that time, for she was both a Canadian and a woman.

Indeed the newspaper headlines following her appointment read "Fine Arts Post At

McMaster Goes to Woman."46 Her background as an artist and art historian was particularly significant, and she had studied the history of art both in Germany and the

United States- in Berlin and Munich as well as at Harvard-Radcliffe where she obtained her Ph.D.

Jackson described the 1951-52 academic season as having a "promising start" with 28 Senior Division and 18 Junior Division students.47 In a letter to the Atkinson

44 Johnston notes: "For the first time in McMaster's experience, a Canadian foundation came to the rescue of an academic initiative, an encouraging index of the way Canada's growing private wealth was being applied to the arts at the mid-century. After the first three-year grant was completed, the foundation renewed the grant for an additional three years." See Johnston McMaster University: The Early Years 219. Work in music was also re-established in the 1950s, although separate from Fine Arts. ln 1955 a Bachelor ofMusic program was introduced at McMaster. Johnston McMaster University: The Early Years 221.

45 Another supporter of the arts at McMaster was Herman Herzog Levy, 0. B. E. (1902-1990), a Hamilton resident whose family had made its fortune in the jewellery business. Although Levy is better known for his donation of his personal art collection of 185 European and European-influenced works of art to McMaster after his death, Levy also supported the Department of Fine Arts in the 1950s by providing funds for audio-visual aids and studio equipment. See Kim Ness, The Levy Legacy, exh. cat. (Hamilton: McMaster Museum of Art, 1996) 17.

46 This was the title of an article from August 1951 describing Jackson's appointment, (author and journal unknown). See "Fine Arts Post At McMaster Goes to Woman," McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries 1: McMaster University Faculty and Officials; Subsubseries 4: Appointments; Box MMV, File 93, CBA, MU.

47 See "Present Status and Future Plans for the Department of Fine Arts," McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries 1: McMaster University Faculty and Officials; Subsubseries 3: Faculty Members; Box MMV, File 20, CBA, MU. 86

Foundation, President Gilmour reported on the recent activities of the re-established department:

"Dr. Naomi Jackson has developed the following activities during the year: the delivery of two lecture courses for undergraduate credit, the revision of the slide collection of our Fine Arts Department, and the founding of an Art Club for undergraduates and faculty members here. This last activity has been remarkably successful, and a large number of people have become interested in painting as a hobby, a most valuable addition to the non-academic work offered at the University."48

Jackson was also active outside the university; for example, she delivered lectures to the

Women's Committee of the Hamilton Art Gallery.49 Although Jackson resigned from her position in 1958, her influence persisted at McMaster University. In particular, her extensive knowledge of German prints inspired interest in collecting works in this area, a tradition which continues today at the McMaster Museum of Art. 50

The Legacy of the Early Years of McMaster's Department of Fine Arts

One year prior to Jackson's resignation McMaster University severed its ties with the

Baptist Convention. The university's "burgeoning arts curriculum" demanded the need for public subsidy rather than the restricted funding avenues of a denominational

1 institution. 5 A substantial expansion of McMaster's Department of Fine Arts occurred

48 George P. Gilmour, letter toW. G. Palmer, 12 March 1952, McMaster University; Office of the Chancellor; Series 2: Specified Correspondence; Subseries I 0: Organizations; Subsubseries I: Atkinson Foundation; Box MNH, File 3, CBA, MU.

49 See Johnston McMaster University: The Early Years 219.

50 No German prints were purchased until 1961. In March of that year President Gilmour established the President's Art Board to purchase and recommend or refuse works donated to the collection. The McMaster University Art Gallery (now the McMaster Museum of Art) opened in 1967. See Ness The Art Collection 2-3.

51 McMaster's Divinity College however, was continued. For more on McMaster's separation from the Baptist Convention see Johnston McMaster University: The Early Years xi-iii, 241-267. 87 during the 1960s. The transition from denominational to non-denominational status ultimately permitted McMaster to expand as a whole.

Although McMaster University is perhaps no longer one of Canada's most prominent centres for the study of art history, it retains special significance as the birthplace of institutionalized art history in English-speaking Canada in the decade between 1933 and 1943. The Longman and Hart years left an important legacy for the study of art history at McMaster, in the Hamilton region, and in Canada as a whole.

Lasting connections were forged between McMaster and major art departments at

American universities, especially Princeton. The Carnegie Arts Teaching Set stimulated the development of the university's art collection which is now one of the premier university collections in the country. On a regional level, the Hamilton Art Association, which was closely aligned with the Department of Fine Arts, encouraged the City of

Hamilton to establish its own art gallery; the Art Gallery of Hamilton was realized in

1953. The Hamilton Art Association also inspired other towns in the region, including

Galt, Woodstock and Kitchener-Waterloo, to establish their own art associations.

Furthermore, under Longman and Hart McMaster's Department of Fine Arts served as a preliminary training ground for a group of art historians who had a major influence on the discipline in Canada and abroad. One McMaster student of the 1930s,

Robert H. Hubbard, for example, obtained his Ph.D. from the University of Wisconsin

Madison in 1940, writing his dissertation on "The French Canadian Tradition in Painting,

1670-1840." He began his career at the National Gallery of Canada in 1945. He became

Curator of Canadian Art in 1947 and Chief Curator in 1954, a position he held until1975.

Hubbard was responsible for publishing the first catalogues ofNational Gallery's 88 collection and also published widely on Canadian Art in such books as An Anthology of

Canadian Art (1960) and The Development of Canadian Art (1963). In 1975 he was appointed Cultural Advisor to Canada's Governor General and published a book entitled

Rideau Hall: An Illustrated History of Government House (1977). He was also a member ofthe Advisory Board ofthe Journal of Canadian Art History. During his career,

Hubbard was especially interested in the cross-influences that linked British and

Canadian painting. 52

Another student ofthe early years of McMaster's Department of Fine Arts was

George Stephen Vickers (1913-83). After being introduced to the history of art at

McMaster in the 1930s he continued his studies at Harvard University where he received an M.A. and became a specialist in medieval art. In 1946 he was appointed Professor of

Art History at the University of Toronto, where he served as Chairman ofthe Department of Fine Art from 1965-71. In his early career at Toronto Vickers was also an active member of both the Educational and Exhibition Committees at the Art Gallery of

Toronto. He was an author ofthe three-volume Art and Man (1964) with his fellow faculty members Peter Brieger and Frederick E. Winters. In 1968 Vickers was named to the Board of the newly established National Museums Association and was also a

3 member ofthe Visiting Committee ofthe National Gallery. 5

52 "In Memoriam: Robert H. Hubbard, 1916-1989," Journal of Canadian Art History 12:2 (1989): 213. Hubbard also organized major exhibitions at the National Gallery and also published on architecture for example, "The Land of Stone Gable" RACAR 2:1 (1975): 23-32 and Ample Mansions: The Viceregal Residences of the Canadian Provinces (1989).

53 Dennis Reid, "George Stephen Vickers," Fine Art News (ApriVMay 1994): 1-2. Hannah Vickers Fournier, e-mail to Carrie Vassallo, 20 May 2001. Stephen Vickers married Elizabeth Smith, a fellow student from McMaster. Smith studied Georges de Ia Tour at New York University and lectured in art history at McMaster. She later became a member of the City of Toronto Planning Board and Chair of the Toronto Historical Board. Before marrying Vickers, Smith accompanied Longman to the University of 89

John Rupert Martin, another student of McMaster's Department ofFine Arts in the 1930s, had a long standing career as Professor of Art History at Princeton University where he obtained his Master's and Ph.D. in 1941 and 1947 respectively. In his early career he specialized in Byzantine art and later he focused on the study of seventeenth- century art. Martin's book on the art of the latter period, entitled Baroque ( 1977), became a standard text in this area of study. His other publications included The Ceiling Paintings for the Jesuit Church in Antwerp (1968) as well as other books on Baroque art. Martin served as Editor-in-Chief of The Art Bulletin (1971-74), was Chairman of Princeton's

Department of Art and Archaeology (1973-74), and was the President ofthe College Art

Association (1984-86). He was also a member of international organizations such as the

Comite International d'Histoire deL' Art. Furthermore Martin was influential as a lecturer and teacher at Princeton. 54

In its formative years McMaster's Department of Fine Arts both contradicted and epitomized the goals which the Carnegie Corporation had set out for the institution. That

McMaster was unable to be self-sufficient following the termination of the Carnegie

Corporation's support in the early 1940s was very much at odds with the organization's philanthropic philosophy which was ultimately concerned with initiating projects as opposed to supporting them indefinitely. But, despite the fact that McMaster's

Department of Fine Arts was temporarily cancelled it most certainly redeemed itself by realizing two ofthe primary goals behind the Carnegie Corporation's activity in the arts during the 1920s and 1930s- the academic training of art educators such as Hubbard,

Iowa where she assisted him as his secretary. See letter of27 July 1977 from Longman to Johnston. Appendix 4.

54 Charles Scribner Ill, "ln Memoriam: John Rupert Martin (1916-2000)," Historians ofNetherlandish Art Newsletter 17:2 (2000): 3-4. 90

Vickers and Martin who furthered the scholarly aspects of fine arts education within

Canada and beyond, and by stimulating an interest in the arts in the region through university extension work.

Observations on the Introduction of Art History in Canada

Although a case study of the foundational decade of art history at McMaster University helps to shed light on the uncharted terrain of art history's history as an academic discipline in English-speaking Canada, it is important to bear in mind that McMaster's pioneering program and institutional circumstances were not necessarily replicated at other universities across the country. In short, a more nuanced and comprehensive picture of the early years of art history in Canada would necessitate further research into educational and cultural policies, economics and institutional personnel on both national and regional levels over a longer period of time.

Nevertheless, close study of the situation at McMaster provokes a number of broad observations. First, the great degree of influence that American art history had at

McMaster was largely due to economic factors rather than to any clearly articulated preference with regard to educational philosophy. The institution's reliance on the

Carnegie Corporation was understandable, given its restricted financial situation as a denominational university, and the fact that both professors Lester Longman and Stanley

Hart, as appointees ofthe Carnegie Corporation, came from the United States. But closer analysis of other universities would probably show that the Carnegie Corporation played only a subsidiary role. At Toronto, for example, British and German models of art history were presumably far more influential owing to the educational backgrounds of John

Alford and Peter Brieger. The Royal Ontario Museum, with its emphasis on the study of 91 archaeology, would have had a comparable effect and could also help explain the lesser role of the Carnegie Corporation at Toronto. At Queen's it appears that it was Andre

Bieler's background as an artist, together with the interests of philanthropist Agnes

Etherington and the Kingston Art Association, that determined the particular path which the study of art history followed at that institution. Further study of the early years of art history at these and other universities would likely reveal an even more complex situation than is acknowledged here.

Although the neighbouring universities of McMaster, Toronto and Queen's developed academic programs in the history of art in approximately the same years with assistance - to greater and lesser degrees - from the Carnegie Corporation, these programs were ultimately shaped by circumstances and personalities on the local level. In the absence of a centralized directing force, each institution was responsible for fashioning its own solution to the problem of art education. This haphazard style of arts programming seems to have also characterized the histories of many other cultural endeavours in Canada. For example, in its early years Canada's National Gallery was subject to sporadic funding and an informal collections policy. Such fluctuations in funding and policy continue to be experienced by the National Gallery as well as by countless arts organizations across the country. Might then, the introduction of art history at Canadian universities during the 1930s and 1940s- and the discipline's subsequent history - be regarded as participating in larger trends of art education and arts funding in

Canada? 92

.Fig. 1. Lester D. Longman. 93

Fig. 2. Naomi C. A. Jackson. 94

Fig. J. Edward John Gregory Alford. 95

· Fig. 4. Peter H. Brieger. 96

Fig. 5. Conference of Canadian Artists. Standing (L-R) unidentified, John Alford, Randolph Hewton, Arthur Lismer. Seated (L-R) Robert Ayre,'Walter Abell. 97

Fig. 6. Conference of Canadian Artists. Standing Andre Bieler. Sea~ed (L-R) Harry Orr McCurry, unknown, Thomas Hart Benton, Elizabeth Harrison, Edward Rowan, unknown. 98

Fig. 7. Claude Gellee (1600-82). Pastoral. 166~. 99

·. v.

Fig. 8. Jean Franr;ois Millet (1814-75). The Gleaners. ' 100

Fig. 9. Herman Van Swanevelt (1600-55). The Salutation. 101

--~ .,- ~ -

\ ......

'-~ ... . ·-· ':' ;.. ''·'. . ,_. . ., ··'-'t_,· ·' ' \ ' .. • ' .... . - - ~ ·' .... ·. .~. -:·~ ' ' '· · ·, ...., .

- ~~~- ~;~~-;li-;~{~_ :':--.~-:_\·~;;-:; l.;i - ~- -

Fig. 10. James Abbot McNeill Whistler (1834-1903). Fumette. 1858. 102

Appendix 1

CA NADIAN BAPTIST ARC HIVES McMASTER DIVIN ITY COLLEGE HAMILTON, ONTARIO, CA NADA L8S 4KI

2001/07/09

Carrie Vassallo 441 MerrLll Avenue LaSalle, ON N9J 3R2

Dear Carrie,

This letter is to follow-up the e-mail I sent you earlier today regarding your request to reproduce and/or cite in your M.A. thesis documents held in the Canadian Baptist Archives.

You have permission to cite any document you perused while in our Reading Room . This includes material photocopied and taken with you . You also have permission to reproduce all of the items listed in your fax, as well as any other items you may have photocopied, as long as you give proper credit (which you have already indicated you will do). The newspaper photograph of Naomi Jackson does not belong to us, so you will be governed by whatever laws permit its reproduction.

It has been a pleasure to serve your research needs. If we may be of further assistance, please do not hesitate to contact us.

Acting Director Canadian Baptist Archives 103

Appendix 2

QUEEN'S UNIVERS ITY ARCHIVES 13 July 2001 Ka thl een Ryan Hall Qgeen'S University Kingston, Ontario, Canada K7L JN6 Carrie Vassallo Tel 613 533-2378 441 Merrill Avenue Fax 613 533-6403 LaSalle, ON N9J 3R2

Dear Ms. Vassallo:

I am in receipt of your fax, sent earlier this afternoon, in which you seek permission to reprint, in your M .A. thesis, certain items housed in various fonds/collections held here at Queen's University Archives.

While, as a general rule Queen's University Archives (QUA) does not hold copyright to the fonds/collections held under its custody (unless so assigned by the donor or estate), and therefore cannot grant permission to same, in this particular instance, and in so much as it is within our purview so to do, by this letter, QUA does grant you said permission to reproduce in your thesis, those documents and images described by you in your fax dated 9 July 2001, and sent 13 July 2001.

It must be drawn to your attention however, that should you wish in the future to publish any, or all, of your thesis, where the letter from Reginald G. Trotter to Harry Orr McCurry, dated 9 August 1933, would be reproduced, permission will need to be obtai ned from the hei rs ofR.G. Trotter's estate. In the case of the other printed documents cited in yo ur letter referred to above, all that will be required is the proper reference information. In regard to the photographs obtained from the Andre Bieler fonds, as these are now in the public domain, all that will be needed is again, a proper citation.

Before closing, I must add as well, that your citation, as it relates to the Andre Bieler fonds, is at present, incorrect. The locator number should read 2050 and NOT 1250.

Finally, this e-mail, as per your request will be followed up by both a faxed and mailed copy.

Congratulations on obtaining your M .A. from Western and all the best in the future.

Yours sincerely

Associate University Archivist

PREP_;R I J'.:G L EA DERS AND C I TIZENS FOR A GLO B A L SOC I ETY 104

Appendix 3

University of Toronto Libraries Toronto, Ontario, Canada M5S 1A5

University of Toronto Archives and Records Management Services 120 St. George St. Toronto, ON MSS lAS File: 1610-05

Ms Carrie Vassallo 441 Merrill A venue LaSalle, ON N9J 3R2

11 July, 2001

Dear Ms Vassallo:

Thank you for your e-mail of 8 July seeking permission to re-print a letter in your M.A. thesis.

You have permission to publish (in photocopy format) the letter from John Alford to President Cody that you cite. The proper citation of the accession is: University of Toronto Archives. Office of the President (Cody), Al968-0006/019(04), [letter dated, etc.]

Once you have defended the thesis, we would appreciate having the appropriate bibliographic citation of this work for our records.

All the best with your defence. Those of us who have gone before know what it feels like. Yours sincerely, . f))

Harold!h~t2~~J Averill Acting University Archivist 105

Appendix 4

UNIVERS ITY OF CALIFORN IA

LOS ANGELES Z4• C.". LI FORN JA July 27 , 1 977

Professor C. M. J ohnston De~artment of History t1 c~~a s ter University 1280 !

Dear Professor Johnston :

I •Qll try to provi de adequate a nswers to your ~uestions for use in yo'.lr :iistory of Mc:•!aster University , since I re:ne:n'oer wi th :nuch pleasure the three years I spent there .

I had not heard of Hc:•laster Hhen C!'!ancellor ~·,'h i dden offered me the ~os i tio n of Carnegie Lecturer in Art . He said I had bsen reco,-,mended by Dr . Frederick Keppel , President of the Carnegie C o rp~rat ion, which "'as funding the position. Presi dent Keppel knew me because I had held t1-10 Carnegie Fellot:ships at Princeton , and the Corporation 1;as also giving :kY,aster a generous set of a rt books and mounted photographs along w-ith money for slides and such other expenses as were required to develop an interest ~n art among s tudents and citizens of Ha:nil ton and nearby towns .

It wasn ' t the kind o~ position I had in mind at the ti"'e, although it turned out to be advanta5eous and enjoyable . After periods of t e:nporary teaching at Ohio State and Colunbia a nd a Eur:>oean Fello•.-;shi p o:: the -~-"~erican Council of Learned Societies , I ~-:as just finishing my Ph.D. dissertatio:-: at Harvard for presentation to Princeton , and 1~as re.:dy for my first pe~nanant job. This I anticipated would normally be in a vell establ ished a rt depar t :nen~ at a u niversity such as Yale, Columbia, Chica~o, or ;.!ich i ;;: an.

The tir.~e '\-!aS :·!a r c h or Ap:c i l ·1933, however, just after f\oos a val t had closed the banks and my firs t child >-Jas just born. It •..1as the depths of the deores s i on and there ~-:ere al:nost no jobs available in any field . The ou tlo~k ~-:as bleak for the fall ter:n o f 1933 . s'o I decided it Hould be best to accept C~ancellor Whidden's offer even though it seemed to be a kind of ~issionary \·IOrk in a ?lace 1-1here I \·.'o uld ·have no collea e; ues in my fiel d and no l ibrary resources .

I had a bit of trouble get tin~ into C3.nad.:t· and 'ny wife and I had to >Jai t: s avera l d:J.ys . in Buffal o on the ',oay , 1-: hil e Chancellor \''h idden endeavor ed to prove to the government auth~rities that there ~-:as no Canadian who was prepared to do the j ob re1uired . This may have been literally true, since I 1;as told lator on th3.t I 1;as the first person to teach a rt history in a Canadian universitJ . ?rofessor John Alford , an 2n~ l ishr.~an, came to the llnivo rsity of Toronto a year or two l ater .

\-:'hen I fin'll ly arrived I found the Uni·,ersity oe ·~nle a:z;re,able and ~he Gothic buildin~s attractive as t hey stood in th~ ~ idst of spacious, e'noty fields. I{y v:ife and I also liked :.ho nuiot s uour :> a t t!'le ed-;e of ~O>'l "i th its ne~: h~uses, one of \·:hich I ren':ed J:'l !:hle>~~oci :::-9scent. Al~!'lo·~e;h 106

I was ~ivan a cordial recention, I soon discovered people were a bit suspicious of an American as likely to be overly ag ;~ressive in trying to !!l~ke ranid proc:ress or changes in current practice. This turned out to be true. I think some would have preferred an Zn~lishman as one likely to be more leisurely and more cultured.

I did not realize at first that all Chancellor vmidden had in mind was to have a lecturer on campus 1.•ho v:ould ~ive public lectures which a feH students could attend as Fell and perhaps even get acade:riic credit, solon~ as it didn't interfere with their more serious studies . So!":Je of the faculty no doubt had the sa:ne idea. Dean !1arjorie Car;::

For my part, ho1-;ever, I arrived thinking that my basic function would be to eSf~blish an art department rather than provide a public service. I proposed immediately a series of courses with that in mind and did ~e t them approved , although with some difficulty, since the Canadian course system unlike the American with its numerous electives, reauired that any new course be individually integrated into standard C'.lrricula being offered by the several denartments, as either a specific r eouire~ent a~ the curriculum or one o! no more than several options. h'ithout that inte;;rati'ln in each curriculum , or at least in ·a few, t!1e existence of a course in the catalo ~ ue \-!ould be meanin'Iless, for no student ;.•auld have the opportunity to elect it. This meant that I had to con•rince various fac •1lty members to allm·.' my courses as electives in t'le c:.1rricula they con~rolled . At first probably most of the face~lt :.r a;:reed >ri.th Fhidden that art >:as very nice to have around , but still a · f;ill, and so they ~ere reluctant to approve t he subje~t for acade1ric ~redit.

. I bou~ht some ten thousand slides and a lot more books, and a s I remember eventually established about five courses, and 60t an art library, study room and office next to the tower of Ha:nilton Hall. Some students re ~ istered for the courses fro:n the start, but they Here simultaneously given as public lectures in Hamilton Con·rocation :lall. They covered the history of art from the cave men to the present in three years .

During the first year some hundred or more citizens came out to hear the l ectu:-es, each of which was g iven t..-ice, once in the afternoon and aGain in the evening. I gave out :nil'leo~ra]Jhed outlines of the l ectures before they began. 3y the third year attendance ;,•a s about four o:- five h.undred, and the Hamilton bu's lines Fare sendino; their be~ses clear to ·the do0r of Hamil ton Hall before and after the l ectu:-es .

Th is was very r;ood trainin?, for rna bacause the lectures had to be ;o; ood enough to attract an audience or the ••hole endea'J-:Jr 1.•ould be a failu:-e. It was a challen<:;e 1-1hich t~osa 1-1h0 teach rerJui::ed cou:-ses 107

_J_

don't hA.ve to face. The nroblem was to give lectures of subst~nc'3 for the academic students and also make them interestin~ to the general public t-~thout demonstrative rhetoric or histrionics. I pro[it3d by that experience ever since. Incidentally, I remember too that \ve all lectured in academic )SO\..'l1S in those days, in a Gothic building, like Hedieval scholars .

There was enough financial suoport to do 1-:ha t the Carne;sie :2;rant vras des i e>; ned to do and 1-·ha t the University •ranted done . In the spring of 1 935 I organized a Hamilton Art Association. This "'as not expect3d of me, but it vas \·•elco,ned after it ::s ot under way. I wrote a constitution for it, got t'le fifth floor of · ;-{obinson 1 s dotmto•m department store for a gallery, and n•1t on exhibitions. A!llong them were exhibitions of English, Canadian, and Italian art, one of paintings from Hamilton homes, and one of· \mrk by rtamil ton artists .

Hr . L. R. Greene, t-lrs . S. :L Alexander, and Rosal ynde Osborne were very helpful in setting the As 5ociation started and I enjoyed their friendship and that of others in town "'ho 1-·ere appointed to the Board of Trustees . M1en I left McHas ter the Art Association gave my "'ife and me an inscribed silver tray.

Had I stayed at Hc:·!aster longer I intended to try to raise money to build an art gallery either in to•m or near Hc:1aster, arid •ras already making a npropria te inouiries amon~ the wealthier townspeople. \{e never came to a decision on the loca tio!'l , and some people thought we 1-:ere trying to move too fast and should take it easy for a vhile. I never heard what happened after I left. I don ' t even know ho•,• the fledgling Denartment of Art \.las develooed after my deoa rture and have forgotten \.rho took my place, thou~h I once knew.

I also gave series of l e:::t•.1res in nearby t01ms, such as Uuelf , Ga lt, 3rantford, and St. Catherines, and found out that if I charged a small fee for admission and had tickets sold i!'l advance , the attendance and appreciation t-.'ere much better than Hhen the lectures i..:ere free.

Another activity 1-!as giving radio talks, someti;nes in the form of discussions on art bett-:een Professors Stearn of Classics, iiadCJow of English Literature, and myself, and with i•!r . L.!l.. Greene , t.~ho 1-:as the president of the Art Association. Stearn and Haddow >-'ere the tl'o professors \.Jho v!ere most helpful to me in other m'ltters as t-:illl, but a n·~'llber of others took an interest and so:ne part in the whole program, .es?ecially Dean Carpenter. Professor Salmon, Professor Joliat, ?rofessor Ne1-: and the treasurer, ~r. He nry.

I had S') ':e p;o:'ld students , particul arly Stephen Vickers, \.!ho became a orofessor of art history at the University of Toronto and may still be there. There were a few others at the ti~e or shortly thereafter ·1-1ho baca~e a rt historians , such as l{o bert Hubbard, >-•ho:n you !mol< , and John >Iartin , 1-:ho:n I la tar hired to t e ach art his tory at I ot.~a , and who then ;:er.t to Princeton ·.-:here <-:e is no>-' depare,:nent chair:nar. •

I had t•'o dili~ent and faithful secretaries . Cne was 2liz•oeth S:nith, >-'ho car:1e 1-1ith me as secretary v:hen I >-·ant to the University of Io••a '!.S O:ead of the Art De?art:nent in 1936. La tar she re:.urned to CClnada 108

-4- and married Prof as sor Vicke rs. The oth9r •ras &lith Hudson who, I found out later on, had all along been keepin~ newspaper clippin~s of my puolic l ectures and other art events. The Hamilton Spectator and the Herald pu-olished an a rticle each "~<'eek reviewing my public lecture, often making amazing mistakes of comprahansion or detail, Hhich taught me not to believe >-'hat appears in navrspapers. Nevertheless it halped to crea ta interest in the l ecture series. vlhen I l eft t·lc:•Iaster i1iss iiudson saVe me a l o-ose-leaf note book containing a ll the clippin:<;s and I still have it in back files , along •.rith the constitution I drew up for the rlamilton Art Association .

From ti!lle to ti:ne I engae;ed scholars from elsewhere to give public lectures. I remember these included Hartin Bald\o."in, Cur a tor of the Art Gallery of Toronto, Arthu~ Lismer , a Canadian painter and one of the "Groun of Seven", John Alford, Professor of Art at- t'le University of Toronto, Clarence 1:/ard, Professor of art at Oberlin College , and Professor C.R. Morey , Head of the Art De partment at Princeton.

Chancellor vfuidden had the idea that Carnegie money should also be spent on music, since that was ·cultural too and not academic. This was also vie••ed as my responsibility, althou.:;h I kne>-' little about :nusic. So I arranged public musicals, presented in the Conv~cation Ha ll -- pianists , violinists, celli sts , opera sin;;;ers, etc. I particularly re:o~e · nber Gregor Piatigorsky.

As a faculty member, _. like everyone el se I had to lea d chapel at least once a y ear. This was a duty still mo~e unsuited to _:; a. I found a litt le book of prayers in a second hand book store and used its pre­ pac~e~ed prayers to 1et ~y .

I'!"·, ere Has a ver/ moral tone at :-lcHas tar . On a ti:na I hung a la:::- ge fra:ned color re oroduction of a Renoir nude bather in t he l'len ' s · facul t·...- ro::> :n . This was uart of a program I had to han~ and rotate color re?roductio;s i!'. various ~corns of the · Un i versity. It didn 't sb.y up l ong . I was soon asked t::> take it dovm because of its erotic charact er. T.o see what would hapuen, I substituted a color reproduction of two nude bathers by Gau~uin. This turned out to be acceptable, apparently because brovm-skinned native e;irls of Tahiti see me d to the faculty lass erotic than i\enoir's ··~ite girls .

I remember also hanging DUrer's Hieronymous Holzschuher in the treasurer's of fica :md being asked soon after to r 'ernovo it because the v:ay the ~an l o0ked dblm at them 1-:ith such a pierci!18 gaze made the treasurer ' s office staff too nervous in conductin~ financial affairs.

:;: l o::>k back on the years at :··!c :--:as ter "-'ith much pleasure. ~eryo!1e v:as frie!1dly and many beca~e ~enuine l y interested in art, ~~ich see~ed to =".os t of the:n quits. a neH subject, and one \o'nich had more :ouostance t o it than bey oraviousl y expected. Afte:- the fi.rst year I t'lir.k Chancellor '.-."nidden :;.nd other faculty r:~embers v.ere contcmt to treat the history of art ;;.s

Sir.~er e ly yours , :JJ-~--ec{. - /J ,1(£<-rr'tu-tv- 109

Appendix 5

182 UNIVERSITY OF TORONTO

ART AND ARCHAEOLOGY C. T. CuRRELLY , M .A., LL.D . ... Professor of the History of Industrial Art Students of the Third and Fourth Years will attend the same lectures and wi ll take either course 1 or course 2. 1. A course on the History of Art. 2. A course on the Development of the Mechanical Industries. 3. Ancient History illustrated by the Monuments. Outlines of Greek Sculpture and Architecture. Third Year. 4. Outlines of Greek Ceramics, Greek and Roman Numismatics. Fourth Year. The Third Year course may be taken by Fourth Year candidates who have not taken it in their Third Year, but the Fourth Year course may only be taken by those who have attained proficiency in the Third Year course.

MILITARY STUDIES G. S. CARTWR IGHT, C. B., C.M.G., BRtG.-GEN. (late R.E.) ...... Director (on leave of absence) F. F . H uNTE R, D.S.O., LmuT.-COL., Indian Army (Retcl.) .... . S11bs lilute Director These co urses are optio11s of the first, second, third and fourth years r es~ectively of the pass course and of certain honour courses. 1. This co urse comprises elementary strategy, military hi story, military geography, military hygiene, sanitation, field engineering, tactics, topo­ graphy, musketry, organization and administration, and (in addition to these professional subjects) lectures on citizenship, the relations between the various parts of the Empire wit h regard to defence, trade-routes, coal and fuel stations, naval power, and the distribution of the Empire's armed forces. 2. The profeso;ional subjects of course 1 are contin ued on a more advanced grade, with the addition of General Staff duties with the brigade and division in peace and war. Organization and staff duties of a line of communication. Combined naval and military operations in · rela tion to staff duties. Co-operation with Air Force. Administrative and tactical problems of mechanization. M obilization. Study, in detail, of a prescribed pe ri od in the Great War, to illustrate principles of war, o( organization and of tactics. In addition to the educative nature of the subjects considered in these two courses, they comprise the work necessary for O.T.C. certificate "A", which quali fies for .substantive commissions as Second Lieutenants of Infantry. f or fu rther details regarding this certif•cate see notes on "C.O.T .C. ", p. 4.0. 110

Appendix 6

'l'he problem o1' continuing tbet Fine Art.n De p&rtrn ant in 1942-43 111111 been roi sed by tb.e ne.;:eaa11.y of we.r~illlo e conOI!IiGc t:n d tho oo~aotion oi' the Cernegio ~rents tlutt carri qd tlle wori:: un'tll thla yanr. fAl !lt aulllmo r Dr. Whidden warned

Proree~;~or ;!art t.bat d1vGOnt1D.Uene ~ m 1 ~~ ht bel n

The uh&l'll!i• l. vea er6: (l) to ccntinue the depflrtmont for the next IH:'I:<~sion ~at tlle _present expens& and er~ore new fioldll ( es in II 4 boln); ( f:. ) to continue for one "t&nl at the presQilt rt~to; (3) to oonUnue for the eonaion e.t u r&ducod S6lery 1 which would bo en unde ~ irnble a~ngement fQr ~ 11 uoncerned; {4) to discontinue t.hc worl< fOl'· tll.e preoeut 1proT1ded Mr. l:U.l"t OWl eeoure e poet sl.eo­ •horel or (e) to d1aoont1nu• th~ ~rt ruge.rdLeoo of Nr, Hart'# poGit1on. ( ! ) ts.."l.d ( 5) 611ibody cho1cee oo. pr1nu1ple, tllo others beine cOl'.

.?rot•uor l:ib.l't bu beq J.at'o~~ that ttl~ liiOrit li4Uy lie droppod, r:md uee been GCil:ed tO tr£1 te to the Cal'Jt.Ogie Offllll Wld elsewhere inql.li ri.ng llhf.! t. po~tS t:£8 open. Tho Chancellor .!UHi wri ~~en ~n. Carnegie Corporation &nd r<>cEli ved t; reply ( uee copies atto.che4). Conrorenoea have boon ·bola wi-c;h Mr, P•rnm;y of tile ~11\on Board ot Eduoetion, ~no •1th others, look1Q&~ tae poasib1l1t1ee aenU~ 1n. II 4 below, and. the respClllae has boon enthun1o.sUo.

I In t "- VO'ir ot i111111edh.te d!a00n.Hs\lJtlllcfl of the de:wrtlll&nt "for the durv.t1on•. l, The Boarci would be r11Ueved ot Professor Hart • ~ 3el8l'f ot $:3300.; or ..&. '1. =aJor part ot 1tt 1! 2. A small p~rt or thf; wo.N could be (·fter-od by otb.e:r Di&mbor;; of the atatt or by v1~1tine lecturers. 3, 'l'ne w1 t-hdra1nu of ell \\'Q!'Y- 1n thl.; da_ve.rtmeut would not seriously upset the ~urrtaulum 1 esd would reaogntze th~t 1n ~rt1Me etudont 1nte~u~ ~ W t~ll bo diverted into othGr al:..muele, etlpeoielly o1nce 1:1 drop 1n 6ttendAnue 1~ ~ 0 be ant1a1pated in the ~per years. '~• Ll 1·. !iart 1:11 pz"Obe.bly not tho beat Mil tor permt~nant work here.

II In fpyour or lllll cont1nuance or the depertm.ent, fJt lAABt for 1942--43,

l, Tb.e~ CIU'llag1e Corpor~rUon l:J.aa ei'nn us SOI';Ie t5BOOO,, to Bet up tb.e 'II"O:rlc e.nd to provide 1.1s \d.th lliha"l; 1a ~rob11bly tlle belrt libnu'y en<'! ulido­ colleoUon in 0nt~

-2--

2. Pro:t'oesor Han _,. be put 1n en .Oarrnssing po1.1ltlon w:b,1oh y;·oul<1 r0l'leet Oil the good f~>1th of the Unive •· aity. ('l'l11s ~r o u ld bo e.voidud. if ~ nether yos1 t1on w~re ae..: -J red ror hi;: or by him. 'f:eru l>ucl:l ll. :uovfil posul.i:J lt,, diS

:!. 'I'O discontinue notw mol'.liiG tli.e v.ork llll'Y not b e .rl!$ ~li.IIU3 d fc,r quite "· l. ong tUne, c..nd th11l • ·o·.;ld be e Ci i11t1nct loss to tna Uni ver ~t!. ty.

•• If thtt wonc 1a eont1nued, 1t •·; ovJ.d be O!J tba under&ttlll.ding t h1-n "' (J.e1'in1te chango lJl..ll!.!. pmrmnmt or ~h\1 depertlllent woUld be I:laC e. •rue ~u.bl1 e leo\ure n~· si T8l1 on l.londeys w \i.ld be tOuld be conaentrated in 'tUI'i f ield of ria;ll1lton ~ahools t:-..nd o4urchva, ~:.nd Professor ilt~rt wou l d c ive e stated propon1o.n of Ilia Umo to th1ll 9<0rlc, perllep& ev~tn ~du01116 tlle !'lumber of undorgreduute couroer<:: g1ven as.o!i yoer.

'l'he schools (,pr1llUiry, f> e.:ondsr3· •;nd NorRml) of liw11lton .hove Art toe.ob&re !Uld lllllter1~lfl 1 but have no courses or equ1paent tor the a~udy or the llletory El.Jld e.pprec1ot1on of art. Mr. llart eould• wo a.re in:f'Ol"'II

licre this eerv1 ce ineuc:;urat.~, 1 t. would hevo to ba at the Un1 ver ~;~ 1 ty' s e:rpezusa. Wr. I:le.n would 'be our 8CIP101ee, C!U

\\'hh tb.ie net~ pli!Jl Mr. Hart 1.& in llet:rty eceord, aa are the teecnars ~d the Sllperint.endent ot Schoola •.1:10 llaYe beon interviewed.

B. Jt:Ay IIU.Gb. experilurnt would b<~t for ono year o.nly, e.nd Mr. i!f.!rt \ii'Oqld be not1thd l.b.nt tho dflplil'tlll~t w!H be discontinued 1n 19~3, ur.le!w uoncUt1ons ~t; ~:~e,tor1ally.

The Chencellor, the B\U·ear and Dr. llu!·lce reel that ~r t: t all possible the li!Ol'lc should be COlltinue4 for the preeful.t, pc1-t1Jc bao11uae of the aon:fudon or mind thet naa ariaen thrololC:h the delays in e.dminiatre.tive dac1a10lla 1n,J1dental to Ole new Chancellor'" appo1JU;m~t .1 und partly, becauae cesf.mt1on ot thu to~:9ric would be 6 bac~ard atop ~cadomioelly. 112

Appendix 7

Section l

H.WILTON PROGRA.W.IE

1 The programme tor ~he .Ar~ and Yus1o lectures whioh were held at tbe University is a'tacbed.

l. In a4d1 Uon t.o the exh1b1UoM and lectures here scheduled, all exhibition of "Still Lite" painting by international artiste waa held at the University !rom January 2:3rd to February Uh. (This was lll&d.e pose1ble by a loan trom the College ut A.Saoo1at1on.)

2. Kr. Walter Paoh also gave a lecture on Picasso, Matisse and Derab on Febl'U4l'y 21st.

3. Speo1al leoturea tor ~l. ogioal students were given aa tollowaa

fWo leatw.rea on Ohuroh J4ua1o, by Kr. w. H. Hewlett, ~s.Bao., Principal ot .tbe Hamilton Conservatory or WUs1a. Two leoiurea on Cburoh uohi teoture, by a prominent Toro~to erohiteot.

4, Tbe Hart House String ~artell of Toronto gave a hi~ aat11faotor.y oonoert •o the members of ~University end a few 1nv1 ted frieDia. The progr&DIII8 was not only entsrh1n1ng in ohal'aoter, but was plamed with a view to educational effeot1Yeneas.

ll Response ~o these leaturest

The public laotures by llr • .A.rthUr L1smer of the Toronto Art Gallery, Nr. HiPUn &lld Nr. Paoh were very weU attended, (The Ha!llilton Branch or the Ontario A.ssoo1aUon ot AronHeoU &llterh1ned Kr. Hamlin &lld the Toronto aroh1 teoh in aUen4tnoe at his lecture and at the exhibition ot modern arohUeoture wh1ah was beld at 'he aame Hme.) Approxlmat~ly 150 people were present at eaoh of these leoturea. 113

~ eolion 1, Page 2

The woekly leotureo on Renal seance BIId l.IOdern .u-t f:~ iven by ~an Carp<'tnter -re very Wl'lll 1tUppor1ied. 'l'hlr1o:?-1'1ve students (a ff!Rf of Ulll!lae being teaohera in tl:¥1 ott,-) took the oourat$ f or credit. It waa estimated that. on SD average, over 100 people at t;ended t be leo1iurea 1n add1 t 1on to tboae wbO were taldnc the course ror ored1 t.

1000 books trom the ..u1i oolleoUon were in oiroulat ion during Uwt season. In addi Uon to thla, many ml¥l.e excellent use of the prints and etoh1nga, eto.

The lectures on Llus1c, altllOUgh admirably prepared. 8lld enthua1ast1cally received, IJUftered slightly because of date oontl1clis. ;1e hope to r~ 1ihh condition next year in order that th6se leoturee may nave the !Npport they deserve.

111 In aMH1Gn to that part of tbe progl"IJIIEIO arranged and carrhd out at the Univera1t,-, FOV1a1on was made tor our atQdento to attend Hamilton ~1oal events of importance - t'tiO o~~ OOJ'loerta, aDd ~ 1Slgar Oho1r - tbue enabling U1e11 to 1111ien to tbe ~~~W1o, an tqJPl'eo1aUon ot Ythloh had b•n gi'I'CI 1n a prel11D1Da17 leoture. lV lle:ct ,-ear, U~e C0111111tt .. plSDa to give informal victrola concerts regularly twice a 110nth. Dr. Godfrey, the Conductor ot the HaQI1UOD 5~ Oroheatra. aDd 14ro HawleU plan to leot~ on u .. plaoe 1D ID.ls1o4l h1ato17 of eaoh aeleoUoJl and the special po1nlia to bo obsel"\'ed in l1s1iening to ito These 1eoturea Will U:a&n be printed 1n loose-leat tom for tho benent or s~ud.enta wbo deo1ro to aUend tbe reo1tal. ~hls material will be kept on permlltlent; reoord and will Uws, w1 th little or no exponse. help to establish those lntormal oonoerts as a U~ter tradition. 114

SooUo:n 2

EXTi::HSION WORK IN A.RT Al'fD KUS IC

GA.LTa

The Oomntee ill Galt, in oontorel:loe with two membera or tbe UcMaster Coarli1Hee, requested that we underwrite the GJCP!!nae of procuring solohta and an aooompan1Bt of a 11111all e~hoey orchestra ill oonnecuon with their annual Choral Society Concert, as a re3Ult, Rardn'a Oratorio, "The Creation", was produced wi'h sucooes, but it is telt by our Committee that those in charBe in Galt might have made a greater effort to assure the retul'll or the money advanced by us, thus making possible a oo:nt1wsnoe or this type of work ,

The Committee has decided to diaoontiuue extension work in Galt, It is our opinion that t owns of this sise osn better afford to develop fac111t1ea in Art and Uuaic than oan smaller o~ities farther removed from eduoa,ional centres.

Sl.l4C0Ea

;,. aeries or lectures in ut &Ild Kuala was t,"ivtm 1:n Simcoe with uuusual auooess. The e~losed QeW&paper ol1pp1nb~ will attest the extent or the appreciation. The ~erage attendance at eaoh of the lectures waa about seventy.

ARTJ Jtr, A.rUmr Lialll8r lectured once a month f'rom Hovember to Uay on tha following subjeo~~~

The Origins of the Italian Renaissance Tm Beginnings or Sculpture and Painting 'l'he Various Schools of Painting The Renaissance in Florence, Rome aDi Venice Great Masters of the Renaissance Late Ren!lissanoe, Ha decline and the effeo~ in other countries

ar. Liamee, director of Art E4uoat1on in the Toronto Art Gallery, has been associated with the University of Toronto as Extension Lecturer in Art, and with the Ontario Department o! Rduoat1on as director of summer work for teaomre. He 1a a oreative arHat oi' aolll8 f81118, and a ID8Illbor of the !oriiGr "Group or Seven". 115

Section 2, Page 2

MUSIC& Ur. HWwlett gave the followine ~1x lectures, all illust­ rated by soloists and victrola records. Due partly to the ~nerous co-operation of a looal musician, these· lectures were even better attended than those on Arto

Introductory Lecture on the Appreciation and History of Uuaic "Baoh !locart Beethoven ~aDdelssoho :3oh11111Ulln

In view of tba remarkable response of the peoplo or Simooe, our CommHtee ia highly in favour or oonUnuing the work in that o0t111111.Ulity. The Si!llcoe CollllliHtee itself is already planning to raise ;1 50. next year to establish a fund for the purpose of oreat1ng a special mailing list of interested people.

'fM 61mooe Ooaa1Uee 1a tunhel' IU &,""e&t1ng that the follOWing thr~ eer1es of leotures be given next year (the subjects to be ollszlged slightly 1f desired.! These !'ineen lectures will be arranged so that one a 1110nth in each series will be &"1.ven (De~ro.ber and JallUary regarded as 01:18 month).

IIWI1ca Row to lioten to lluaic - Sonata, Oratorio, Symphony, Pr og:r'&l!!llle !Ius i c , z.to dern Jma 1o.

A.rtt How to look at Pictures - Compoai Hon and Design, Uae of Light and Shade, Colour, Subject or Idea, Modern Art.

En glish& How t;o read - Short Story, llov!ll, Drama, Poem• Ll.odern L1 terature.

We would like to extend our work to at least one other town like SilliOoe. Definite plana will be made 1n the earl¥ auttllllll.

To 81mooe and to tbe other centre or a.n,rea to be sleeoted for thia worJt. we will arrange to send 1118tier1al to supplement th,e rnoat,-ro l1 b;raey tao111 ilea 1n 1ibese sraa.ll towns. 116

S eatio~ 2, P~ 3

\/e hope 1io acquire paaquets of books on A.rt and Kusic to be loaned to the c~n1tiea in Which our extension work 1!$ being o arried on. •;: e pl&ll also to loan reproduc1iiona oi' works of Art, ~th the idea of interesting the people in these amuller centres to purchase them for thdir own permanent eD,joyment. Some IIJlSG'­ eat i ons i:o this coiJllao t ·

SECTIOll 111 E~IPW:!UT

In add1 t ion ~o the purchase o f books r.nd ph.ot ot.;rapr.!o t•eproduat- 1ot:s out of tho C arne~e Corporation ~oial GT !lnt, we acquired at ~he ot:d of the year tbe

Proatel Gesellaohatt Publ1oat1ona 600 slides (chietly for use 1n the ;oaohing of Benaiasance and Modern .u-t l 10 victrola recorda used by Dr. GOdfrey 1n his lectures on ldus1o 1 victrola 2 slide cabinets

next year we shall n&ed, as a resular part of our progr&lliiiiQ,

Frames tor the diapl~ of prints aDd photographs ~Uional slides (mainly on Classical and Madiaeval Art, too subject of next yeor' • weekly lectures) Additicual slide cabinets .tl. piano !or ooncert use ln ~he Women's ll.esiclenoe (UallinGford Ualll and in oonvooat1on Hall.

The ~ equipiMUJt baa been kept 1n a room whioh baa alre~ proved to be fmoh too amall. For next year. we llave seo\u'ed ane which h lar89%' Qltd Which will be eaatly aaoess1ble to uuaibera ot Hsm1lton people who desire to see, from weok to week, the d1apl~s of our materials.

SUGGESTIONS

The lists of boolai on Uusio and Art supplied us by Mr. Hewlett and Mr. L1Bl'llsr should be supphmented next year bet'ore the p&Gqueh are prepared f'or the extension oor.nhteea.

Yr. Somerville, our University arobitect, has sent a liat of booka of apeoial value f'or the uae ot clergymen 1n tbG ooi!IIIUllity as well aa o~ our own ~heologioal atudm a.

Add1t 1onsl booke on Ronaiaaanoe 1104 Modern ~ will be available tor next year.

Tbe Bn8i1sh Departmeut 1a preparing a l1at ot 'booka whieh 'by De~ Carpenter• a arransvment 'Qlll oonat1 wte a part ot the emall l1br&17 aolleoUcm ill the Vlomell.' o Rea1denott. Theoe will undoubtedly prvre to be of special inhrea' 'o ilJOee WhO will !11¥1 tbelll ao O.. i1J IQOOS81b~. 00

OUTLINES OF S T UDY 71 72 !\IeMASTER UNIVEIISITY 19:\11.-35

(For description, see Department of Latin.) the 1·ear 300 A .D. The Egyptian, Mesopotamian, Minoan, History 3g*. .tin. One hour a ~r:eek, both ter-ms. Spri-ng Greek. Hellenistic, and Roman ci1·i li zations a re studied. T he E.rami?JatioH. Professor Stearn. approach is both critical and hi storical. Selected reading assign­ ments from books in the Art Library. ( For description, see Department o f Greek.) :\rt 3h. J/11 . Tl.~·o hours n ~\·eel~, sccund term . S('ri11 !1 History 4a. Jfj. To hours a 'i.l'eek, and a" occasio-ttal dis­ the de ,·elopment and criti cism of Ita lian and Spanish painting . YLOII l For descript:on, see Department of Latin). ~ft<. HA,\1' History 4h. .\/j. T~uo hours a week. Mid-Year a11d Spri·ng E.ra111i nations. Same as Church ·History I, ;,. the Faculty of :\oTE.-The follo11·ing courses in the Department of Political Theology. Required of lltir~ist eria l students. Econom1· are open to General Course students without prere­ Professor G·il·m011r . quisite: P olitical Economy l q (or 2a ) . 4a. The following addi­ .-\ general introduction to Christian History from the Apostoli c ti onal courses are open to students ll'ho have taken Political .- \ge to 1450. Econom1· l q (or 2a); Political Economy 2c, 2d, 2e*. 2f*, 2g . Political Economy 1q . :1/j. Same as 20 . Fine Arts Political Economy 1r. Mj. Sa111e as 2b . .- \rt .1a: .\! 11 . T<,·o hours a ~t· ec.':, first term. ,Hid-Year Political Economy 1s. Mj. Sa111e as 2c. [.l"t!lltiuatiou . Political Economy 2a. Mj. Two !t ottrs a w eek, both ter-ms . .-\ncient _\rr and .-\rchitecture. .-\ course of illustrated lec­ Spriug Exalllill(rtiou. Fo·r st11deu ts iu co urses other than 9, IS tu res on .-\rt and .-\rch itecture from prehistoric times to about Or Jj. 0\

7(1 McMAsTER UN IVERSITY 1936-37 FI NE ARTS 77

tions from Prose : Parts I and III (Riverside College Classics). acter o f the Early Chris tian, Byzantine, Romanesque, and Gothic H ARDY, The Mayor of Casterbridge. civili zations is analyzed by means of the art they produced. T he emf)has:s i ~ placed on the Early Christian churches and Gothic [ , ,,/ish 4b. Mj. Two hours a week, both tenus. Sp ring cathedrals, their architecture, sculpture, and stained glass or Examination. Prerequisite : English zb, 3b. tu osa tcs. Professor H addow. Art C* Mn. Two hours a week, first term. :Vlid-Year :\inetcenth Centurv Poets: Bnon, S heJle,·, Keats. Tennvson, Examination. (including !11 iV[ c111 orim11 ) . S"'i~h urn e , Arnold a nd Rossetti. ITALIAN RENAI~SANCE i\1n AND 1\r

Appendix 10

REPOHT OF PROORE.'lS lli FINE A..q'ffi Al'ID !~.!SIC

I Iaetures on the History alld ~prec1at1an or Art&

A.. Lactuxes by Dr. Lester D. ~~

1. A year course an Benaiase.noe Art. The lectures, hold 1n Convocation Hall at t.bo UJli"n!l""li ty, are being ghon once e week, on ~ 8'f1!lll.1n6S 8t 8s30 and ropoatod Tuoet1ay o.t'ternoons at 5a00. '1bo fmmi80 lMI8kl.y ~ is about ~oo. '!Wnt~n Uni:versity students take ~ course tor eradit am approx1mstoly t;wout;y;..five others oaam to tbe locturos. '.Dlo mjorlt7 ~ tbe acdiRDCe consists or citulslls or lhmlltc:m aJid 'ficinity. or the latter, probably 1?5 attend regol.arl.y. '!'he reapoase 1a etb.us1Dst1c.

£. Ilrt.erplsaebttiDs leotuJoeaJ By the eM or tho seesiOD, eleven leoturea wUl have been f?;1"1811 in co-oopemtion with tbe ~ or ~. Ene].i:ah, ~ History end ~Uoeopb:f. 'nle• laotUL'U ue 1ntEul&l4 ~ ~ar studezlta 1n 1;baee ~. 1:bouSl othms ~ take a~trantaae or tbaa. They a1;1ieii;Jt to can"''D7 an app.reoiaticr:t or mot b7 ~art with ISQbjeote 1n which the a~ ue ~ ~-

:~. A oou:rae ·or l..Dc1urea 1n Al:llli.llm An IID4 A:rddtecture. stQI1enta qeo1a]hillg in Cl.uaioa emd outa1n t:beologlcel sta4el'dal W~ere aJilced to a'tteD! tba laoturea em ~ 11114 ~ art s.M IU"Chiteatw.. sewnteen atu4ente will rooeiw c:redit f'or tho ~ upan ~iDe an e:nmr!Mt1an.

4o. A COII1"88 1n Ued1.aneJ. Art and A.rchi tecture baa been gben, am ~ta 1n Hiatory am 'nleoloa 'lllrlre adT1aed to attend. TWonty­ . one etudent:s bava applied ~ UDiwmdty credit 1'l>r tbe OOUI'88o

:>. A special public leO'ture on beds..ae-1 st:a1Ded CD..aaa 1a yet to be 61-.en, with the a. ~ acelltlnt ca1our lllldea.

6. B:.l:tensicm lect111'11B l Pro1'aaeor Longman U'I'IUilJII4 to gtw ~ l.ec'tttros outeide the tlnivarait)-. 'l'bese 11187 be Claaaed aa i"ollona

a. .9eTOZl. J.ect~ to ~. aaaociatiaDII aDd churoh g1"'UJl8 bfne· ~ sf,WB ~ ~• 121

b. l"l.ammDd loc'turoa in outl.yiJ:Ig town~~, 1Jl CQoooOpo:raUon wUb 1ocal. oCillllli~tau.

l' • In IPgsraoll (a. ~01111 or 5000) 1 B1:w lectul.'ea on tbo appr.o1ation or euot. The awm~ at.ton4BTl"" '1111.11 85. An 1Ilo1picmt o.r\ a.oaooie.tion baa boon i'o.te.red IUit1 o~ by the loan ~ booii:D an4 photoGra:xm. 11h1eh wero le1't in tbo OIU"' or the ~aU L1~ durine; tbo eor1-• .A.n cxh1b1 t1on h.!Ul >iWl 800\.ll'Vd by tne asaoo1at1on tar thG i.Ub.1 b1 U.cxn ot pe.1Jlt Ule,a •

.2•. In Hood.stook (a city or UOOO): Five lecturoo on the npprec1at1on or art. H:totosrnpha 'llltl'O- l.Bi"t 111 the ka&p1ll8 ot t.bo lc>O!ll. oOIIIIIJ.ttoe. The ~ attelrlaacte waa 95 1 CUid the rea:pcmse WA.G q111 w 4JltllwJ1aat1c. A pan!ll;uent ert e.aaoo1tlt1on llwll ~n to~ which, li.lce that ot ~oll~ propoaee ~ arraJlGO exhibi ticxoa and IJllQilSOr turtber lectureo lfith CNX' C»ooppmUon. .Aa 1n ~. en oxbJ.W.Uoa hell be.- boan aecurad. •

3'. Two lectures ere yet to be givwn 1Jl Paris (a tcan or foOOO). ile hopo tha.t theae will eiJC.~ tbB fo:mat1-on ~ an art Q4Jaoc1atitlll.

4'. Two lecture• have \leon giTOn 1n Lcmdan, tl%¥1er the auspices or '1'llo Un.1vere1ty or Wt;tlltern Oatario, ae J;8rt ot a aeJ.."iee on tho appreciation ot art. An art &HOCie.tioll boa been tomad roeentl.y 1n :Lau4on.

5'. Four ~U1'08 em the Appreciation ot o.rt at Moulton Ooll&e (a gira• .ahoollmder tbe direction or the BCXIic1 or ~ or ~te.r llQi"fttraity) 1Jl 'foNnto to atu&mta ~ :tr1aD:1a ot ~ oQUeao.

Co l'our ~ all e.1"\ awreoie.ticm haw been giWn to hiSli!Chool. Plolpil.ls ot Bl:la1l ~. QJ;Iill in oa.ch ot tbcil ~ ~ to the .us *'.led studellt bad1ea, 8lld ODit to the pu.pil.D ot e. priuto eohoo1. W. feel ~~ tboee wee IIO.Ot auQOoeatul.. A aoooDd ~ b.oa beeil. ~at oue or tbe h1S)l11Cll00l.e.

d. Badio bl"'C40&Rao JQw:o J.'OUM table d1acutUJ1.oxle on JIQ1em art ba"ftt beG. ~ b7 ~M01"8 ~. H.ll.d4ow an4 moarn. '1be ;n,:J.POMIII to ~ ~ wa to c:paD4 our ~ cmtr ~ 11'041o .n JOU'•

B. L&crturoCl on a:ot appreciation b7 outa14e ~. 'llloH WC'It b8l4 At the UJ11T01'Wit7 CIDd botl:l ~~~.,onte ud p@llc 1fez'O iurtted. ~ · l~ WC"' PYC. ,. l!l*'km:w w:l'OI

Proteaaar B. a. WllcCe.l.l.W!, Ull1wra1~ or TaroD.to P:ro.ttNIIICir J'Qtm ~. • .. " Proroaaor lal.fior Pa.cll, Uew York Ur. 1. E. Barton. Hoa4 JiluWr ot the B:l.'i.JRol Gr:8llla.r SCibool, BL-~.stol:;; Knltl m' • 122

8eftl1 ahib1t1au bln8 t~een hel.d at the Uni-.eraity am e.d'Nrtiaed to both stu!ata aJld publlc or Bamlltan.

A.. !'acaimUe reproductions ot Bosiaaance l'aintln{'jll. AtteuiaDoe ~. B. Paintines, printa and aoulpture b7 Hwailton artisto. Atte:o4ance 481. Opened with a locturo by Llias ~ Osborne or ltlmllton. c. EtclUJ:IGIS, 1II'OC:ldctrta end color printll by three Cane41en artiats. Attendance 24-ll. D. 'llater cal.ON by Pro.teaaor Walter ~. Attemanca 53G.

P:. Original Plmah Dre.triD6&• Attenda.noe 318. Opez1od with fl .loeture by Proteseor Chaster ?I. New at the Hilrtor,v Ilepe.rtmmt. 1'. Con~ ADDr1oo.n Pa1ntine• Att:.endtuloe 2:!80. Opcmed With a l.&ct1lre by n.nn lhrjorio Carpenter. G. Ilra1r1ngs by Osnzn artiJst:a or the Ilenaiaae.IJ)O, with tuooimUe reprod- 110Uon. A.ttorJdnnca 388.

III ~ Pictu:ma:

Tiro DIO'V1Dg pictures ~ the Emtml.tions at Luxor and tlw 'l'eii!P].oe and 'J.UIIba or A:Deisnt Egnlt. Attondanee about 100 students.

IV ~o Ap~tion:

A. '1'bree roc1t8l.e -re gtwn. pr1uerlly ~r BtudeiJts at the tlDi~rsity. T!ley wre broadcut to the '1\lbalroul.oaia San1 torilm!.

lo 'l'be Hart Houae 3tr1ng Quartet.. Attan4ADce 350 studenta. ~. R8g1DalA. stewmot; pien1st. At~ 1'.30 ll'tudJmts. 3. GreGor P1at~, 'oelllst .. ~me 2a5 atudeDte eDd 4.00 pabllo. 'lhJ Dust Ol.ub ~ Blllld.lton, tbe lec4iDB 111ll!daol ~ at1on 1n the oit,.,. co-ope%'1!ta4 nth ua in otteri.Dg this reeital..

B. ~ 011 Jmldc: •PP"C1At1on. A eer1.e8 ar s1:z: public lecturetJ an Se.ored Yus1c hils ba!ln giwn b,y Dr. Grabsm Oodtrey, Dirootor ~ tlw BMd.l ton S)'DipboDy Orel:lostm. Attelldt:ln«t ns re.qu1red at theologioalatudonte, and m1nisters 11 Hmnlton QJld Y1e1n1ty \fere eapeciolly invited.

c. V1atrol.a COIII3erts. Woekl.7 Tiotrola ccmoerts ot claaa1cal Jll18ic ware given tar a Slll!lll ~ at ~ partlcularl.7 intereated 1n .W.o. ~pbed ecxplamtoey mterilll -a prorlded. Oar Tictzoola 1a not ot ~ent17 8'QOd qqall~ to e.ttract a l.la'p gi'OIW or atudenta to tbrule oaooerta. v 'nle .Art L1brar7 1:a be~ ~ rraaa tUB to tiDe tmd the people or I:klmilt

Additional Items re Report of Progress in Fine Arts and Music at McMaster University, 1934-1935.

1. The most important development since the last report _was submitted to the Carnegie Corporation is the for­ mation of a "Hamilton Art Association" to sponsor exhibitions, lectures, movies of artistic merit, and art appreciation for the children of Hamilton. This association will co-operate with the University in its activities, and will create added interest in the lectures and exhibitions given or arranged at the University by Professor Longman, The association was formed by Professor Longman who will take part in directing its activities. It is sponsored by the people in the city who are most likely to ensure its success. 2. A lecture was given by Professor Longman in St. Catberines on May 13th with a view to interesting that community and forming an art association, Some thirty people were found who are interested in the plan, and it is hoped that with our help an association will be formed there next fall similar to those now in operation in Woodstock and Ingersoll which were referred to in the last report. This is part of our project to originate such associations in towns near Hamilton, all of which will:· function in co-operation with McMaster University and the "Hamilton Art Association~. 124

statement of Expondi tures in eonneotion with Art Programne operating under grant from Carnegie Corporation

May 1, l'H4 to March :n, 19}5

~!UBiC: --Reoi tala, lectures and equipment 767.05

Public Lectures: Hamllton, Ingersoll, Woodstock, London (Western) Toronto (Moulton College) 371.14

Art Exhib1t1ons 341.75

Books and ¥agaz1nes 1,978.95

592.93

Slides and Gsl!Sral Equipm.snt 1,335.26

Salaries (11 months) 2,700,05

Clerical, office supplies, postage, 1,216.57 travelling expenses, excise, express, etc _____ 125

Appendix 11

McMASTER ART LECTURES C.srnegie Public Lecture Series for 1935-36 by Prof. Lester D. Lon gman MODERN ART AND ARCHITECTURE

First Term

1. Sept. 30- Oct. 1 French Painting in the Eighteenth Century. 2. Oct. 7- 8: English Painting in che Eighteenth Century. 3. Oct. 14-15: Eighteenth Century Painting in Spain, Icaly and America. 4. Ocr. 21-22: Eighteenth Century Architecture and Sculpture. 5. Oct. 28-29: ·Neo-Classic Architecture and Sculpture. 6. Nov. 4- 5: Neo-Classic Painting. 7. Nov. 11-12: Romanticism in Nineteenth Century Arc and Architecture. 8. Nov. 18-19: Landscape Painting before the Impressionists. 9. Nov. 25-26: T h e English Pre·Raphaelire Movement. 10. Dec. 2· 3 : The English Pre-Raphaelite Movement ai;'d Lacer Victorians. 11. Dec. 9-10: Nineteenth Century Realism-Social Comment a nd Caricature in French Painting. 12. Dec. 16- 17: American and Canadian P~incing in the Nineteenth Century.

Second Tenn.

13 . Jan. 27-28 : The French Impressionists. 14. Feb. 3- 4 : Sculpture in the Nine teenth Century. 15 . Feb. 10-11 : Academic Architecture and the Development of che Skyscraper. 16. Feb. 17-18: The Pose-Impressionists I. 17 . Feb. 24-25 : The Pose-Impressionists II. 18. Mar. 2- 3: The Wild Men and che Cubists. 19 . Mar. 9 -10: Some Modern " Isms"- Futurism, D adaism, Supe r-realism, etc. 20. Mar. 16-17: Contemporary Progressive Sculptors. 21. Mar. 23-24 : Epstein and che Radicals. 22. Mar. 30-31: Modern "Functiona l" Architecture. 23. April 6- 7: Contemporary Painting in che United Scares and Mexico. 24. A pril13-14 : Contemporary English and Canadian Painting.

(Each lecture is given in Convocation Hall on Monday ac 5.00 (lnd Tuesday ar 8.30)

Fee: $3 .00 for che series or ZS cents per ind ividual lecture. FREE co members of che Hamilton Arc Association by special arrangement with McMaster University.

Membership in the Hamilton Art Association, $3 .00 per year. Srudenc membership, $1.00 per year. Sustaining Membersh ip (including family) $10.00 per year., West Ham-ilt o11 b11ses go·to door of Utll'i'ers·it y before and after each /ec·ture. \0 N

C,.;rn:r

E11grish 4b. l'vlj. Two hours a week, both terms. Spring approach r11a dc in th e: course is the study of what rn an ha :-; E xamination. Prerequisite: English 2b. 3b. Open only to those communicated through th e medium o f art, togeth e r w ith how rcg istcJ'ed in Courses 2. 2 I, 23 , 25. 27. P rofessor Haddow. he has expressed it ( i.e., a n exantination o f the spec ific aesthetic \·;dues in each o f the maj o r arts). The rcquin:d n::.H iing·s serve Victorian and Twentieth Century Poetry. TENNYSON, In as a11 in trtJ du clion to th e i111po r tant tltl·urics o f beauty, and Memoriam, and shorter poems. Selections from the poetry of tog·cthcr with the lectures are· designed to enable the ,;tudent ARN OLD, CLoucn, R ossETTI , MoRRIS, SwiNBUR:-..>E, MEREDITH , to fonn critical judgmeuts in art. lllustt·ated lect ure>. H ARDY. and THOM r soN. Selections from recent poets in i\ew Paths on Helicon, (ed. Newbolt). . lrt ..f ':'. \ ln. T wo ltol\ rs a W!...''-.:\..:, !irsl tcn11 . \ \id-Y·car ExantiJ 1a tiu1 1. English 4c* Mn. One hour a week, both terms. S pring Examination. Open only to those registered in Courses 2 I, 23, .-\:-cc t E\"T .-\rn . .- \general stud,· o f the ancient arts o f painting, 25, 27. This course will become a major in 1939-40. sculpture, a nd architec tttre in Eg_qlt, ~[esopotamia, .-\ sia } [inor, Professor Wiles. Ct·tece. and [tal_,.. .\ large part of the time " ·i ll be devoted tn N..... The Development o f English D rama to 16oo (excluding art in Greece. including that which Hourished in C t·ete a nd "" Shakespeare ). This course involves the reading of representa· the tna in land in the second millennium, n.c. The COlli'"' ~ tive plays, and a study of the following topics: Drama in the "·ill be concluded "·ith a consideration o f Roman a•·chitecturc·. :a Mediaeval Church; the Secularization of the Drama; Classical painting and sculpture. The relation o f each art to the period c: Influences in E lizabethan Comedy and Tragedy; the Elizabethan ~ and art as an expression of the genius o f each civili7.ation \rill c. Theatres and D ramatic Companies; the University Wits; the be emphasized. fllu strated lectures. c. printing of E lizabethan plays. Text- Schweikert, Early English P lays (Harcourt, Brace). < .·lrt B"' .\ l11. T\\·o hours a \\·eek. second te r111 . Sp r in .~· Exan1it1ation. English 4d* Mn. One hour a week, both terms. Spring Examination. Open onl Y to those reg istered in Courses 21. ~[•':Dt.IE\'.\1. .-\rn. The development o f the arts of the ~liddk 23, 24, 25, 27. P rofessor McLaY. .\ ges in ch urc h architecture, sculptu re and painting (mosaic:-:. F irst l:ook in Old English (Cook): E)I ERSO:\' . Histon of the staitted g la ss, il lu minated manusuipts) fro nt the Earl y C hristiatt Eng lish Lan guage. throug h the r,,·za nt in e. Rontanesque and Gothic periods to the ri se o i the Renai ssance. [llustratcd lect ures. English 4e M n. T wo hours a W"ee k, Second T erm. Spring E xamination. Given in 1939-40 and thereafter. .·lrt C''' .\ln. T wo hours a week, tirst term. ~ l id - Y ea r Histor_,. of the English Language. Exami tt atiotl.

lT.\I.L\:" RE:" . \I~S . \:"<.:E .\RT . .\ critical and hi sto ri cal stuth· nt ftalian pai nting o f the Renaissance and its relation to Fine Arts ~o \1 - tclllporan· architect ure and sculpture. .-\fter a cons ideratio 11 of AssociATE PROFESSOR HA RT the lntn;

Appendix 13

Carneg i e Pub lic Lectur e Se rie s f or 19 36- 7 ')y

Profe ssor St anl ey Hart i.:O::JERE ART . _, ._ - - · ---- · - ~ Fir s t Terr.: ---·- - ~- - --··

l. Oc t . ~) : The Bac·,:c; ronn(, of ;,Ioclcrn i~ rt . 2 . Oct . 12 : The New i:iec-,lisu: Itali an Pc. intiug i n t he Fi fteenth Century. 3 . Oct . 19 : Ita lian Sculpture in tho F i f t eenth Century . 4 . Oc t. 2G: :i iche l a age l o : Painte r , Scul ptor , Archite ct . 5 . ~To v . 2 : Titian a n ~ t he Sn l e ndid Ve n e tians . i:J . ~~~ ov . 9 · The ~~s t e rs of Fienis h Painting . 7 . ITo v , h i : Rubens & n ~ the Ecole G~ ll an t . 8 , ~- J ov . 23 : The Little 1-:asters of Ho lla nd. 9 . :Jov . '30 : Re:J.b r and t, Spiritua l Expl orer. 10 . :Dec . 7 : The Beginn i n~s of ImpressionisD: Frans Ha l s a n cl 'hl b sque z . ll . :Dec . l "- . The :B'r ench In])res s i onists .

.-l f...'' • I Jec . 2l: The Neo- lnpr e se i onists .

~C_(l_o_nd Te rrJ. l "-', . J a n . 25 : I r.rpr e ss ionis!ti in Scul-;!ture . l '!, , Feb. l: The l'ost- Iav:ress i oni s·ts: ­ ( a ) Cezanne : l "-' ?eb . 3 : (b ) Gau5uin. 16 . Fe J . 15 : (c) Van Go';h . 17 . Feb . 22 : ;rhe Post-Iilpress i onist ic Scul ptors . 18 ~ -::::a r . l : The Tnent i e th Centur y Re volt in t he Arts: The New The ories . 19 . r.:rn r . 8 · Pica~so and Cubism. ::.o . ~ . ~o r . 15 : Adventures .Awong t he 11 I sns " . 21. ~ . : c. r . 22 : Further !,d. venture s lu-no ng the nisms ". ~2 . :1:ar . 29 : T\ve nt i e 'ch Ce ntury Sculptors in France anC: Eng l and . ')"_.. ) . Apr . 5 : Tv1e ntie th Ce ntury Scul:r_:>tors in Germanr and Ce ntral Europe . 24 . Apr . 12: liachine Age a nd Dev e l o~Jen t of the Skyscraper.

A spec i a l att er.;pt hs. s b0en naL.e to vary the 8.ppro&cll ancl to avoiC:. any r epe t ition of l as t season ' s j_)rograrJ:.1e of l e ctures .

FORI: OF APPLICAT I ON :F'OR :'ili~;illER SHIP;

I enclos e ....• .• • t.oilars, rJ.y sulJscription to the Har.1il ton Art Assoc iation a s; Sustaining Ide r.1ber (10. 00 ) Fa;1ily T:embe r ( 5 . 00) Pl e4~e unde rline Ordinary Lenber ( ~3 . 00) t yye of mer.lb e r­ Student 1-lembcr (. 1.00) ~hip r;t es ire d .

Signed ...... • .. .• • • ...... , ~ , ~ . '· , ,_......

(Kindly write clearly name and addrea~ ) 00 N

FINE ARTS 119 120 McMASTEJl. UNJVERSITY 1952-53 FINE ARTS 363. The Arts in England, 150{}- 1800 A. D. ASS ISTANT PROFESSOR JACKSON Development~ . particularly in architecture and portraiture, from 203. Introduction to the World of Art the late Gothic of Henry VII's chapel ( 1500 A.D.) and the Early A preliminary course in art history and appreciation outlining Renaissance of Holbein, through the Elizabethan, Jacabea n, Res­ the major devclopmems in the arts from prehistoric rimes down toration and Georgian periods, up ro the death of Reynolds and of Gainsborough and the beginnings of Romaoricism (Blake and to the preseor and viewing the evolution of form and of types of arr as expressions of changing cultural ideals. Turner) toward the end of the XVIIIrh Century. 3 hrs.; first term. 3 hrs.; first term. Prerequisite: open. Prerequisite: open. 373. Art of the Nineceench Cenrury _\0.3 . \'~:'es tern Art since the Beginning of the Renaissance in Italy From Neo-classicism ro Post Impressionis m; emphasis on the chief Srudy and appreciation of major developments in painting, sculp· French painters of the Ninereenrb Century. ru re and arch itecture in Europe and North America from the 3 hrs.; second term. XVth century to the present. Stress will be laid upon significant Offered in Summer School, 1952. connections with contemporary l iterary, musical and philosophical Prerequisite: open. trends...... ~ .1 hrs.; second term . Prerequisite: open . GEOGRAPHY .~ Offered in 1951. 52 ooly. ACTING CHAIRMAN OF DEPARTMENT- ASSISTANT PROFESSOR REEDS "0 \1 .\. The Development of Medieval Art 116. General and Economic Geography Mr. Reeds, Mr. Wood =~ c. Srudy of rhe main trends in architecture, sculpture and painting in An introduction to ,the geogr~ phic method: the elements of the c. Europe from the beginning of the Christian era up to the end of · physical and cultural landscape with special reference to their < rhe Gothic period (i.e., circa 1 A.D. to 1500 A.D.). The artistic world patterns. A regional analysis of primary production and an heritage of Greece and Rome combined with Eastern influence examination of the geographic bases of industr ialization. upon early Christian art in the development of the Byzantine Text: Finch and Trewarrha, Elements of Geography. 11yle; the effects on the arts of successive waves of Germanic and 3 hrs.; firsc and second terms. or her invasions; the subsequen t growth and glory of rhe two major Prerequisi te: open. med ieval styles of Western Europe: the Romanesque and the 203. Elementary Me teorology and Climatology Mr. RwlJ Gothic. An. elementary study of rhe basic principles of meteorology, a ) hrs.; second term. study of the various climatic clas>ificario n.s and some of the aspects Prerequisite: open. of applied climatology.

i ~ _\E. halian Renaissance Text : Trewartha, An Introduction to Wet~ t her mul Cli!{wte. Offered in Summer School, 1950. 2 hrs. and 1 lab. ( 2) ; firs t term. Prerequisite : Geography 116. ~ .\)E. Northern Renaissance 214. Cartography I Mr. Wo od Offered in Summer School, 1952, only. Drawing, graphics an.d map interpretation.. An introduction to the 'IJE. Modern Art insrwmenrs an.d techniques used in map making : pe(lcils, pens, Offered in Evening Classes 1950 ·5 1. pantographs, skerchmasre r . and Ofh.er . in s rru!'fi~ riis. "topographic sketching and lettering. A detailed. scitdy of topographical· maps, l\_•E. Nonb American Art map symbolization, physical and cultural map. interpretation. Offered in Summer School 1950. Tcxr: Raisz, Gener

CALENDAR FOR 1935-1936 189 190 UNIVERSITY OF TORONTO

RODERTSON, Greek and Roman Architecture; continued. For reference: Tho Middle Ages (for general historical background); SALZMAN, English LAWRENCE, Sculpture; SwiNDLli.R, uciull Puinling; SlNONG, Lalu Gruk A Social Life in the Middle Ages; EVANS, Medieval France; HuiZINGA, Tho A rl in A tacienl Rome. One hour a week. Wani11g of the Middle Ages; ScHWADE AND KELLY, A Short Histury of 4. Topography and Monuments of Ancient Athens. The hi slory of the Costume and Armour. Three hours a week for the Easter term. city as illustrated by its monuments will be traced from the earliest rimes 2d. O(>l·io?• for Religious Knowledge in Honour Courus: Medieval Art into the fourth century A.D . The general plan o r the city, its wntcr Sllp ply, (·100 A.D. to 1450 A .D .). One hour a week for the Easter term. walls and more impo rtant Lm ildings will Uc studictl. Sun1c tin1c will be Ja. The Itali an Renaissance and its influence on European Art. The <.levoted to the domestic architecture of Pricne, Delos and OlynlliUs. For clevelopmcnt o f painting a ncl sculpture in Italy from 1400 A.D. to the encl reference: \rVE LLE.R, Athens a r~d ils J..fouru11e"ts; 1-I AHKJSON, .Hythulugy dUd o( the s~vcntee nth century-early Renaissance, high Renaissance and Monumwts of 11 nciwl Athens; l)'OuGE, The Acropolis; J UUEJCU, To(>u­ rraphie von A then. One hour a wct!k. BarofJue; Italian influence in france in the sixteenth century; seventeenth century French painting and sculpture; the development of formal land­ scape:. Two hours a week for the ~1ichaelmas term. (This course is not FINE ART available in 1035-1936). E . J- G. ALFORD , M.A ...... J'rofessor 3b. History of Architecture, Renaissance and after. The architecture of the Renaissance in Italy, France, and in England to the end of the trl la. Drawing from objects of art as a training (I) in material Jcscri1)tion nineteenth century_ One hour a week for the Michael mas term. (This ~ for purposes of annotation an<..l record, and (2) in the appreciation of fonn course is not available in Hl35-l936). ~ and design. One hour a week. ;a 2a . History of Architecture, preclassical anti classical, including the 3c. North European and Spanish Art (1400 to 1700) and art in the architecture of Ancient Egypt, Assyria and Chaldea, Greece and Rome. eighteenth and nineteenth centuries. Flemish art from the van Eycks to Q,j the.' end of the sixteenth century; German Renaissance painting; northern Q.,= For reference: STATHAM, A Short Critical /lis tory of Architulurr.; J\NuEnsuN, Sru!RS ANU DINSMORE, The Archileclzlre of Aucieul Greece; ANDEU SO N, Baroque; Rubens and van Dyck; Dutch painting in the seventeenth century; Spanish painting o[ the seventeenth century: eighteenth century SPIERS AND AsHDY, The Architecture of Aucient Rumc. One hour a week for ~ the ~1ichaelmas term. painting and sculpture in Italy, France and England; c.Jassicism and Romanticism and the break up of the Renaissance traditions; painting 2b. Drawing. A continuation of la. One hour a week for the Mi c hael ~ mas term. and sculpture in the nineteenth century, mainly English and French. Two hours a week for the Easter term. (This course is not available in 2c. Medieval Art Rnd Arcllitecture. Early Christian, ny7.antinc and 1935-1036). Romanesque archi tecture ant..! art; the development of Gothic; the 111cdie\'al monastery, castle and town ; medieval painting and illumination; metlicval 3d. O(>ti01• for Religious Knowledge in Honour Courses: The Italian sculpture; interior furnishings and minor crafts. Text~hooks: STATII/\t.f, Renaissance and its influence on European painting and sculpture; the A Short Critical.l{istory of Architecture; FROTIIINGII,\M, 1'Jze .\{ouumcnts of North European traditions in Germany and the Netherlands; the eight­ CJ"istia1J Rome; TALDOT RICE, IIandbook of Dyuwtine Arl; S. CAJWNEK, A eenth century, C lassicism and Romanticism; nineteenth century painting Guide to English Gothic Architecture; SAUNUERS, A llistory of Enflisll Art iu and sculpture, mainly English and French. Test-books: PATER, The the Middle Ages; A. GARUNER, Medieval Sculpture it~ France; CoNSTADLE, Renaissance; MATBRR, History of Italian Painting; VASARI, Lifo of Leonardo Chapters on Painting and the Arls in Cambridge Medieval History, Vol. VIII; da Vi,.ci (tr. and ed. H . P. Horne); HoLROYD, Michelangelo Buonaro11i; MATIIER, History of Italian Painting (first two chapters). For rclcrcncc: CnA WFORD AND BALCARREs, Evolut4on of Italian Sculpture; CRUTWELL, SIMPSON, A History of Architectural Development; jACKSON, By•anti11e and Donatcllo; BELL, An Accou"t o/ French Painting; FRY, Georgian Arl; Romanesque ArGhitulure; jACKSON, Gothic Architecture in France, Englaud, joHNSO!', E"glish Painting; MEIER-GRAEFE, Modern Art. For reference: and Italy; ADAMs: Mont S t. Michel and Chartres; PR IOR ANU GAJWNfiR, BuRKIIARDT, Civilization of the Renaissance in Italy; BERENSON, Italian Medieual Figure-sCulpture i11 Englaud; MALE, L'arl Religiellr en France, Painters of Lhe Rcnaissanet; BonE, Florentine SculpLure of the Renaissance; 3 vols. (one volume translated as Religious Art in France, 13th century); CoNWAY, The v_an Eycks and their Followers; STKVRNSON, Peter Paul HERDERT, Illumiuated J.{anuscripts; PosT, A llislory of Ellropeau and Rubuu; COLLINS-BAKER, Dutch Painting of the Seventeenth Century; American Sculpture, Vol. I, Parts 1 and 2; TOESCA , FloreJJline Paiuting of STEVENSON, Velasqu«;·McCoLL, Nineteenth Century Art; PosT, A History the Treanto; WEIGEI.T, Sienese Painliug of lhe True11to; BORl!NIUS AND of European and American Sculpture; FRY, Cezanne. One hour a week. TRtSTRAW, English Mt.dieual Painting; EVANS, Pattern, Vol. I ; PLUNI!ET, 130

Appendix 16

ENGLISH, FINE ART 145

H oughton Mimin); IRVIN G, The SkcU:h Book; TnoREAU, Walde"; I-lAW· THORNE, The Scarlet Letter; ]AMES, TM P ortrait of. a Lady; MARK TWAIN, The Adventures of Huckleberry Fi1m; ]EWETT, Th e Country of P ointed Firs; A Book of Ca,adian Prose a11d Verse (ed. Broadus, Macmillan Co.). One and a half ho urs a week. 4g . Modern Drama and Poetry with special study of SHAW, Man and Superma11, Sai nt J oan; SYNGI!, Riders to the Sea, The P la yboy of th e Wester11 World; MA SEF IELD, The Trag edy of Nan; GALSWORTHY, Strife; FLECKER, Hassan; DANE, A Bill of Divorcement; O'CASEY, The Plough and th e Stars; SHERIFF, Journey's End; O'NEIL-L, TM Emperor Jones; R iel!, Strut Scu1e; CoNNELLY, The Green P astures. Modern poetry with special study of the works of HARDY, H o usMAN , MASEFIELD, DE LA MAnE, YEATS, LAWRENCE, ROBINSON, FROST, SANDBURG, ELIOT, jEFFERS, MACLEISB, LINDSAY (SANDER S and NELSON, Chief M odern Poets of Engla11d and America, Macmill an Co.). One and a half hours a week. 4/a. The Modern Novel, with special study of: HARDY, The Mayor of Casterbridge; jAM ES , The Ambassadors; MooRE , Esther Waters; CONRAD , Lord Jim; GALSWORTHY, The Man of Properly; BENNETT, The Old Wives' Tale; LAWRENCE, Sons and Lovers; jOYCE , A Portrait of the Artist as a Young Man; MAUGHAW., The M oon and Sixpence; WHARTON, The Reef; WooL F, Mrs. Dalloway; HUXLEY, Point Counter PoinJ; Dos PAssos, 42nd Parallel; CATHER, Death Comes for the Archbishop; HEMINGWAY, A Farewell to Arms. One and a half hours a week. 4i. The same as 3h. Two hours a week.

FINE ART PAss CouRsEs la. The Study of Fine Art. An analytical survey of the field and an introduction to critica l principles. Two hours a week. lb. Drawing and Design. An introductory practical course exempli­ fying the principles discussed in la. Two hours a week. 2a . History of Architecture, preclassical and classical, including t he architecture of Ancient Egypt, Assyria and Chaldea, Greece and Rome. Text-book : STAmAll, A Short Critical History of Architecture. One hour a week in the Michaelmas term. 2b . Classical and Medieval Art, with special reference to determinative factors ol style. One hour a week. (Tbis course is not available in 1939- 1940.) 2c. A continuation of the pictorial practice initiated in lb, with special reference to the synthesis-of ideas and forms and to classical and medieval modes ol imagery. Two hours a week. (This course is not available in 1939-1940.) 2d. A continuation of the study and practice -of decoration initiated in lb. One hour a week. (This course is not available in 1939-1940.) 2e. Descriptive and Systematic Drawing applied to Architecture. Three houn a week. M

146 COURSES OF INSTRUCTION FINE ART, FOOD CHEMISTRY 147

2f. Option for Relitious Knowledte in h()7Jour courses : Medieval Art 31. Design. The study of decorative principles in historic and contem­ (400 A.D. to 1450 A.D.). One hour a week in the Easter term. porary examples, with further exemplification in practice. Two hours a 3a. The Italian Renaissance and its influence on European painting and week. sculpture; the development of painting and sculpture from the fifteenth 3m. Flemish and German Painting and Sculpture of the fifteenth and century to modern times. Two hours a week. sixteenth centuries; special studies in the Art o[ the Italian Renaissance; 3b. History of Architecture, RenaiSBance and after. . - The architecture reading courses in two foreign languages. Two or three hours a week. of the Ren~issance in· Italy, France, and in England to the end of the nine~ 4b. History of Criticism. One hour a week in the Easter term. teenth century: principles of -modern architectur_al design. -·:::,Text-book: 4c. Painting and Sculpture of the Nineteenth Century. One hour a STATHAM, A Short Critical History of Architecture. One hour a week· in week in the Easter term. the Michaelmas term. 4d. Baroque Architecture. The principles of Baroque design in city­ 3c. History of Art, Renaissance and after, with special reference to plann.ing, palatial and domestic architecture, decoration and stage·design. determinative factors of style. One hour a week. (This course is not One or two hours a week in the Easter term. available in 1939-1910.) 4e. Drawing and Pictorial Analysis. A continuation of 3k. Four 3d. A continuation of Zc, with further study of spatial rendering. hours a week. Two hours a week. (This course is not available in 1939-1940.) 4J. Design. A continuation of 3/. Two hours a week. 3e. A continuation of 2d. One hour a week. (This course is not available 4g. Architectural Drawing. Two hours a week. in 1939-1940.) 4h. Architectural Model-making. Two hours a week. 3f. Descriptive and Systematic Drawing. A continuation of 2e. Two hours a week. 4i. European Prints and Engravings, 1400-1800. One hour a week 3g. Architectural Model-making. Two hours a week. in the Michaelmas term. 3h. Option for Religious Knowledge in honour courses: The Italian 4j. European Furniture, Textiles and Ceramics. Two hours a week Renaissance and its influence on European painting and sculpture. One in the Easter term. hour a week. 4a. Option for Religious K110wledge in honour courses: Painting and FOOD CHEMISTRY Sculpture from 1600 A.D. to 1900 A.D. One hour a week. PAss CoURSES 2. Chemistry of Food Constituents. A laboratory.cours e to be taken by PAss AND HoNOUR CouRsE pass students with the Second Year pass organic chemistry lecture course. 2g. Medieval Art and Architecture. Early Christian, Byzantine and Two hours a week. Romanesque architecture and art; the development of Gothic architecture; 3. Composition of Food~:~. A lecture and laboratory course on the medieval painting and illumination; medieval sculpture; minor crafts; chemistry of foods, with ~ark in qualitative and quantitative analysis. Three hours a week in the Easter term. Text-book: TINKLER and MASTERS, Applied Chemistry, Vol. II, Foods. Fours hours a week. HoNOUR CouRsEs HoNOUR CouRsEs !c. The Study of Fine Art. An analytical survey of the field and an 2a. An elementary lecture course on the chemistry of foods. Two hours introduction to critical principles. Two hours a week in the Easter term. a week in the Easter term. !d. Elements of drawing; a practical analysis of types of descriptive and expressive technique. Two hours a week. 2b. The qualitative composition of foods, their adulteration, and la ws 2h. Drawing and Pictorial Analysis. A continuation of !d. Two in regard to food control. Text-books: SHERMAN, Chemistry of Food and hours a week. · Nutrition; BROOKS, Critical Studies in the Legal Chemistry of Foods; HINTON, 3i. The Italian Renaissance and ita · influence on European painting A Summary of Food Laws. Two hours a week. and sculpture; North European traditions; painting and Sculpture in the 3a. A lecture and laboratory course on applications of physical and seventeenth and eighteenth centuries. Three hours a week.. . colloid chemistry to the study of foods, with special reference to chemical 3j. Renaissance and Modern Architecture. One hour 3. week.. changes in storage, ageing, etc. Text-books: CLAYTON, Colloid Aspects of 3k. Drawing and Pictorial Analysis. A continuation of 2h. Two Food Chemistry; FINDLAY, Practical Physical Chemistry. Nine hours a hours a week. week. 132

Appendix 17

UNI V ERSITY OF TORONTO

DEPARTM ENT OF FINE ARTS

5th December 1934

The Hon.& Rev. H.J.Cody , D.D., LL.D., President, University mf Toronto.

Dear Mr. Fresident,

I have given very careful thGught to the suggestions you made in t h e course of our conversation last We d nesday about the arrangements for courses of lectures in FLne Art n e xt year.

The question of reversing the order of the Pass scheme, so that students might start with the 18th and 19th centuries and the Renaissance, should certainly, I think, be brought @efore the

Committee on Fine Art. As I told you in the course of our conversa• tion, the wisdom of beginning with what would be the remote end of interest to most students (Cultural Anthropology, Ancient Art and Practical Drawing) did occur to me as questionable during the discussion of the scheme in committee, and I think it would certainly oo advisable to take a camvas of ·opinion whether the whether the programme might not be amended to a more paedogogically effective order, even though it should be a less logical one. This is a question on wh ich, it seems to me, there is considerable' possible argument on both aides, and it is one on which I have, at present, an entirely open mind. 133

When I come t o your renewal of the s u ggestion tha t the whol a three ye a rs' cour s e s hould b e put into operation s imultaneously,

I find myself in a rather difficult p o sition. Further consideration has only strengthened my b e lief that it would be a grave mistake to atte mpt an,initial prog r a mme of such magnitude. But I have already stated my op i n ion on t h is p oint and you have put me almost into a position of p e rsonal defenc e by a frank inclination to attribute my decision to an unwillingness to undertake more than a fixed amount of work. I reallj do not know what reply, to make without env.olving what I fe e l must seem t o you exaggerated claims. But I can onlj state my case in g reater detail.

The programme you propose would load me with 8 or 9 hours' of academic lecturing a week in the first term e.nd ten hours 1n the se~ond term, including exchange lecturing with the ~allege of Art.

In addition, I should be expected %~%g (and I should wish) to give at least one hour's lecturing a week in public courses (I do not think it desirable to combine academic and public courses as you suggested), with the probability of occasional lectures by invitation, and the possibility (which I cherish) of special lectures to meet the requirements of other University depa rtments for whom the nature of the general courses and the exigencies of the time-table may be expected to create some individual problems: I have already been a pproached by members of more than one de~partment on that .. matter and I have had the desirability of inter-departme~tal co-operation of that kind very much irt mind ever since my appointment. 134

That i s a possible programme t o work u p t o . But I do not t hink you have sufficiently allowed i n your judgment for . the amount of preparatory l abour which would be required f o r the various courses,

It is not possible, in relation to any academic course of lectures, t o d i spense with a great deal of detailed ad hoc preparation L~ regard t o the special material with which the course is concerned,

This is parhaps particularly true in dealing with works of art, when every new type of audience presents a new set of problems to the teacher and the whole value of the teaching depends on. a proper understanding between ~eacher and student. It would be quite im­ possible for me to cover the whole field of European art in the

Christian era next year in any manner which would be academically creditable to the University, and I do ask you to believe that this is not merely due to personal deficiences in equipment on my part, very conscious though I am of their existence. ~he only kind of person who could possibly carry out the progra mme you suggest, in his first year of academic teaching here, would be one who had worked it out and carried it out for a similar group of students, over a number of years, elsewhere. Acjually ,I do not .know of such a person myself, though, from your references in committee to the syllabus of the late 'Professor Baldwin Brown, I imagine he might have been circumstantially competent for just such a task.

I might perhaps add a word about the '~%limitations to the possibilities of lee turing on Fine Art in general. The signif1:1Zance

(intellectual, emotional, historical, social and so forth) of the 135

of the material with which on.e is concerned is such, and is so compara tively little on the surface for an unacquainted student, that not only the pr-eparation but also the delivery of any series of lectures can b ecome an extremely arduous work, if due regard is paid to the necessary flexibility of mind in face of one's students. It simply is not possible to be all "on the spot" to the degree required fa:c· more than a limited amount of time. Professor Coniltable

found, as a lecturer 1n the Wallace Collection ten years ago, that two hours lecturing a. day, even on that circumscrib-ed material, familiar day by day, was as much as he could profitably undertake, and, though no doubt lecturers vary considerable in all kinds of capacity, that is the standard demand usually made on gallery lecturers in England with ro\llthe familiarity with their work. At the Courtauld Institute, where a very special academic and paedogogic competemce is looked for, no teacher, even when on the whole-time staff, is required to lecture for more than two or three hours a week. This small amount of lecturing is due in partnto the conditions I have tried

to indicate, in part to the fact that no lecturer is considered sufficiently competent outside the area in which he has spwcialised,

and in part to the assumption that he requires th~ greater part of his time for personal study. The staff also andertake individual supervisii!m of students' work and it is hoped that they may find time for original research. Such an arrangement, I fully recognize, would be quite impossible, whether or not it were appropriate, here. I only mention it as additional evidence that the , programme I have outlined is not an unreas·onable one. 136

There is one other point on which I am not sli.re tha t we have as good an understanding as might be desired. You, I know, Mr. President ,, are anxious that all students in the Univers ity should have some opportunity for attending lectures on Fine Art, and I should be happy to think that this could be arranged. But

I have no expectation that the process of learning will be anything but self-selective, and I should consider it calamitous if the level of teaching were fixed ~% %%%~ in relation to the lowest recognised aptitude of the students. There will, if I judge rightly, be con..

siderable scope for Seminars, even in the later undergraduate years.

Whether or not it mOY be possible to arrange for such work, voluntary or otherwise, I would very much wish t o form and keep some individual

contact at least with the keener and abler students, and to encourage

individual study and thinking among them. It is, at the moment, impossible for me to foretell exactly how these ambitions may be

fulfilled. But, bearing them in mid.d, I am most anxious not to hedge myself about with too rigid and time-restrictive a programme

at this early stage or residenee in the University.

Believe me, Mr. President,

Yo~rs sineerely,

! :ofe.,or of Fine Art. 137

Appendix 18

Fubl1c Areh1Tea 1 Ottawa August 9 1 19~3

Do&J»r. ~- '( ,. :· F.oUowmg:· qf1Z' ~-.aattcm~J :w.1$h regard 1 t.o 'the posrilllitkB ~~ - ~roe\ u4 &0t1Y1ty . 1n an at K~ t am ~184- '•ow ·- ;- •t bef-on _7ou on ~ the-- .. ~' •:ttna"lO!l~ ' ~:··~~ enTi.s~~d by .. _. Ex~• ·ot the ~ton ~ : .&SBOO - ia.tioa~ T'M ~poso.ls ha"tt ~A :to~te4 1ft~ ' ~ Q'llJ&·thy and oo­ ope;m·Uon ~ ~\ ~iaoripal ~. ,. ~--- ~- : Aam.inistm~J.on of C:ueen"' s Univ-..1v and they are pn~d to lend the 1l" au. 1r.l CfU'~ thea oo.t.. ' . .. 0.J:"ganiZod &etiT1t7 1n art at KiJlGaton. daus :from :t~Y• 7eaJ.>s ago when tb.e An- Gro-up ot tho KiDgeton A~ :tt.nd liue1c Cl.u;b was :tolm4ed. l3e.e1des arrang­ ing leetur•a.t, waoa.iq lo"' local -pcr.rsons •. and ~1n6ing exh1bi­ 'timaa of p~ to the cit¥. the G-roup c~te.d "classes" 1n ~ing Mill paJ.Qting. fbea.• oarr144 on ln part without ezq insuuct~. 1mt t" thfte w1n•~ , ha4 the guioance ot a ~ormer $4.ent .of the Odario C~U.ge of A.J:t during whi. time ·- saa doaa w~:1ib, CJbjJ.~eD ae wel.l as with aduLts.

. ·ViUD. the ~ ~ . Jlu.eJ.Cl Club ba.d to dis- b&D4i)Uld g1Tit,.v.p 1~a ~--. Q.; tli• -•!A_.r o:r ~lJ931-z2. the A.l"\ ~oup t''l:~o~1~ . ,J : ~• :: w,oniM iPQUP. to1: •0114t~ :IW11tba : ;,- -.. ~~i.e": .: ... ·. ··' "" · ~ autwla'Q 1 t ,_,as ablAf.to reo~se on a · ~18 ' . ~ ilo~UiDal tees., 'thBDks to the . bospi~:#.T ~ Queen~ · a l1Jl$y•r.-1t:r., wh1oh ottered que.rt.rs 1n -.e Lib.rary for the- w.eekly working group and tor lecture-s .as well as oponf.DB to- the use of members o!' tbe AseoeiatS:cm the .Carugi• Golleo"t10D. on the histo-ry ot art., The - ~sooiatiou last wiuter, 4e:a:p1'• the limita­ ticme of its '~• muaten4 si:rl7•o4d meabers with­ out zesorting' to e.ny eX'trtuteOWJ e.ppeals. ~he University haa als-o ma.mtaintJd 1 ts :reoet pn.ctic• . ot br1zl&1ng art exhibitions tO the library, 8Dd last sp~tDg assnmed the pr~ipal rea.pons1b111ty :tor the expenses of the o.. :.:; .A. traT~liDg ~b1tioJ1. ~ibetber tte Un1Te.rsity call continue to 1Dcur sue!tr; uPen•s as 1~ undertook lut w~er is very doubU'Ul. Tbt· be,g1nn1Dgs ~ 1n the l.a.st ~- years in · rousmg 1nte~t and group actiT1V 1D art oq not be adequately tOiUowed \lP 1:t w• ooatinue t.o depend· aol.ely 138

.wlii.cC - 2 upon the reaou.rces of the towa. and uniTere1ty. It is. indeed, quite possible that even last year's programme can not be mai.ntained.

Deap1te deolinitlg reaou.rces the D tory .~f recent developments is e. story of growiDg interest. " e believe that the time has come when, with adeq11ate re­ sources. we could not only serve more r .1ohl.y the circle that is al.ready inte.J;"eated, but OiiDuAd reach out into the general oi ty communi t;r and the univerei -cy- const1 tuenoy 1n effective f'aahion. Therefore we hope th.nt YOUI: eo~l itteo may deem our proposals worthy ot their eupport .. Our plan toz· enlarged activity centres around the 14ea o:f securing a prot'ees.1onal artist to work in our midst. Art as a T1tal part o-r oontemp4ro.ry living is at presen~ something tore1gn to the Ktngeton community as a whole. lt should be domesticated there. U we ooul.d !ind aa artist willing to come to Kingston to live and work, the Un1Tersity would lNt wUling to co-operate b7 makine e.va.Ua.bl.e ample etu.dio quarters 1D which he mi&ht carry Oil hia own work and 111 which also membel's ot the Association, dram both trom town and !rom WliVel'­ sit,-, m~t ~1Dd opportunity o~ working und.ei' his inspira­ tion and direction. There would be definite periods set aside for certain groups, adult and juvenile, with perhaps some other periods when individuals might be tree to work in the studio at their own dineretion with the e.rtist-tes.ch­ er car.t·yir..g 011 his won wo1·k but ready to act as consul tnnt. adTiaer and o.ri tic. For some ueriods each week the latte1· should hc.ve the atudio entirelY at his own disposal. l:le would have opportunity to ae"e e. ·aider circle through lectures and tn eonneetion rsi th such exh1bi tion.s a..s 1 t might be possible to arraJJgo for. The active year would eoincide I'oughly, at least at t'1ret. Yti th the college yeru.·. The orga.nizats.on, however, wou.ld be independent of' the u.nive.rsity ou.rrio\llum, though its faoU.1t1ea would be available to ~ persona 1D the university as well as in t.own.

The sort of' lll&ll we have in mind would have to be what OM might oall a. nJa.ck of a.ll ar'ian, the more pro:t1cient the better. The position would otter a sj.)lend1d opportunity to a :prOlllisi.Dg ,-oung aJ:tist who. bes.ides his tecmmcal competence • possessed the knack of interpreting a.rt to the ltqman 1n such taahion as to imp-art enth1.1a1amn and stimulate to artistic endeavour. ,;e axe not thinking ot a p.rotess1on.al art school but of' a centre of' art interest and activity tor the oommun1ty. which. 1t it is to Berve its needs, must be available at merely nom1nal ex,pe~e to all who rmy be 1nte.i:·ested. The possibility, tl:uu·etore. ot enter­ , 1ng i.lpon such a programme depends upon our o·btaining an 139

p- \~

B.OhlcC - a ~t adequate grant fo1· the purpose. The Un1Ve-'·s1 ty. in view ,~f of the fact that its grant :rrom the prov1no.tal government l haa again been out. ca.n do 110 more than provide quarters. ' ~ Thus the initiation of the proJect is d.ependent upon your Ci "\::, Committee de:eming it worthy of' its support. ~ ~~e suggest that a grant of $1500.00 wou.ld be -.;;;: neede

Yours sincerely •

---rft\ -"· ~ _. -:- /" ..---.a- ../ ·• / ,.,..,,...... ?? ~ / t:~ / v ... r:J'-:; {,.A._'"'(../~/-; I - ~ - - . - --- .!:'resident. K~ston Art Assoe.ta.tion 140

Appendix 19

ART ACTIVITIES IN CANADIAN UNIVERSITIES

The following notes are the result of observations and con- f . versations :r the majority of the lead.ing Canadian Universities. Everywhere,~a considerable interest was shown in the question of art in rela~~on to ac~emic work; but in most cases the nature of the problemt.~· as well as the means to its solution, does not appear to have been fully realized.

l. The fundamental distinction between the teaching of art from the vocational point of view, and its teaching s.s part of a liberal education, is not clearly borne in mind. The former is a matter of technical training for livelihood which may with some justificatio_n be regarded as f ollowing outside the sphere of a

University: the latter is an intellectual and spiritual training ~-. for life, wbfch it is the main business of a University to provide. ,,,, ~~ ln certain circumstances, it may be very desirable for . •4' a Universityt to provide for the technical training of artists, 1 especially wflen no other agency exists for the purpose. Moreover, ~· ~ the presence ·or an art school in a University may have a very desirabl e moral effect, by giving art a r ecognized place i n Univer- sity activities. Also, an art school may be a means of providing some technica;l training for· . s~udents in other departments vtho desire it and a most useful adjunct to aey training in the history of art which may be given. But experience, exemplified in the case of the Slade School. in London University, suggests that a University Art School wi.;kl always tend to remain a thi?S apart from University life.

. ~Thus, the provision of an art school by a University does not absoive it. from the responsibility of considering the part which art may play in education as a whole, and providing for it.

2. Experience shows that the most satisfactory method of making this provision is through the history of art. The attempt to t each what is called "art appreciation" generally r esults in 141

-2-

litUe !ibut an accumulation o£ jargon ani of vague knowledge which

is nei~r a training far the mind nor uset'ul in itself.

The historical approach has ~ following advantages:

(1) In ita teaching, the~ standards. of accuracy and the same systematic study can be exacted as in any other type o,r . hi~tory. 1

0~2) It trains ~ .i 4e.ye~8J?S , :t¥ apprepiative faculty in a j •.;· way of which' no dire'ct approach i1f capable, by ita i:. .· i~uencE! i _n , wide~ng , flYl!lpathiea; iand establishing more , caUlollc standards. '

Its teaching can be more easily assimilated to the teaching of other University subjects, so that it can more easily be made part of a University curriculum. It can utilize for its own purposes existing Universi~ courses, such as those in political history, literary history, philoso~, classical archaeology, etc. and can usefully cooperate with such technical departments of the Universi~ as a school of art and a school of architecture.

The art history professor or lecturer in a University can then be a valuable coordinating force, in certain cases.

5. U art history is to play its part in University work,

it must Be fully recognized as an integral part of that work.

Courses fch play oo part in degree work will simply become the

resort o~'- dilettanti or of the outside public. It is enough at first

if an ari·· history course be recognized as one of the courses leadiJll ~; to a degree, in combination with others. Combination with political

history and language courses is particularly appropriate. Later, if

good students are forthcoming and the demand seems to exist, the

question of a degree .in the subject could be considered.

4. If art history is to justify itself as a subject,

it is ess~ntial that its teachers should be properly trained and

qualified ;~n. The supply of these in the English speaking world ~ ~ is at pre~;nt deficient: but it is increasing rapidly, and should , cause no ~ficulty in the near future. 'j: s. In Canada,. especially under present conditions, ,. . ~ ~. the respo~ibility of the University does not end with its oW!l :•; students, :but extends to summer schools and extra-mural work.

Summer school work is of great importance in its 142

.i influenc&iupon teachers and. through t~m on school work. The

•.;,,.possibt. of courses on art history in sUIWller schools should there­ '!' :~• fore b l, :iously considered. The amount of instruction which could '· be given : ;Jr~uld be small: but a great deal better than nothing, in 'fi',,.. that it w~uld give a lead and an indication of method.

In extra-mural work, art history teaching has great possibilities,., especially if it is associated with the circulation of exhibitions of works of art, on the lines which have been so

successfully pursued by the National Gallery of Canada . In general, ~ there is erery reason to believe that if the demand for loans of

works of ~ increases, as the result of either extra-mural or ~· ;extra-mur~ I · work, the Gallery. would be able greatly to increase .~ts activi.~'in this respect.

In both summer school and extra-mural work might well

be made of :young University graduates sufficiently qualified in art

history. The field is a fiM training ground f or suitable young

men and woman: and is peculiarly well sui t ed to the special capacit-

ies of yollD8.er people...... '

FINE AitT 197

FINE ART Picture::. of mod(' rn masters will be shown from time to time, giv­ ing the s tudent an oppor·tunity nf acquainting himscl r: with the modern :RESIDENT AnTIST- Andre Di Cier. moveme nt and rcal i7. ing its s ig nifi cance in contempora ry life. Talks will be g-iven to direct the attention of the student to the achievement of t he mol lcrn ma ~ te r s, in co mposition, colour r elation and significant The conr s~ in Fine Art is offered as two half-courses given in alter­ fo rm. nate years- Fine Art 2 will be given during the winter of 1!l a?-38, Fine Art 1 in session 1D38-39. Studcnt:s may ofT cr the two years' wod< Ba~ic l'Nlding-: as one optional course towards t he Pass degree, or either yea r ':-; worl< lht fhi'011.(Jh t.h r. Jtacs, by IJclen Gardner. ns a half-course. They will be permitted the same allowance on t h<' / ,cc:lul'e }Jr1·iod- 1¥c ~ dncs dau at 5. optional work of a n Honours Counw when t he Dcpart mr n t. givinJ.!' till' S l lfdi() 1HTimf- Mondrry, 3-!5. Major subj ect so reco mmends. Students talc ing the l' o u nw in two successive years will be permitted to r egister in five and 'a half cn ur :•r~ in one year, fou r and a half in thr. other year.

FlNE AnT 1. (Offered in 1938-39 and in alternate years) . =M Med iaeval, Renaissance a nd Modern. iio< Beginning with the early Christian period, taking t he Gothic :0 Cathedral, the Renaissance in Italy, and successively in Spain, =~ Holland, Germany, England, and France, finishi"ng with the crea­ Q. tive expression of om: own day. Q. < FINE AnT 2. (Offered in 1937-38 and in alternate years) . Ancient, Oriental, and American Aboriginal Art. The course will define the spirit of Greek Art, the development of the Arts in Egypt, Babylonia, Persia, in relation to their con­ t r ibution to Hellen ic Art. The Homan period will empha ~ ize the colonization and the diffusion of Roman Art, based on its Greek predecessor. The Art of China, India, and Japan wi ll be studied. Lectures on American Aboriginal Art w ill be illustrated from the lrnivcn~ il y co ll C'ction.

STUDIO; In con junction with the lectures in Fine Art, the re wil l b<' a Studio period, where the students will draw from the antique, still life and the li vi ng 111odel. Reproductio ns of drawings by the masters will l>e studied, with particular attention to line and indication of form; co lour reproductions of great paintings of t he Ji' rench and Italian Renaissance analyzed for their linear and colour co mposi tion; .J a panese prints shown and copied to um.lerstand the s ignificance of the line and fiat tones of Oriental Art. 196 144

Appendix 21

ART

R£SJIJENT AllTIST- Andn' Bi eler.

The course in Art may be ofl"ered a ' 011e optional course towards the Pass B.A. The >

As a basis for the s tudy of the .-\ rt of GreOL"L' and Rome, the course will comprise a survey of the childhood of Art in prehistoric time, and 'the Art of Egypt and Assyria.

The course will defin e the sp irit of (; l" t"t:·k An and its influence on later periods. Early Christian Romanesque and Goth ic Art wi ll be studied, show­ in g the change brought by Northern sensibilities upon Mediterranean thought. The Renaissance in Italy will be followed s u~ces s ively through Spain, Holland, Flanders, Germany, England and France. A short study of the philosophies and religions of the Orient will be made so as to enable our Occidental mind t o grasp the meaning of Hindu, Chinese and Japanese Art.

As a final study, we shall show the influences goveming the crea­ tive expression of our own day.

STUDIO:

In conjunction with the lec tures in Fine Art. there wi ll be a Studio period, where the students will draw from the antique, still life, and the living model. Reproductions of drawings by the Masters will be studied, with particular attention to line and indication of form; colour reproductions of great paintings of t he French and Italian Renaissance analyzed for their linear and colour composition; Japanese prints shown and copied to understand the s ignificance of the line a nd flat tones of Oriental Art. Pictures of modern ma sters will be shown f1·om time to time, giving th e student an opportunity of acquai nting himself with the modern lnovement and reali zing its ~ ig:nitican c: (· in conle mp()rary life. Texts: Art throllgh the Ages, by Helen Gardner Lecture period- .liu>Hiny ""d Thursday, 4-5. Studio pt•rioJ- -T,Isdny, 2-4.

13 1 145

Appendix 22

DETAILS OF COURSES OF INSTRUCTIO N

ART

RESIDENT ARTIST- Andre Bi eler. Art 1, Art 2 and Art 3 are offered in consecutive years and may be crunted towards the degree of Pass B .A. either as a group or as individual free options. The aim of the courses is to show that the essential character of each period in history has been given ex pression throug h its art. ART 1. (Offered in 1950-51.) Prehistoric art in Europe, Ancient, Classical, Oriental, and North American art. AnT 2. (Offered in 1948-49.) Early Christian, Romanesque and Gothic art; Renaissance and Baroque art in Italy. AnT 3. (Offered in 1949-50.) Renaissance and Post Renaissance art in Northern and West­ ern Europe; Modern art of the nineteenth and twentieth cent'llries.

STUDIO: In conjunction with the lec tures, there is a studio session, where, by actual practice, the student studies the differen t technical aspech of the arts of successive periods. Text: A1·t thTou gh the Ages, by H elen Gardiner. Lecture perio d- M onday and Tl111 n day, 4.3 0-5 .3 0. Studio period- T11esday, 3.30-4.30.

BACTERIOLOGY PnoFEsson-G. B. Reed, O.B.E., M.A., B.S c., Ph.D., F.R.S.C. J. H. Onn, M.D.,C.M., F.R.C.P. ( C ). IN STRU CTOn-Reta E. Anderson, M.A. fic,; ULATIONS AND AN NO UNCEMENTS 1. Students on a pass course taking Biology as one of the subjects of concentra ti on may off er Bacte riology 10 or 11, but not both 10 and · 11, as a part of the Biology prescription. 2. Stuuents taking 13iol og-y for Honours may include one or two courses in llacter·iology as part of the Biology prescription. They should . co ns ult the head of t~e Depart ~ 1 l'n t. ,.\0

THE SPEAKERS - p R 0 G R A M M E Abell, Walter, Professor of Fine Arts, Acadia University, N .S. 0 F THE Alford, John, Professor of Fine Arts, University of Toronto. Ayre, Robert, writer, art critic, Montreal. Benton, Thomas Hart, painter, Kansas City, Mo. CONFERENCE Bieler, Andre, painter, Resident Artist, Queen's Universi ty, Kingston. Cloutier, Albert, painter, Art and Printing Supervisor, Public OF Information, Ottawa. Comfort, Charles, painter, Professor, University of Toronto. M Gettens, R J., Fellow in research, Fogg Museum, H;trvard Uni- CANADIAN N versity, Boston, Mass. il'l Haines, Fred, painter, President of the Royal Canadian Academy. ·-"0 Holgate, Edw~ painter, Montreal. =~ ARTISTS c. Holt, George, painter, Harvard University, Boston, Mass. c. < Jackson, A. Y., painter, Montreal and Toronto. Lismer, Arthur, painter, educator, Montreal. McCurry, H. 0., Director, the National Gallery, Ottawa. Rowan, Edward, Assistant Chief, Section of Fine Arts, Federal Works Agency, Washington, D.C. ' Snelgrove, Gordon, Professor of History of Art, University of Saskatchewan, Saskatoon. _ '• · . <; , . . ... , -- ·. :.;. ; ::;.- "!?..~~c..~:.r.i ; ,:.. ~..:.- -hi. .- :... . : -. Sterner, F. W., Supervisor of Paiitt'Testuig and Research Labora- tory, Harvard; Director of the Painters' Workshop, Boston, Mass. Wallace, R. C., Principal, Queen's University,_ Kj ngston. QUEEN'S UNIVERSITY, KINGSTON, JUNE 26, 27,28 ' NATION~L GALLERY, OTTAWA, JUNE 29 1 9 4 1 r:­ -.:t - CONFERENCE OF CANADIAN ARTISTS Friday, June 27th

e Thursday Even ing Session in Ban Ri gh Hall. 930 a.m. THE PAINTERS' WORKSHOP - Lectures and demonstra tions on grounds and e All other Sessions will take place in the Old Arts Building. pigments e Meals will be served in Bon Righ. Breakfast, 8 to 9 Lunch, 1 Dinner, 6.30 3.00 p.m. AFTERNOON SESSION - Art and Democracy Chairman-Arthur Li smer e M_oil ~ill be di?tributed at the Regi s!rotion Desk. Speaker-Walter. Abell e &hibitio~ o'f Pointi~gs · ~ conv~ses ;select~d f~r te<;hnicol 4.30 p.m. Films ''aspects ore on ··view :·in Grant Roll. · • Artists' materials ore on display in the Old Arts Building . 8.00 p.m. EVENING SESSION - Choirmorr----Chorles Comfort e Demonstrations of grinding and mixing of colours by Speaker- Thomas Benton Artists' Supply Company of Toronto - 9 'a . m . ·- ~ :2 p.m. ..- 8.p.m:·- - ~ e . Proceedings of. th'e 'co~ferende will be ::published with as Saturday, June 28th many of the important formulas and recipes as possible. -;_,: Delegate~ having formulas . of recog_nized quality are 9.30 a.m. . THE PAINTERS' WORKSHOP ~ . · . invited to .give .them in writing' to th¢·;,Choirman of the Tempera, diluents, . thinners. olozes and varnishes · Conference for · publication. · • · · , ;· JL- :"' . "' . . , 3.00 p.m. Demonstration of Mi xed Technique e For ease of acquaintance you ore urged to wear your Genera I question period · name cords. 4.00 p.m. AFTERNOON SESSION. - e Every Session will be followed by a Discussion . Chairman-Gordon Snelgrove Speoker~Professor john Alford Thursday, June 26th 830 p.m. EVENING SESSION ___:· The American Renaissance Chairman-Andre Bieler P.M. REGISTRATION - Bon Righ Speaker-Edward· Rowan ... .;z ,30-., p.m. ,. CBC Notional Network-Thcmos Benton Resolutions ;j~i9:wjl;"f~ "p m~: ··- ·Refreshments "''"''··· . • ·: , ., . ·''"'"''·"'''·"'""'' "• Sunday, 'June 29th EVENING SESSION-- What We Should Accompli sh · Choirmori---'--Andre Bieler -' . 9.00 a.m. Departure for Ottawa 12.30 p.m. Lunch and Session .at the National Gallery ~S.P€6k'ers.:::..:H~ o : McCuriy, FrEid Haines} A;> Y:" ;.J,qc;fs~ , · ·· ~ :~ '--~--~ =:·-'·=- ==- -~:! }·.:' __ : · ·~ :_j_oi::>f· Discussion 3.30 p.m. Visit to H. F. Southam Collection 148

Appendix 24

RUDOLF LESCH FINE ARTS INCORPORATED

RUDOLF L&:&CH,

TELEPHONE· Ail HLAND 4 ·2.83B·.28aU TII:UAII:TO ~X~ CABLE ADDRESS·NilW YORK 'IICil ,.ll:i:IIIOI[NT AND COI:NI:RAL MAN ... GER ABC COCE·I'"II"TH IIDITION. TWELFTH FLOOR :Z.:Z.!5 FIFTH AVENUE NEW YORK CITY July 28, 1932 McMaster University Hamilton, Ontario Canada Att. Chancellor Howard P. Whidden Dear Profes sor: In accordance with orders received from the College Art Association we have forwarded to you the Art Teaching Set as far as assembled, including Packages #l to #23 each containing 50 prints 100 drawings in 4 packages of 25 each 1 package of textiles The balance with the cabinet will f ollow early in the Fall. Enclosed please find regular Custom House Declarations.

'

RL:L Encl. 149

,-ca..nl!.alan I n·,rolce-nevbed 1Q3J .

Form -1M .-INVOICE OF GOODS SOLD BY THE EXPORTER PRIOR TO THEIR SHIPMENT TO CANADA.

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to b e shipped from.Boe--.Yolk...... _.. , ············-······Per. .~ -- -·····------·--····· - - tliTATE ROUTE) C ustomer's Order No. ____ . ············------·-···-·········-··-··-- Our Order No ············--······-·-····-···-······-----···Terms:---JlO.t,.. ..

COtJNTIIIIY 0 1' MARKS A.ND SI:I..I..I N G l'lliCI: T O TM. 11 "" ...,,n mu< MANUI' ... CTUI'II: NU M EI EA!I Q U ANTITIES AND DESCRI PTION OF GOODS , A I lOLl) ,-art HOM I I'URCHAIER I N CANADA o • ON COHIU MI" TION loT @ AMO U N T ,.lltOOUC'riOH ~ACKAGES I i TI MI: IHII'P'I:O

~ .... a o••u Cerneate Art 'I'eaolWig I.'.qulprDIIIDt ·:&17~ am ocmta1D1Ds paolals-1 to 23 (1150 pboto8rataJ ---1• 4 packasea tlr'lnrizla aet (100 " 1 ~ TutU. ( :56 ) 1900 1900

Tb.ls 111 • gUt t'raD tbe Carnegie Col'pora UOD to IICllaBtel' 'On198N1 t7• To be entered tree or dutJ JPor ec!uoMUaaal pw: poe... - / ~' I ~~v

~&) Insuttb.e I, the undenoianed do hereby <:eflify u t allows :- word partner, ( 1) Thu I am the (a)~flt'_ ....Qle.J.tl . ______uportcr of the (:oods in the within ibvoi ~ c mentioned or .ducribt.d: IIliO:ll[ef, (2) Tba.t the said in\·oice bin all respects correct 11 nJ tru:; _ . · chieiclerk (J) Tba.t the u.id invoic:c contains • true and h;ll Slioicmcot sbowma: the price actually paid or to be plid for the uid a_oods, the aetur.t.l quantity tbere- or priocit~ a ~ officia.\,1[1\'>ni c f, and !l.i~)"baf~'t \bbe; ~oi.~J invoice also e>

U ~ t be (\l)~il ;~ r~ .. ,:,.•• -· · -·!· ·'·•· ··-•··- .~ ,. :. .-1 - ~ - :-~.;~:~.4 - ~ • • ••:~ .: -~ •••• :',. ~ -- •--·'·· - ··· · · ' 150

Appendix 25

List of Textiles

Carnegie Corporation Gift to McMaster University

35 Samples of textiles mounted on cream-coloured mat board in metal box

Collection Credit: EX. NIBLACK COLLECTION

NO. DESCRIPTION

1 Tapa Cloth

2 Primitive Weave (Palm fibre) Africa (Belgian Congo)

3 Cotton Weave Philippine Islands (Manilla), XIX Century

4 Silk and Metal Weave Sumatra, XIX Century

5 Batik (Part of a native garment) Javanese, XIX Century

6 Cotton and Metal Weave (Kincob) Indian, XIX Century

7 Chunri (Tye-dyeing) Indian, XIX-XX Century

8 Embroidery Indian, XIX Century

9 Embroidery Moroccan, XIX Century

10 Silk and Linen Weave Moroccan, XIX Century

11 Silk Weave (Brocade) Moroccan, XIX Century 151

12 Cotton Weave Spanish (Cuenca) XVIII Century

13 Darai (shot silk) Bokhara, Turkestan, XVIII Century

14 Silk Weave (Brocade) Japanese, XIX Century

15 Embroidery Japanese, XIX Century

16 Silk Weave (Crepe) Japanese, XIX Century

17 Silk Weave (Rare) Mongolia, XIX Century

18 Silk and Paper Weave Chinese, XVIII Century

19 Silk Weave (Damask) Chinese, XVIII Century

20 Silk Weave (Brocade) Chinese XIX Century

21 Embroidery and Hand-Woven Ribbon Chinese, XIX Century

22 Printed and Painted Cotton Persian (Ispahan), XIX Century

23 Silk Weave (Brocade) Persian, XVI-XVII Century

24 Wool Weave Persian, about 1800

25 Block-Printed Cotton Russian, XIX Century

26 Wool Weave Turkoman, XIX Century 152

27 Brocatelle (Silk and linen weave) Italian or Spanish, XVIII Century

28 Silk Weave (Damask) Italian, XVIII Century

29 Silk Weave (Brochee) French, Second half of XVIII Century

30 Brocade (Silk and metal weave) French or Italian, XVIII Century

31 Block-Printed Cotton French, XVIII Century

32 Block-Printed Linen (Toile de Jouy) French, XVIII Century

33 Silk Weave (Mfg. Cheney Bros.) XX Century

34 Shawl Weave (Machine made) Scotch or English, XIX Century

35 Tapestry Weave (Machine made) European, XVIII Century 153

Appendix 26

List of Art Works

Donated by the Carnegie Corporation to McMaster University

1 Jacques-Barthelemy-Adolphe APPIAN French 1818-1898

Source de I' Albarine, 1870 Etching 19.6x36.1 em 1963.001.0001

2 Otto Henry BACHER American 1856-1909

Royal Garden Schleissheim Etching 24.9x15.1 em 1963.001.0002

3 Felix BRACQUEMOND French 1833-1914

Canards Supris, 1882 Etching, drypoint and burin 37.5X26.8 em Beraldi: 778 1963.001.0003

4 Richiard EARLOM English 1743-1822

River Landscape (after Claude Lorrain's Liber Veritatis), 1777 Mezzotint and etching 20.9x26.7 em 1963.001.0004 154

5 William GREATBACH (after Gerrit Dou) English 1802-?

The Winder Engraving 42x34 em 1963.001.0005

6 Sir Francis Seymour HADEN English 1818-1910

Hie Terminus Haeret, 1863 Etching 11.4x123 em 1963.001.006

7 Paul HUET French 1803-1869

Vue General de Rouen, c. 1834 (2nd state) Etching 15.lx17.9 em Delteil: 22 1963.001.0007

8 Maxime LALANNE French 1827-1886

Port de Trouville Etching 17.1x28.3 em 1963.001.0008

9 Gustave LEHEUTRE French 1861-1932

L'Epave, Paimpol Etching 14.8x23.5 em 1963.001.0009 155

10 Jean Fran9ois MILLET French 1814-1875

The Gleaners Etching (umber ink) 18.9x25.4 em 1963.001.0010

11 Charles Adams PLATT American 1861-1933

Oxford, 1883 Etching (brown ink) 11.5x15.3 em 1963.001.0011

12 Herman van SWANEVELT Dutch c. 1600-1655

The Salutation Etching 18.3x27.7 em Bartsch: 86 1963.001.0012

13 James Abbot McNeil WHISTLER American 1824-1903

The Smith's Yard, 1895 Transfer lithograph 18.4x16 em Way: 78 1963.001.0013

14 Anonymous German(?) The Death of Alexander, 1480 Illustration for Eusebius' Histoire von Grossen Alexander Woodcut, hand-coloured 7.8x11cm 156

Printed originally by Johann Baemler (Augsburg) 1473 Printed by Anton Song (Augsburg) 1478, 1480, 1483 1963.001.0014

15 Claude Gellee called LE LORRAIN French 1600-1682

Pastoral, 1662 Etching 16x22 em 1963.001.0015

16 Etienne DELAUNE French 1518-1583

Abraham's Sacrifice Engraving 7.8x10.4 em 1963.001.0016

17 GA VARNI (Pseudonym fir Guillaume-Sulpice CHEV ALlER) French 1804-1866

Les Petits Mordent (from the series: Masques et Visages) Lithograph 19.4x13.3 em 1963.001.0017

18 Jacobus HOUBRAKEN Dutch 1698-1780

Ben Jonson, 1738 Engraving 36.5x23 em 1963.001.0018

19 Denis August RAFFET French 1804-1860

Saint Pierre!, 1851 Lithograph 20.4x28.1 em 1963.001.0019 157

20 William SARTAIN American 1843-1924

Lord Byron, 1896 Mezzotint 35 .1x28 em 1963 .001.0020

21 ANONYMOUS German(?)

Thracia, 1502 Woodcut 15.3x18cm 1963.001 .0021

22 James Abbott McNeill WHISTLER American 1834-1903

Fumette, 1858 Etching 16.2x10.8 em Kennedy: 13 1963.001.0022

23 James Abbot McNeill WHISTLER American 1834-1903

Street in Saverne, 185 8 Etching 20.6x15.8 em Kennedy: 19; Mansfield: 19 1963.00 1. 0023 158

Appendix 27

794 LEXINGTON AVENUE aoo te:s ON THf fi N E ANO Atf UfLJ AlTS E w Ey H E &ET WUN 6h• 1\NO 62nd stuns . C ABlE, lAlf &OOJ:.S, MOOfiN P'l iNTS, OIAWING S "" 8 00te:WEYH f " N . Y. TELEPHONE, &OO K.S, WATElC O LOlS, PAI N TI NGS, SC ULfTUU • lfG ENT 07S7, GAlLERY , lEGENT l9 " NEW YO RK CITY, U. S. A

August 19, 1932

Mr. H. P. Whidden McMaster University Hamilton, Ontario. Dear Sir: We are sending the Carnegie Art Teachers Equipment . today, in two cases, this lot consisting of all those books checked off with red pencil on the enclosed list. The following are missing, and will be sent later: Correggio Botticell1 Delacro1x, Oeuvres Litteraires Meier-Graefe, Spanish Journey Pennell, Etchers and Etching Alexander, Art et Philosophie Schmitz, Bildteppiche · Your checked items, in/encil, consisting of 14 items, amount to the sum of $97.00, which will qe credited to your account. 159

2W • 4 ....•1 .. , _.. Order No ...... Req. No...... ~.e. .~ ... ::?.r.'.lc ....C. .i. .t.l.A ....l'! .. • ."f..:. ... ~~.P.t,..... § ....!. ~2 Place and Date Invoice of ...... !!-B.r. ... /?.9. 9.~.~...... Carnegie Corp. of N.Y . C~otcKindofGood• !l-.n..4...... 1;,() ...... of ...... Purchased by ..g ift.P.:r."< . !'! . ~.~.t .~d. ll'! .c.M.: ~.f! . ~.~ .r. g.J?..~.Y. ~ Il: .~ .. .. . From ...... E. •.. ..W.EXHE ...... of :?. ~.1. ...~ .~?.1:.~.!.'8. ~ .9..1} ... 1!-:Y.~ .•....~.:.?f . :.R.. ~ .. .. N a.me and Address of Seller Terms ...... Shipped by .. ... E_s'; ~~el~ ··~;;d ··~~~d. .ii.iii'~ i ·'L~·d·;~·~··· .. ··········· ...... Trade Discount must be marked u iUCh

Mar l.:s u 1d Fair warket Sdlius Price to the Purcha1er In Couocrr o f I Numbers Value u 1old M a:l.ui.&crurc for home Canada 00 DESCRIPTION OF GOODS or Production PacUac• COOII.IIOptiOn &I Amount 1------l--time-- •hipped------l------

~ ,., - " 2 1175.00 McMaster Univ 1 U. S . A. case 160 items , consisting of r e ceives thes England with books on the fine and books as g ift Germany 160 ap~ lied arts, printed in item English, German, and Freno France E W 2

Note: E . Weyhe , bookseller and shipper, sold t h ese book to the Carnegie Corporation of New York City, the latter making the purchase solely to present the books to the McMaster University, Hamilto O nt~rio, as a gift.

Signature of Seller or Agent ...... ·...... The attention of the United States shipper is directed t he · ortance of observ in~ the Canadia~ Customt regulati which direct Oat &ll cases and packages shall be numbered and that the nvoicea shaU clearly show the contents of each· c.a&~. Strict obtc.rvaccc of Jhit rule will &rcaaly faci litate the work of making Canadian entries and will certainly be apprecia.ted by the conaiall~eJ . . Copies of these Invoices may be obtained from CL,OKE & S9N, Statione!~.fiamiltoa, Canada. .•. Price $2.25 per hundred sets in Triplicate. PoStaie prep~ if ~ : II with order. . #: .... 160

The following Certificate of Value is presc rihed for invoices of goods sold and exported to Canada, to be signed by the exporter or by a partner, official or employee of the exporter having a knowledge of the facts certified to, and to be written, printed or stamped on the invoice :- Certificate Form "M" Under General Tariff (a} Insert I, the undersigned, do hereby certify as fo llows:- I he word (1) that I am the (a) · exporter of the goods partner, in the within invoice mentioned or described; manager, c:hie£ c:lerk (2) That the said invoice is in all respects correct and true; or principal official, (3) T hat the said invoice contains a true and full statement p:iving rank showing the price actually paid or to be paid for the said goods, the ;.s lhe case actual quantity thereof, and all charges thereon ; may be. ( 4) That the said invoice also exhibits the fair market value of the said goods at the time and place of their direct exportation to Canada and as when sold at the same time and place in like quantity and condition for home consumption, in the principal markets of the country whence expo rted directly to Canada and that the said fair market value,- (a) Is not lower than the selling price of such goods when sold to jobbers or wholesalers generally at the said time and place; . (b) In the case of new or unused goods is not lower than the actual cost of production of similar goods at the same time and place, plus a reasonable advance for selling cost and profit; (c) Is without any discount or deduction not shown and allowed on invoices covering sales for home consumption in the country of export in the usual and ordinary course of trade; and • · · . (d) Is without any deduction on account of any drawback or bounty or on account of any royalty actually payable thereon, or payable thereon when sold for home consump­ tion, but not payable when exported, or on account of the exportation thereof, or for any special consideration what­ ever; (5) That no different invoice of the goods mentioned in said invoice has been or will be furnished to any one; and (6) That no arrangement or understanding affecting the pur­ chase price of the said goods has been or will be made or entered into between the said exporter and purchaser or by any one on behalf of either of them, either by way of discount, rebate, salary, compensation, or in any other manner whatsoever, other than as shown in the said invoice. (7) That each article on this invoice is bona fide the produce or manufacture of the country specified on the invoice in the column provided for that purpo~e. Dated y ·f \ Signature, this j'- ~ day of #193Jz. 161

Vasarsi, Lives of the Painters, 4 vola. Hagen, Art Epochs and thair Leaders Reinach, .A;pollo Fry, Vision aDi Design Faure, History of Art, 5 vola. Bell, A.rt Gardner, Art through the Ages Fry, Transformations Pijoail, History or A.rt

A,rs Una:

Armstrong, Great Britain Dieula!oy, Spain Rourtique, France Maspero, ~t Ricci, Italy Rooses, Flailders Strong, Art in Anci ant Rome

Classics in Art:

RembraDit Paintings Titian Dllerer Rubens Velasquez Signorelli Co~reggio lrlemling Fra Angelico GioUo Bott1celli Pieter de Nooch Leonardo

Propylaeen EUAst Gesch1chte;

Sydow, Die :&'llnst der Naturvoelker Schafer, Die IDulst des alten Orients Rodenwaldt, Die XWlst der ,A.htike Fischer, Die Kunst Indiens; Chinas und Japans Glueck-Diez, Die Rllnst des Islam _ Hauttmann, Die Ennst des Frueban Mittelalters Karl1nger, Die :KUnst dar Gotik Bode, Die Ellnst der Frueh-Rel;laissame 6cbabr1ng, Die Kanst der Hoc~Renaiss~ce Glueck, Die ID:ulst dar :a.enaissailce in neutl;lchla:nd · We1abaoh, Die Ennst des · Barook 162

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Propylaeen KUnst Geschichte: (Ctd)

Friedlaender, Die Niederlaendischen Maler Osborn, Die IU:mst des Bok:oko Pauli, Die Kunst des Klassizismus uni der Romantik Waldmann, Die Kunst des Realismus und des Impressioniamus Einstein, Die KUnst des 20. Jahrbunderts Platz, Die Baukunst dar Neuesten Zeit

Bryan, Dictionary of Painters, Engravers and Sculptors

Ar!cient Art:

Gardner, Principles of Greek Art Buschor, Greek Vase Painting Harrison, Ancient .A.rt and Ritual Dalton, Byzantine Art Wal tars, Art of the Greeks SWindler, A.n::li ent Paint iDg

A,rchi tecture:

.A.d.allls, Mont St. Michel Fletcher, History of Architecture Kimball, Domestic .A.rchi tecture of American Colonies Kimball, .A.merican A.rchi tecture Kimball-Edgell, History of Architecture MUmford~ Sticks and Stones Scott, .A.rchi tecture of Humanism Hege, Acropolis Le Corbusier, Towards a New Architecture Frank Lloyd Wright, Works of

Sculpture;

Chase and Post, History of Sculpture Gardner, Handbook of Greek Sculpture Kowalczyk, Decorative Sculpture Glass, Modelling

French .A.rt;

Male, L'.A.rt Religieux dn Xll Siecle Male, L' Art Religieux dn Xlll Siecle Male, L'Art Religieux du Moyen Age Dimier, Fremh Art of the 16th Century Delacroi%, Oeuvres Litteraires Ingres, Atelier Fuchs, Daumier Froelioh-Bume, Ingres 163

-~

Itali an A.rt : Pater, Renaissance Gobineau, The Renaissance Woelff'lin, Art of the Italian Renaissance Berenson, Central Italian Painters Berenson, Venetian Painters Berenson, North Italian Painters McCUrdy, Note Book of Leonardo Mather, History of Italian Painting Burkhardt, Civilization of Italian Renaissance Florentine Painters of the Renaissance (Berenson)

Dutch, Flemish @!d ~rman 4rt:

Glaser, Holbein Zeicbmulgen Huizings, Waning of the Middle .A.ges Coulton, .A.rt and the Reformation Cormey, The Van Eycks and their Followers Stevenson, Rubens Moore, Duerer Wilenski, Dutch A.rt Hale, Vermeer

Indian .A.rt: Coomaraswazey, Dai'lice of Siva Coomaraswazey, Histo:cy of Indian Art Binyon, Flight of the Dragon Okakura, Ideals of the East Taki, Three Essays on Painting Seidlitz, Japanese Prints Bushell, Chinese Art Iruemmel, Islamischa Miniatur Malerei Fenollosa, Epochs of Chinese and J~anese .A.rt Petrucci, Chinese Paintings

Suanish .A.rt:

Burlington, Spanish Art Meier-Graefe, Spanish Journey Post, Spanish Paintings, 3 vols. English Art: Whitley, .Artists and their Friends, 2 vola. 164

-4-

Affierican and Mexican Art:

Brenner, Idols Behind A.l tars Isham, HistOl"'J of .American Painting La Follette, Art in America Joyce, Mexican Archaeologr Lehman, Art of Old Peru Spinden, Maya A.rt Alexander, Art et Philosophie des Indians

Modern Art:

M.eier-Graefe, Van Gogh Uhde, Picasso and the French Tradition Barnes, Art in Painting Meier-Graefe, Cezanne Pach, Masters of Modern Painting Pearson, HOW' to see Modern Pictures Gordon, Modern French Painters WilensH, Modern Movement in Art Vollard, Renoir Gauguin~ Noa l!loa Cheney, Primer of Modern Art

Prints:

Pennell, Etchers and Etching Hind, History of Engraving Weitenkampf, American Graphic Art Weitenkalllpf, How to J..pprec iat e Prints Lumsden, Art of Etching Furst, Modern Woodcut Rembrandt, Etching, 3 portf. Glaser, Graphik dar Neuzei t Kristeller, Eupferstich und Kolzschnitt Ivins, Prints and Books Beed.ham, Wood Engraving

Theater:

Cheney, Stage Decoration

Technique and Esthetics:

Cennini, Book of the Art of Oennini Laurie, Materials of the Painters Craft M.ed.er, HandzeichmUlge:n Ross, Drawing and Painting Ogden, Foundation of Aesthetics Holmes, Notes on the Science of Picture Making Worringer, Form Problems of the Gothic Schlosser, Kunst Literature Vernon Blake, Drawing McMahon, Meaning of Art 165

-5-

TypographY agd Illustration: Crane, Decorative Illustrations Pollard, Early Illustrated Books Updike, History of Type Dwiggins, Layout Simon-Rosenberg, Printing of Today Ceramics: Hanower, History of Ceramics, 3 vols. Textiles and Rugs:

Bode, Antique Rugs of the Near East F+eming, Encyclopaedia of Textiles Schmitz, Bild Teppiche Costume: Boehn, Die MOde, 8 vols. Hottenroth, Le Costume Orngment:

Bossert, Ornament in Applied Art Jessen, Ornament StitCh Best-Maugard, Creative Design Blossfeldt, Art Forms in Nature Speltz, Styles in Ornament

Landscape Desipp:

Hubbard.-Minball, Int rod. t o Study of Laniscape Desi~

Furniture and Anticn:;es: Encyclopaedia of Furniture Cornelius, Early Amari can Furniture Spa.rgp, Early .American Pottery Ackerman, Wall Par;er Benn, Styles in Furniture Strange, French Furniture of the 18th Century

Arts ayi Crafts Series: Johnson, Writing and Illumination Hope, Heraldry Cockerell, Bookbinding Hughes, Dress Design Wilson, Silver Work Jacks, Woodcarving Hooper, Handloom Weaving Christie, Embroidery Whall, Stained Glass Morely-Fletchar, Woodblock Printing 166

Sti8GUtod. subat1tutiowa tor the .Ar.t bookaa

lnstoad of ~he tourteen llook:l \7h1ch vm alrlt~ r>oo~Jess aai some or tho Jl.Unst ooM.ttlH

G. Maspero, ll

G. Perrot, and o, Ohipie~• Hietoiro da l•arw ~ana l'antiquite Vol l l'aris., 1885 or translated by w. Artnstro:ng 2 vola, ~ondon 1083,

c. Solucha.N.t, Schllemann' s .bl:l:o

J. Baikie, ~ Kill8S \1£ Or6ta (2l1d edit) London, 191.3

c. Diehl, Arc.haeologtoal acursiona in Gl•oeoep tranal&11ed by Pe.rkinB, London, 1893

A. Fl.l.rtwangler," Masterpieces of Greel: ~ioulpture. transl,tated by ~allers 1 tonaon and N.Y •• 1895

G. H. Chase, Greek al

Jil:rs • .\rthur Strong, Homan Sculptu.re !l'om Allii;U!ltus to Obl:Ultantine, LOl1Uon, 1907

H.B. Walters, 'D1e Art of too F.omax

c. Diehl, tumuel d' ut Byzautin

J. A. Symond»1 'fha Renaissanee in It~ • P1i. l ~lle Age of Dea:P()ts ~. lll Tho Fiue Arts c. :i.. Horton, Clmrob Building in the Uiddl£, Ages

c. H. Uoo:re. The ?lediaGval Church Mchi tncture in Ene~ud •· J. A.ndereon, The Archi t.eoture of the Emlaissanoe in Italy

.Jl. ~eJ>aM., ~e 6ol'W..1 ~HiliiP9 e: the ~Qi.&saooe --i-n--Italy

~. liiahJilall, Gothic Arclliteature

A.. K. Porter, ~al qchitecture L1Jabard. Arohi teoture Soo.lptu.ro of ~ ?11~~ F.oade B. OrQCe A.eBthet 1.o . tr!Ulf,Jlatf1d by D ••unalie E. F. ODrtU " r,'hllt is Des~" Oxford Univerdty Presa.

OaU :1'1'0111 l!:tul.st 1er1e~u lfa~oilkere Al1iell Oriente, Is1.m, Ol:l.i%4as Ul¥lo J~. 167

Appendix 28

REPOilT OF PROGRESS IN :nN:E ARTS AT Hcl.Ui.BTE!R UNIVERBI'I'Y

For the year end1~ Apl'i l ~~ th, 193'1

It ia e:;re.t:ifyio.g to be able to report e; year of at.eady progress in the Fine. Arts Departruent at McMaster University.

I ACADJl:;!lC AC'l'IVITIES

(a) Resular Lectures: Six courses we~ given within tne r:urriculwn- Ancient AM, !o!ediaeva.l Art, Itelif.n Renaissance Art, Nortnern Reneisaance A,rt, li!OdElrn Art end. Types of Art, t:he le.llt eou.rse J.l,e:med 1Ht:I.Atl g~ ven tor lohe fi rat Ume this year. 'fhe totl!!l numilor of reaistretiolls :Ln theae courses was 217. In add 1t ion, many etud .t:~nts etliended the lectures on Varieties or Artistic Experience given primt~rily to members or the Ha~lton Art Asaooiation. (b) InteryenetreUM I.eotures: MI!JlY lectures were given in co­ operation w1. th t.b.e departm~\a of ~lish, Iiistory lUld Theology, these le

(a) In Hamilton: 'l'b.a Hw.ilton An .ABso~:htion, whose 1!1811lbership has Ne~:hed. about 500 1 he.e complettd IU1 enoourngiJl8 ;year. Ill addition to tbe regu.lar weekly lectures gtnn by the University on the general subject, Vart.etiu of Artiatie Experience, attended b;y ~ere ~ the Ae$OOh.tiOD. and by VoMasteJ," atude11te, tlu AB1t0oiat1o1:1 apon.:or&Q five ee:para1oe exh.ibit1ons. 1. Annual hh.iUtion of the work or fuurlllton nl"tista, the Trustee:. awe.J'dlng e e.-'014 medal tor th!l oeat work: in each ot tin clo.aseet l>ll.intiD8B in oil, paintings in water oolo~a.r, graphic arta, sculpture, ore.tta. .,.,, 'l'he Intemationd Exh1b1tioll or Theatre Art which Hamilton n.s pr1 v1leged l.o obtain iuol\ldee ~he 1'1 rst Interution.al Exh1b1 t1on or Stage SeU1J18s and Costv.sau. 'l'h1B exhibition V>-as errenged to -coincide with the Feat1val pf the \~ eateR Ontario Dr&m6 L~egue, ~o that 1n eddltion to Hamilton o1t1zens large numbore of vioitore trom out or town were able to view it,

/ 168

-2-

~. Japanese Col.ou.recl Prints: A oolleo-U.on o! 100 pri.atll fl"GGIIl \h.e Sbica O..Ueriea of H~nr York CU7 proYed yery popular auc resu.l'tred in enena1 ve. pur~a . l!ea o~ thlil pri:a.t.s. Proteaaor Hart sa•e r.ppropr1at.e lecture"' 1n eqnj-u~:~.ot1~ witb this eXhibitiGn.

4. C

b. Ontario Society or Arts: The Anu~l Exhibition of th1 ~ Society OOIIWB here direo.tly a!'-&er i t ·s sW:rwring in the Art Gallery of Toronto. The art lov1U8 public of ~1lton h-s begun to lOQk toward to thi& IUUlUfil fBiiture.

It is ayortant to note t:W:.t by arrAngement with Ute Hwailton Bo4l"d of Education cle.aaei!O tor achool ohUdren :t'rolll tell dU'feren1r aehools ill. the eity vii>He

Exb1~1tiOAB were also arr(~ at the U~iv~raity to oo1ncl¢e with voekl.y leotuN~a. .Special oaoo won crre.naed for tlHI Fou.ader' s Day celebntion ·alld for Gl."'ldue.tas' Day e.t tlle UD.iYEn·si ty •

(b) In Galt (population. H.OOOh Klll!!lb$rsh1p 1n this Art Association b.u 1D.¢rttfl~ rrca 2"/6 t~ 314. 'len lectu.res 'lf&J!!e ~hen n:ud two e:xhlb1\1ot~.s 1 oDe being PainUnga of ille Ontari.o Society o£ Arti&-;lii, were arnnged. Thle MI)OC1a.Uon has Gsked ror a aore eno.&iTe ~ D.&~ ~ .. '. .., '

(c) Utahener-h\erloo (poprllaUon M,OOO)a ~-l>arall.1:p bas iD.ena sed t'rtD 1~ to ooo. In a4~1~lott to l'l seri.e.a Of seven lectu.nts, IU!O wu ~tade of t.he records ot the Ca.rae~e Musie Set trail 'he lhl.i.TuatQ'~ u ooBllectt.<= wi~ wtUoh ~eekly •tw GN~ ~ ~usto Approlliatioa nr. 0J'81Ul1Z414. An l'tu

(e) Woodstock (po,PUle.t1on 1.+,0001~ The- work of tlUs AssocillHou has been urkad by 8 slia)lt 1~oree.a4t in msaber;UUp, e.D.d by eight scheduled lectures and ~wo ~lbit!ons: · Exhibition of Internation­ al P~otOirapby' the p~intin£8 of tae Ontario Society ot Arts. (e). B(lUev1Ue: Oa ,&.1le0Wlt ot the d1at.aace ot Bellev1Ue rros

Ramilt0111 U Ql!' ecmaidered wise aot to cOD.Un118 lectures tll&re th.ia year, el'thougb. the group in \hat city des ir&d to earry ••

(!) Sp"hl leeturea han bHn @!Yeo betore el,uba o! nr1o.u.s icillda iD. sever-.1 clUes and oyer redio station Ci(QC iu &ulil:ton. 169

III SPECIAL LF.C'I\JlU!:S ON .£.R'l' J!URl:OIAT!ON

(e.) Professor Jlnera.o.u H. f:>'wttt, of the Fin.. Arts Depe.rtaent. Colwu.bia Uni. vel'si. ty, apoiJ.:e an '"Cne Grwot Ch\Ll'"cll of" .l::lliigitt So -~h1a et Constantinople" to an audienue tluit fille•'i Convocation He.ll er.d

e~Uhraced IIU!lDlbars of the Uni ve:rsi ty stud•nt body 1 of the Hsira.il to.a .Art Association anu of the Ilemilton Chapter, Outo.riO A.Gsoeil!l.tiou of Archi tttcts.

(c) 'l''-O lectures on 'ill.lill!.tre Arl by l.!is$ rl~B&lynde Osbo.roa, vcell kll.olili'll Puppetur.

(e) The ImporttJ.nee of Canadiaa .A.rt :to.r C6DAdian Lil:'e 0y U:r. Fred s~ &inea. A.R.c.A.

1ohn lU;rtin, lic:Master ~38, has just be~ aWJil'ded an iJI:porit>nt g:raduah fellowship hi F1aa Arts iu the Priucet~ G-raduate School. •

Xliubflh &aith, 11\cltaahr '&:5• holds a s~boJ,.er- sh!p a.t Mel<' Yo.rk 'Oa1 nrsity • l:Uld b.e.s bean awaro.ed a eoholarsbJp by. tho b.ataute tYf International Ed\H;ation for s~y tu Europe duriug the preaeD.t SIZllllier.

Eoben .&.bbard. Melliulter •s7 • who s_p a.nt the S'Wilaer &t 19-58 tn. Pari:l on a sehQlc.rship aVial'¢ild by the Institute of Intoraatloul. Education, will oh.1» eW~J~:Mr -P4U'Uc1pate 1:a ~er eoursel! in F1ae Arts 1n llrv.esels on tbe atre~~ ot ~>- s~l,arsl:d,p Cl!larded 'by the Bel~1aa-Ua;r.icu Uucat;!.on&l l'~d•t1ou. lfr. Hubbllrd hae abo obta1a.ed a te1;J.owah1~ at ~he Uui:Yersi ty ot W.iaeons1e. for ~lle Baasion 1'339-40.

'I'lle J'iue Arts ~rtmant is now det1Jlital.y established in tllia• Uui Tersi t7 u4 1%1. this commwU. ty. Ttl.$ Uui vers1 ty w1shas &Ofl.in 't;f) at a to ita app~~ciatiaa of tho generosity or the ~egie Corioration ot ·New Yon ~~melcing thia work :possible, and aliiO to exp:re

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Vita

Name: Carrie L. Vassallo

Place of Birth: Sydney, Nova Scotia

Year of Birth: 1977

Post-secondary The University of Western Ontario Education and London, Ontario Degrees: 1995-1999 B.A.

The University ofNice Nice, France 1997-1998 (Academic Year Abroad)

The University of Western Ontario London, Ontario 1999-2001 M.A.

Honours and Province of Ontario Graduate Scholarship Awards: 1999-2000;2000-2001

Graduate Student Teaching Award, U.W.O. 1999-2000

Graduate Tuition Scholarship, U.W.O. 1999-2001

Special University Scholarship, U.W.O. 1999-2001

Related work Teaching Assistant Experience: The University of Western Ontario 1999-2001