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Samantha Burton Department of Art History and Communication Studies

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Samantha Burton Department of Art History and Communication Studies RE-MAPPING MODERNITY: THE SITES AND SIGHTS OF HELEN McNICOLL (1879-1915) Samantha Burton Department of Art History and Communication Studies McGill University, Montreal, Quebec June 2005 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts Copyright © Samantha Burton, 2005 Library and Bibliothèque et 1+1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada Your file Votre référence ISBN: 978-0-494-22588-2 Our file Notre référence ISBN: 978-0-494-22588-2 NOTICE: AVIS: The author has granted a non­ L'auteur a accordé une licence non exclusive exclusive license allowing Library permettant à la Bibliothèque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans loan, distribute and sell theses le monde, à des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, électronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in et des droits moraux qui protège cette thèse. this thesis. Neither the thesis Ni la thèse ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent être imprimés ou autrement may be printed or otherwise reproduits sans son autorisation. reproduced without the author's permission. ln compliance with the Canadian Conformément à la loi canadienne Privacy Act some supporting sur la protection de la vie privée, forms may have been removed quelques formulaires secondaires from this thesis. ont été enlevés de cette thèse. While these forms may be included Bien que ces formulaires in the document page cou nt, aient inclus dans la pagination, their removal does not represent il n'y aura aucun contenu manquant. any loss of content from the thesis. ••• Canada ii ABSTRACT Canadian artist Helen McNicoIl (1879-1915) has long been neglected in art historical scholarship. Although well-known and well-regarded during her lifetime, her work has since been marginalized as feminine and dismissed as old-fashioned. Through the lens of a modernist art historical tradition that has privileged the urban and masculine above aIl else, McNicoll' s Impressionist depictions of sunlit beaches, open fields, and rural women at work may indeed seem quaintly nostalgie. In this thesis, 1 argue that these images can and should be seen as both representations of modernity and assertions of feminist thought. McNicoll travelled throughout England and Europe, and across the Atlantic Ocean in search of artistic subject matter; viewed within the context of tourism­ -which has been theorized as a fundamentally modern activity-her images appear modern in ways that have not traditionally been recognized. RÉSUMÉ Helen McNicoll (1879-1915), une artiste canadienne, avait été abandonée par les lettrés d'histoire d'art. Malgré le fait qu'elle était bien connue et admirée pendant sa vie, ses oeuvres sont maintenant marginalisées et banalisées à cause de leurs sujets féminins et ruraux. Vu que l'histoire d'art de l'époque moderne privilège les sujets masculins et urbains, les oeuvres Impressionistes de McNicoll, qui représentent souvent les plages, les champs, et les femmes aux travail dans la campagne, se ressemblent démodées. Dans ce thèse, je propose que ces images puissent et devraient être comprises comme modernes et féministes. McNicoll a voyagé à travers l'Angleterre et l'Europe à la recherche des sujets artistiques; nous devrons interpréter ses oeuvres dans ce contexte de tourisme, une . activité essentiellement moderne. iii ACKNOWLEDGMENTS This thesis could not have been written without the help and support of many people. 1 would like to acknowledge Professor Brian Foss, Professor Kristina Huneault, and my classmates at McGill University for their feedback during the initial stages of this project. The library staff at McGill, and particularly members of the Interlibrary Loan department, deserve credit for their friendly and helpful service. Thanks are also due to Barb Duff at the Robert McLaughlin Gallery in Oshawa, Ontario, for making Helen McNicoll's letters available to me. The faculty and staff of the Art History and Communication Studies department at McGill also deserve many thanks. My supervisor Professor Charmaine Nelson has followed this thesis from start to finish, and 1 am extremely grateful for her dedication to and beHef in this project. Her support, encouragement, and advice have been remarkable. My sincere thanks also go out to my parents, Joan and Bob Burton, and brother Nicholas, who have been unfailingly supportive every step of the way. 1 could not have done it without them. Finally, my love and thanks to Jake Walsh Morrissey, who has patiently read every word of this thesis several times, and who has provided a constant source of encouragement. IV TABLE OF CONTENTS Abbreviations ... V List of Illustrations ... vi Introduction ... 1 Chapter 1: Sites of Production: Helen McNicoll and the Rural Artist Colony .,. 18 Chapter 2: Sightseeing: Landscape and Tourism in the Work of Helen McNicoll ... 41 Chapter 3: 'A Spectacle of Difference:' Representing the Rural Working Woman ... 66 Conclusion ... 92 Appendix ... 99 Bibliography ... 101 Illustrations ... 110 v ABBREVIATIONS AAM .Art Association of Montreal (Montreal, QC) AGO Art Gallery of Ontario (foronto, ON) AGT Art Gallery of Toronto (foronto, ON) RA Royal Academy (London, England) RBA Royal Society of British Artists (London, England) RCA Royal Canadian Academy (Ottawa, ON) SIAC St. Ives Arts Club (St. Ives, Cornwall, England) VI LIST OF ILLUSTRATIONS (Map 1) Artists' Colonies in Europe. In: Lübbren, Nina. Rural Artists' Colonies, 1870- 1910. New Brunswick, NJ: Routledge, 2001. xv. (Map 2) Artists' Colonies in Europe and the United States. In: Jacobs, Michael. The Good and Simple Life: Artist Colonies in Europe and America. Oxford: Phaidon, 1985.6. *** (Fig. 1) Helen McNicoll, The Open Door, c. 1913. ail on canvas, 76.2 x 63.5 cm. Private collection, Toronto. In: Luckyj, Natalie. Helen McNicol/: A Canadian Impressionist. Toronto: AGa, 1999. 69. ' (Fig. 2) Helen McNicoll, Under the Shadow of the Tent, 1914. ail on canvas, 83.5 x 101.2 cm. Montreal Museum of Fine Arts, Montreal. In: Luckyj, Natalie. Helen McNicoll: A Canadian Impressionist. Toronto: AGO, 1999.71. (Fig. 3) Photograph of Helen McNicol/ in her studio, St. Ives, Cornwall, c. 1906. In: Murray, Joan. Helen McNicoll, 1879-1915: Oil Paintingsfrom the Estate. Toronto: Morris Gallery, 1974. (Fig. 4) Dorothea Sharp, On the Beach, 1914. ail on board, 35.5 x 44.5 cm. David Messum, London. In: Duval, Paul. Canadian Impressionism. Toronto and London: McClelland and Stewart, 1990. 10. (Fig. 5) Albrecht Dürer, Artist and Model: Demonstration of Perspective, 1527. From Dürer's Treatise on Measurement, 2nd edition, 1538. Woodcut. In: Broude, Norma. Impressionism: A Feminist Reading; The Gendering ofArt, Science, and Nature in the Nineteenth Century. New York: Rizzoli, 1991. 148. (Fig. 6) Thomas Gainsborough, Mr. and Mrs. Andrews, c. 1748. ail on canvas, 119 x 69 cm. National Gallery, London. In: Rosenthal, Michael. The Art of Thomas Gainsborough: ua little business for the Eye." New Haven and London: Yale University Press, 1999. 18. (Fig. 7) Helen McNicoIl, Gathering Flowers, c. 1912. Oil on canvas, 76.2 x 63.5 cm. Private collection, Toronto. In: Luckyj, Natalie. Helen McNicoll: A Canadian Impressionist. Toronto: AGa, 1999.58. (Fig. 8) Helen McNicoll, Picking Flowers, c. 1912. ail on canvas, 94 x 78.8 cm. AGa, Toronto. In: Luckyj, Natalie. Helen McNicol/: A Canadian Impressionist. Toronto: AGa, 1999.59. vii (Fig. 9) Helen McNicoll, Reaping Time, c. 1909. Oil on canvas, 63 x 76.8 cm. Private collection, Vancouver. In: Luckyj, Natalie. Helen McNicoll: A Canadian Impressionist. Toronto: AGa, 1999.43. (Fig. 10) Helen McNicoll, Tea Time, c. 1911. ail on canvas, 63 x 52 cm. Private collection, Toronto. In: Luckyj, Natalie. Helen McNicoll: A Canadian Impressionist. Toronto: AGa, 1999.31. (Fig. 11) Helen McNicoll, A Retreat, c. 1911. Oil on canvas, 46 x 41 cm. Private collection, Toronto. In: Luckyj, Natalie. Helen McNicoll: A Canadian Impressionist. Toronto: AGO, 1999.32. (Fig. 12) Helen McNicoll, Sunny Days, c. 1910. Oil on canvas, 64.2 x 77 cm. Private collection, Vancouver. In: Luckyj, Natalie. Helen McNicoll: A Canadian /mpressionist. Toronto: AGO, 1999.30. (Fig. 13) Helen McNicoll, On the Beach, c. 1912. Oil on canvas, 63.5 x 76.2 cm. Private collection. In: Duval, Paul. Canadian /mpressionism. Toronto and London: McClelland and Stewart, 1990.95. (Fig. 14) Helen McNicoll, On the Cliffs, c. 1913. Oil on canvas, 50.9 x 61 cm. Private collection, Toronto. In: Huneault, Kristina. "Impressions of Difference: The Painted Canvases of Helen McNicoll." Art History 27, no. 2 (April 2004): 229. (Fig. 15) Helen McNicoll, Sunny September, 1913. Oil on canvas, 92 x 107.5 cm. Private collection, Fonthill. In: Huneault, Kristina. "Impressions of Difference: The Painted Canvases of Helen McNicoll." Art History 27, no. 2 (April 2004): 215. (Fig. 16) Claude Monet, Cliffs at Varengville, 1882. Oil on canvas, 65 x 81cm. Lefevre Gallery, London. In: Herbert, Robert L. Monet on the Normandy Coast: Tourism and Painting, 1867-1886. New Haven and London: Yale University Press, 1994.53. (Fig. 17) Laura Knight, Two Girls on a Cliff, c. 1917. Oil on canvas, 60 x 72.5 cm. Sotheby's. In: Fox, Caroline. Dame Laura Knight. Oxford: Phaidon, 1988.31. (Fig. 18) Marianne Preindlsberger-Stokes, The Passing Train, c. 1890. Oil on canvas, 61 x 76.2 cm.
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