Homer Watson: Life & Work by Brian Foss

HOMER WATSON
Life & Work by Brian Foss
1
HOMER WATSON
Contents
03
Biography
25
Key Works
49
Significance & Critical Issues
59
Style & Technique
70
Where to See
81
Notes
88
Glossary
103
Sources & Resources
108
About the Author
109
Copyright & Credits
2
HOMER WATSON
Homer Ransford Watson (1855–1936) has been characterized as

someone who, in the nineteenth century, first portrayed the
surrounding landscape as specifically Canadian, rather than as a
pastiche of European influences. Although Watson had almost no
formal training, by his mid-twenties he was well known and admired by
Canadian collectors and critics, his rural landscape paintings making
him one of the central figures in Canadian art from the 1880s until the
First World War. His art documents the centrality of the pioneer legacy
to Ontario’s sense of historical identity and crucially emphasizes the
importance of environmentalist approaches to the landscape.
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HOMER WATSON
EARLY YEARS AND ARTISTIC BEGINNINGS

Watson was born on January 14,
1855, in Doon, today a suburb of
Kitchener but then a separate
village on the Grand River in
southern Ontario’s Waterloo
County. Doon had been founded
just twenty-one years before his
birth and when he was in his mid-
teens had a population of about
150. 1 The second of five children
of Ransford and Susan Mohr
Watson, Homer was related
through his mother to the
Mennonite German settlers who
had arrived in the area in the early
nineteenth century. His paternal
grandfather had emigrated from
Homer Watson’s birthplace, built c.1844 by his grandfather James Watson, one of the
New York State soon thereafter.
first settlers in the area. Photograph taken in 1866, photographer unknown.
Throughout his life Watson
remained conscious of being a
descendant of pioneers. 2
When Watson’s father died in 1861, he left a widow and four (soon to be five)
young children, including six-year-old Homer. A short-lived attempt by an
uncle to maintain the family sawmill and woollen mill came to naught, and the
household was forced to rely largely on Susan Watson’s work as a seamstress.
In 1867 Homer’s older brother, Jude, was killed while working at a local
brickyard—an accident that twelve-year-old Homer witnessed. It is usually
thought that Watson abandoned his formal education around this time,
although this is not certain. 3 Taken together, the deaths of Ransford in 1861
and of Jude in 1867 were crucial to Homer’s transition into an early maturity.
Watson’s interest in drawing was supported by gifts from family members: a set
of watercolours when he was eleven years old, and his first oil paints four years
later. In addition, William Biggs, a schoolteacher in the neighbouring village of
Breslau, was an amateur watercolourist who, according to the artist’s first
biographer, “gave Watson what assistance he could.”4 Otherwise, Watson’s
most formative childhood lessons consisted of emulating the etching and
woodcut illustrations in the books and journals in his family’s library. These
included periodicals such as Penny Magazine (London) and probably The
Aldine (New York) as well as at least one book illustrated by the nineteenth-
century artist Gustave Doré (1832–1883).
4
HOMER WATSON
LEFT: Homer Watson, Quilp and Sampson Brass in the Old Curiosity Shop, late 1860s to early 1870s, pen and black ink, dry brush, and
graphite on wove paper, 27.3 x 20.3 cm, National Gallery of Canada, Ottawa. RIGHT: Homer Watson, The Swollen Creek, c.1870, oil on
canvas, 82.5 x 70 cm, Homer Watson House & Gallery, Kitchener.
Watson’s earliest competent work included drawings based on novels and

poetry by Charles Dickens (Quilp and Sampson Brass in the Old Curiosity Shop,
late 1860s to early 1870s), Lord Byron, and others, along with a few portraits
and figure paintings such as The Swollen Creek, c.1870. By the end of his
teens, however, he had all but abandoned these subjects. Watson had already
begun to successfully submit art for display at local fairs before he visited
Toronto for the first time in 1872. There he met and was encouraged by the
landscape painter Thomas Mower Martin (1838–1934). Two years later he
received an advance on his inheritance and used it to return to Toronto for
several months, copying paintings at the city’s Normal School (an institution
that trained high school graduates to be teachers) and occupying workspace
at the Notman-Fraser photographic studio. There he appears to have attracted
the interest of Lucius O’Brien (1832–1899), vice-president of the recently
formed Ontario Society of Artists and one of Canada’s pre-eminent
landscape painters.
NEW YORK TRAVEL AND EARLY FAME

Emboldened, Watson travelled in New York State from 1875 (possibly 1876)
until late in 1877. Almost nothing is known about his time there, except that he
worked in the Adirondack Mountains and along the Susquehanna, Mohawk,
and Hudson rivers (see, for example, Susquehanna Valley, c.1877), and that he
received limited instruction from an unnamed painter. Various sources have
identified that painter as George Inness (1825–1894), one of the most
ambitious, influential, and successful American landscape artists of the second
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HOMER WATSON
half of the nineteenth century, although in later life Watson stated that they
had not in fact met. 5 However, Watson’s resulting work suggests that he likely
saw canvases by Inness and by the Hudson River School artists, especially as his
itinerary covered territory that was closely associated with the latter group.
LEFT: George Inness, An Adirondack Pastorale, 1869, oil on canvas, 66 x 91.4 cm, Albany Institute of History and Art. Like Homer
Watson, George Inness was influenced by the rich landscapes of the Hudson River School. RIGHT: Homer Watson, Susquehanna Valley,
c.1877, oil on canvas, 22.4 x 32.5 cm, Art Gallery of Ontario, Toronto.
The lush richness of Inness and of the Hudson River School is recalled in
Watson’s penchant for vivid atmospheric effects as well as in his predilection
for the visceral experience of being immersed in the landscape. On the
Mohawk River, 1878, for example, achieves these ends by incorporating a
palpable atmosphere and by employing an evocative composition that moves
from a relatively dark, detailed foreground to the refreshing airiness of a
distant mountain cliff. His American sojourn clearly helped Watson develop his
abilities as a landscape painter, but he longed for the southern Ontario scenery
in which he had grown up and which was to remain a touchstone for his art
throughout his career. After many months in New York, he returned to his
beloved Doon to paint “with faith, ignorance and delight.”6
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HOMER WATSON
Homer Watson, On the Mohawk River, 1878, oil on canvas, 64.8 x 86.4 cm, Art Gallery of Ontario, Toronto.
Watson quickly began to build a reputation. He was elected an associate

draftsman/designer member of the Ontario Society of Artists (OSA) in April
1878 and first exhibited with the society the following month. The Toronto
Evening Telegram praised his paintings for “the naturalness of the details, the
careful finish, and the softness of the harmony of the colours.”7 Watson
changed his OSA membership status from draftsman/designer to painter soon
thereafter, and contributed to the society’s December 1878 and May 1879
exhibitions. Press reaction to the newcomer was again favourable, with the
Toronto Globe remarking that he was “very rapidly coming to the front in the
estimation both of the public and his fellow-artists.”8 It was an auspicious
beginning, especially as some of the exhibited paintings were more than a
square metre in size: impressively large for an untrained novice.
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HOMER WATSON
Striking though Watson’s first

appearances at the OSA were, a
pivotal moment of his early career
came in Ottawa in 1880 at the
inaugural exhibition of the
Canadian Academy of Arts (soon
renamed the Royal Canadian
Academy of Arts, or RCA).
Watson’s entry, The Pioneer Mill,
1880, was purchased for $300 by
the Marquis of Lorne, Canada’s
governor general, as a gift for
Lorne’s mother-in-law, Queen
Victoria. The purchase made
Watson’s reputation, facilitating his LEFT: Notman & Sandham Studio, Sir John Douglas Sutherland Campbell, Marquis of
Lorne, 1879, McCord Museum, Montreal. RIGHT: Homer Watson, c.1880, photographer
election to associate membership unknown, Queen’s University Archives, Kingston. One of the earliest known photographs
in the academy in 1880 and of Watson.
promotion to full academician in

April 1882. Just two months after Lorne’s purchase, the Ontario government
acquired Watson’s On the Susquehanna, date and location now unknown. The
artist’s career had been solidly launched.
The founding of the Canadian Academy in 1880, and the tremendous impact
that the governor general’s acquisition of The Pioneer Mill had in kick-starting
Watson’s career, testified to the deeply British nature of cultural life in Canada,
especially English Canada, in the decades prior to the First World War. What
little art training existed (through the academy, the Ontario Society of Artists,
and the Art Association of Montreal) mirrored traditional European academic
techniques, just as the structure and goals of the Canadian Academy largely
paralleled those of Britain’s Royal Academy of Arts. The late nineteenth century
saw some emerging debate about distinctively Canadian themes in art, but the
cultural infrastructures that developed alongside the country’s growing
economy tended overwhelmingly to be grounded in conservative European
prototypes—hence the great importance for Watson’s career of the governor
general’s purchase of The Pioneer Mill from the 1880 Canadian Academy
exhibition.
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HOMER WATSON
LEFT: Homer Watson, Roxanna Bechtel Watson, probably 1880s, graphite and watercolour on wove paper, 20 x 17.1 cm, sketchbook
page 7875.90, National Gallery of Canada, Ottawa. RIGHT: Roxanna “Roxa” Watson with Mary Watson and Rex the dog, Doon, 1917,
photographer unknown, Homer Watson House & Gallery, Kitchener.
On a practical level, Watson—buoyed artistically, financially, and socially by

Lorne’s largesse—was able to marry his long-time fiancée, Roxanna (“Roxa” or
“Roxy”) Bechtel, on January 1, 1881. Their only child, a son, died at birth in
1882, but twenty-five years later, in 1907, they adopted an orphan named
Mary. The young couple lived with Watson’s mother and his sister, Phoebe, for
a few months before moving into the upper part of a house built by Adam
Ferrie, one of the most important—and the most economically successful—of
Doon’s founders. Watson was able to buy the entire house the following year
and, except for occasional trips abroad, would live there for the rest of his long
life. (The building later became the home of the Doon School of Fine Arts,
1948–66, and exists today as a museum: Homer Watson House & Gallery.) The
funds for the purchase came from two more sales to the Marquis of Lorne:
large landscapes from the RCA’s second (1881) exhibition. Lorne gifted one
painting, The Last of the Drouth (The Last Day of the Drought), 1881, again to
Queen Victoria, and retained the other, April Day, c.1881, for himself. Watson
remained friendly with Lorne for years to come. The publicity he gained from
this vice-regal patronage remained a cornerstone of his reputation throughout
his career.
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HOMER WATSON
Homer Watson, The Last of the Drouth (The Last Day of the Drought), 1881, oil on canvas, 92.1 x 138.5 cm, Royal Collection Trust,
Windsor Castle, Berkshire.
OSCAR WILDE AND “THE CANADIAN CONSTABLE”

Another public figure made a major impact on Homer Watson’s career:
Oscar Wilde (1854–1900). In early 1882, the twenty-seven-year-old Wilde
(he had been born three months before Watson) undertook what
developed into a year-long lecture tour of the United States and Canada.
He addressed audiences on the subjects of Aestheticism and the
importance of beauty in daily life. Wilde had yet to establish a reputation
as an author, and his mannerisms and exotic clothing provoked ridicule,
but the tour was a commercial success. By the time he arrived in Toronto
in the spring of 1885 he was a celebrity.
Wilde did more than lecture; he also promoted North American artists
and writers in whom he became interested during his tour. 9 On May 25,
while viewing the Ontario Society of Artists annual exhibition, he was
struck by Watson’s painting Flitting Shadows, c.1881–82. (No description
of Flitting Shadows survives, but it may have corresponded to On the
River at Doon, 1885, in theme, atmosphere, and mood.) Drawing parallels
with European landscape artists, Wilde—speaking to newspaper reporters
while he stood in front of the painting—described Watson as “the
Napoleon Sarony, Oscar Wilde, 1882,
Canadian Constable,” referring to the English painter John Constable
albumen panel card, 30.5 x 18.4 cm,
(1776–1837), with whose work Watson’s does have similarities. Wilde National Portrait Gallery, London.
repeated his praise during a lecture at Toronto’s Grand Opera House that
evening. For the rest of his career Watson would bear the Constable epithet,
10
HOMER WATSON
along with the subsequent Wilde quip that he was “Barbizon without ever
having seen Barbizon,” referring to the French artists who had worked in and
around the village of that name. Constable and the Barbizon painters were
highly popular with North American and European audiences, and Wilde’s
comments gave Watson’s career another boost. The two men did not meet in
person until Watson’s first sojourn in Britain a few years later. In the meantime,
however, spurred by his admiration of Flitting Shadows, Wilde commissioned
Watson to make paintings for himself and for two American acquaintances. 10
In later life Watson often resented Wilde’s comparisons because—as he

frequently insisted—it was not until his first trip to Europe, at the end of the
1880s, that he actually saw paintings by Constable and the Barbizon artists.
There was, however, justice in Wilde’s remarks. In fact, even before his visit to
the OSA exhibition, the Toronto Mail had described Flitting Shadows as
recalling Constable’s landscapes. 11
Homer Watson, On the River at Doon, 1885, oil on canvas, 61 x 91.6 cm, National Gallery of Canada, Ottawa.
11
HOMER WATSON
EUROPE, 1887–90
In 1886 five Watson paintings were
included in the massive Colonial
and Indian Exhibition in London,
which showcased a vast array of
objects from across the British
Empire. The exhibition included a
Watson loaned by the Marquis of
Lorne, River Torrent, early 1880s,
and A Coming Storm in the
Adirondacks, 1879, owned by the
Montreal banker George Hague.
Watson won a bronze medal in this
display, which marked his first
inclusion in an exhibition outside
Canada. That recognition may well
have precipitated his decision to
travel to Britain in the summer of
Canadian section at the Colonial and Indian Exhibition, London, 1886. Image published in
1887. The Illustrated London News (May 1886).
Watson and Roxa originally intended to remain there for about a year;
however, they delayed their return to give Watson time to solidify a European
reputation. The Toronto art dealer John Payne urged him not to return to
Canada until he was known abroad because, Payne logically argued, North
American buyers were interested only in artists who had reputations in
Europe. 12 The Watsons followed Payne’s advice and stayed in Britain for three
years, until the summer of 1890, although their first months there were
discouraging. “I do not know whether it did me any good,” Watson wrote later.
“But I had a feast of study into the old masters which knocked me out as it were
. . . and showed me I did not know anything. While the feeling lasted I could
not do any good work.”13
Watson’s frustration was exacerbated by the difficulty of gaining a toehold in

British galleries and exhibitions. In search of success, he and Roxa settled with
relatives in Maidenhead. From there they moved to London, which, although
Roxa admitted that her husband “got a certain amount of good out of it,” she
found to be an “abominable” city: “so very dirty and foggy that [Homer] got
some of it into his work.”14 Beginning in the autumn of 1889, in attempts to
achieve a balance between affordability, the familiarity of rural life (always
important to Watson), and access to art and exhibitions, the couple travelled to
Scotland, setting up residence on the southeast coast in the village of
Pittenweem. In Scotland they became friendly with painter James Kerr-Lawson
(1862–1939), whom they had first met in Canada, and Caterina Muir (1860–
1952), whose family was friendly with Kerr-Lawson. The Watsons also took
advantage of their time in the U.K. to make two short trips to Paris.
12
HOMER WATSON
LEFT: Homer Watson, Landscape, Scotland, 1888, oil on canvas, 86.5 x 122.3 cm, National Gallery of Canada, Ottawa. RIGHT: George
Clausen, Winter Work, 1883–84, oil on canvas, 77.5 x 92.1 cm, Tate, London.
After a shaky beginning in Britain, Watson’s prospects began to improve. He

finally met Wilde in person and, more important, became friendly with a
number of artists, including James McNeill Whistler (1834–1903), E.J. Gregory
(1850–1909), and George Clausen (1852–1944). Four decades later, when
asked by the National Gallery of Canada in Ottawa to describe his training,
Watson answered that he was “[s]elf taught but for some months was
associated with Clausen & Gregory in England.”15 Clausen, whose art and
personality Watson admired, was a highly regarded portrayer of rural life and
landscapes (as in Winter Work, 1883–84).
Clausen was also sufficiently

impressed by Watson’s black and
white drawings that he convinced
him to try translating his
draftsmanship into etching. The
results were prints of The Pioneer
Mill, 1880, and five smaller
landscapes, the only etchings
Watson ever made. The Pioneer
Mill etching as printed by Watson
exists in three states (versions),
with the third apparently produced
in an edition of fifty. Even with that
small total, however, sales in
Toronto were disappointing, nor is
there any record of copies having Homer Watson, Landscape, 1889, etching in brown on heavy buff wove paper, 19 x 17.7
cm, plate: 9.8 x 15.1 cm, National Gallery of Canada, Ottawa.
been sent to Montreal or
elsewhere for sale. The reasons for
this failure were multiple, and included the competitive availability of
cheap prints imported from abroad, John Payne’s inexperience as a print
dealer, and a general lack of Canadian interest in supporting the international
etching revival. 16
13
HOMER WATSON
Watson’s career breakthrough in Britain finally came in the spring of 1889, the
year before he printed The Pioneer Mill. In that year he had work admitted to
two important annual summer shows. In March The Mill in the Ravine, 1889,17
was accepted at the recently established and decidedly upscale New Gallery in
London. Roxa, with democratic disdain, described the New Gallery as having a
clientele of “Lords, Dukes, Duchesses, Countesses and all the other swells that
this country is rotten with.”18 The Mill in the Ravine (location unknown, but
with similarities to the surviving A Hillside Gorge, 1889) was bought on the
private view day by Alexander Young, a leading collector of Barbizon
painting. 19 So began Watson’s ongoing relationship with the New Gallery,
where he exhibited again in 1890, 1895, 1897, and 1901.
Meanwhile, in the spring of 1889, Watson’s The Village by the Sea, 1887–89,
was approved by the jury for the Royal Academy of Arts summer exhibition in
London. Roxa had been doubtful. “There are generally about seven thousand
pictures sent in,” she wrote to her husband’s sister and mother, “and only
about two thousand hung.” She also underestimated her husband’s chances
because she feared that his efforts to incorporate new elements into his work
had “carried the gray business to extremes as you know he is likely to do when
he gets a new idea.”20 The painting was not only accepted for exhibition but
given a good position in the dense floor-to-ceiling hanging. 21
Homer Watson, A Hillside Gorge, 1889, oil on canvas, 45.5 x 61 cm, National Gallery of Canada, Ottawa.
14
HOMER WATSON
By 1890, homesick for more familiar landscapes, Watson was ready to return to
Doon. “The whole of the old world is permeated with [art],” he wrote. “There is
no possibility scarcely of doing anything new. . . . I have come to the
conclusion that I would sooner paint at home.”22
MARKET SUCCESS
It is impossible to confirm
biographers’ claims about the
number and dates of Watson’s
exhibitions during his seven trips
to Britain in 1887–90, 1891, 1897,
1898–99, 1901, 1902, and 1912.
However, sufficient information
survives to verify his involvement
in events organized by the New
English Art Club (his entrée there
seems to have been thanks to
Oscar Wilde),23 the Royal Glasgow
Institute of the Fine Arts, the Royal
Society of British Artists, the Royal
Institute of Oil Painters, the
International Society of Sculptors,
Painters and Gravers, and
miscellaneous other groups and Homer Watson, Sunlit Village, 1884, oil on canvas, 26.7 x 34.3 cm, private collection.
events in London, Glasgow,
Edinburgh, Bristol, Liverpool, and elsewhere. Thanks to the intercession of the
Marquis of Lorne, Watson also
had work seen at the prestigious Goupil Gallery in London in 1888, a
relationship that continued into the twentieth century. 24 He moreover held a
solo showing of thirty paintings at London’s Dowdeswell Gallery in 1899,
organized, it appears, at the behest of the British critic David Croal Thomson
and of the Montrealer James Ross, Watson’s most supportive Canadian patron.
Finally, by 1901 Watson had arranged for E.J. van Wisselingh of the Dutch
Gallery to handle his work in London, although it is unclear how long that
relationship lasted.
The fit between these two men was a natural one. Van Wisselingh specialized
in Barbizon art as well as in the Hague School painters, whose art was indebted
to that of their Barbizon counterparts. Watson esteemed van Wisselingh
precisely because “[h]e is of the order that will not have about him anything he
is not in sympathy with [and] so he is far removed from being a mere trader.”25
It may well have been through van Wisselingh, who shared his London business
with Daniel Cottier, that Watson struck a professional relationship with Cottier’s
New York gallery, where he had shows in 1899 and 1906.
15
HOMER WATSON
Also in the late nineteenth and early twentieth centuries, Watson participated
in the Canadian sections of such extravaganzas as the World’s Columbian
Exposition (Chicago, 1893), the Pan-American Exposition (Buffalo, 1901), the
Glasgow International Exposition (1901), and the Louisiana Purchase
Exposition (St. Louis, 1904), winning a bronze medal in St. Louis, a silver in
Buffalo, and a gold in Chicago.
But Watson’s career was above all in Canada. The principal subjects of his art
never ceased to be the landscapes in and around Doon, although he
occasionally painted in Nova Scotia (he had first done so in 1882, as his patron
James Ross had a property and considerable investments on Cape Breton
Island), on Île d’Orléans in Quebec (Down in the Laurentides, 1882; Sunlit
Village, 1884) with Horatio Walker (1858–1938), as well as elsewhere in Canada
and the United States. In 1893 he built a painting studio extension onto his
house, and in 1906 added a gallery to which for the next thirty years he
welcomed potential buyers.
Homer Watson, Down in the Laurentides, 1882, oil on canvas, 65.8 x 107 cm, National Gallery of Canada, Ottawa.
Watson, a committed environmentalist, was the key organizer and president of

the Waterloo County Grand River Park Limited, which saved Cressman’s Woods
(today, Homer Watson Park) near the artist’s home. His environmental interests
paralleled his certainty that artists who lacked a sense of living connection to
the landscapes around them risked falling back on impersonal formulas. He
explored this belief in a series of half-autobiographical and half-fictional drafts
for manuscripts that elucidated his philosophy of landscape painting but that
went unpublished until well after his death.
16
HOMER WATSON
Watson’s conviction about the

importance of strong relationships
between artists and landscape also
coalesced with the Barbizon and
Hague School sympathies of his
main audience. In Montreal,
beginning in the 1880s, Charles
Porteous, an important collector,
patron, and promoter, relied on
those sympathies when he
organized displays of Watson’s art.
As a result, Montreal—home to
millionaires such as businessman
James Ross, banker and financier LEFT: Homer Watson picnicking in Cressman’s Woods (now Homer Watson Park,
Kitchener), 1934, photographer unknown, Homer Watson House & Gallery, Kitchener.
R.B. Angus (who acquired, among RIGHT: Homer Watson with Rex the dog in Cressman’s Woods, 1925, photographer
other things, Flitting Shadows, unknown, Homer Watson House & Gallery, Kitchener.
c.1881–82, the painting so
admired by Oscar Wilde), railway magnates Donald Smith (Lord Strathcona)
and William Van Horne, and businessman and future senator George
Drummond—was Watson’s most lucrative market. When the influential Art
Journal (London) published a four-page article on Watson in 1899, five of the
seven reproductions were of paintings owned by Montreal collectors. 26
Elsewhere, the market tended to be less wealthy. While Watson was in Europe
from 1887 to 1890 his Toronto affairs were handled by two dealers, James
Spooner and (more satisfactorily) John Payne, with Payne paying Watson a
monthly allowance of fifty dollars, beginning in May 1888. The Watsons badly
needed that money. However, both Spooner and Payne frequently lamented
their Toronto business difficulties. “Nothing doing in art matters,” moaned
Spooner to Watson in 1885,27 and three years later Payne informed the artist
that “the people here are not buying, and do not appreciate anything that is
not cheap.”28 Payne in particular was able to sell to such prominent
Torontonians as the businessman Edmund (E.B.) Osler, but more often he
spent his time advising Watson to paint smaller, less expensive landscapes, and
recommended changes in colour, composition, detail, and theme to make the
paintings more saleable. Like other artists, Watson saw his success hampered
by Canada’s—and especially Toronto’s—paucity of collectors, a reality
repeatedly bemoaned by John Payne. Moreover, the Art Museum of Toronto
(today the Art Gallery of Ontario) was not founded until 1900, and for many
years after that date relied heavily on donations of artworks. Similarly, although
the Art Association of Montreal (today the Montreal Museum of Fine Arts)
acquired Watson’s impressive early canvas A Coming Storm in the Adirondacks,
1879, in 1887, it was as a gift rather than a purchase.
17
HOMER WATSON
Homer Watson, A Coming Storm in the Adirondacks, 1879, oil on canvas, 85.7 x 118.3 cm, Montreal Museum of Fine Arts.
ELDER STATESMAN
In 1907 Watson agreed to become the first president of the Canadian Art Club
(CAC), a private exhibiting society founded in that year and dedicated to
promoting contemporary Canadian art. Although not temperamentally
inclined toward administration, Watson shared the other members’ annoyance
that too many Canadian collectors of recent European painting and sculpture
were unwilling to invest in Canadian art and artists. In March 1907, for
example, he complained to another CAC member, Edmund Morris (1871–
1913), that Frank Heaton, the owner of Montreal’s important W. Scott & Sons
gallery, had “[h]is [money] in Dutch stuff and he will not look at our things. . . .
We must show that our things are so much better than most of it that people
will tire of being gulled.”29 Watson was referring to paintings such as The
Cowherd, c.1879, by Anton Mauve (1838–1888). Mauve’s subject matter and
quiet tonality were typical of the extremely popular work of the Hague
School artists.
18
HOMER WATSON
Watson remained the club’s

president until 1913 and
participated generously in all nine
of its exhibitions. In 1907 he—like
the other founding members of
the CAC—had resigned from the
Ontario Society of Artists (OSA), an
organization the club saw as
mounting uninspired annual
exhibitions from which the Ontario
government purchased work for
the provincial art collection. Upon
the dissolution of the CAC in 1915,
however, Watson was delighted to Anton Mauve, The Cowherd, c.1879, oil on canvas, 22.9 x 38.1 cm, Montreal Museum of
learn that his OSA membership Fine Arts.
had been reinstated by a

unanimous vote. “The club we formed did its work according to its lights, and
died a natural death having done this,” he wrote to the OSA’s president. “In the
meantime the Society has gone ahead with strength[,] giving way to
progressive ideas as these came forward, the product of an earnest striving for
larger ways of looking at and studying the truth of nature.”30
In 1918 Watson was elected president of the Royal Canadian Academy of Arts
(RCA), where he replaced the ailing William Brymner (1855–1925). He had
served as the RCA’s vice-president since November 1914, and occupied the
presidency until his growing deafness drove him to resign from the job in
1922. His tenure coincided with escalating tension between several of the
more conservative members of the RCA and Eric Brown (1877–1939), director
of the National Gallery of Canada. To the anger of several academicians and
associate members, Brown actively supported modernist artists in general and,
in particular, the members of what in 1920 became the Group of Seven: artists
toward whose work Watson was usually ambivalent.
Things exploded soon after

Watson left office. The National
Gallery assumed responsibility for
selecting jury members for the
Canadian section of the 1924
British Empire Exhibition at
Wembley Park in London. In the
past the task of organizing
international exhibitions of
Canadian art had fallen to the RCA,
LEFT: The Canadian Art section at the British Empire Exhibition, Wembley Park, London,
and the academy was furious England, 1924, photographer unknown, National Gallery of Canada, Library and Archives,
about the change. In 1923 its Ottawa. RIGHT: Members of the Canadian Art Club, c.1907, photographer unknown,
Edward P. Taylor Library & Archives, Art Gallery of Ontario, Toronto. From left: James
executive and many of its other Wilson Morrice, Edmund Morris, Homer Watson, Newton MacTavish, Curtis Williamson.
members decided to boycott the
1924 exhibition. The decision was announced in a letter published in
newspapers, above the signatures of thirty-one members, including recently
19
HOMER WATSON
retired president Homer Watson. 31 He insisted, however, that he had not

signed. Watson was included in the 1924 Wembley display and its successor
the following year, showing Nut Gatherers in the Forest, 1900, in 1924 and
Flamboro Woodland (date and location unknown) in 1925. He noted that
although he felt that the artists most favoured by the National Gallery’s jury
tended to have only “tolerant contempt” for their usually less modernist elders,
he doubted that the grievance expressed in the letter would stand up to
investigation. 32
The 1924 Wembley exhibition would become a defining event in Canadian art
history, with British critics reserving most of their praise for the work of the
modernists: Tom Thomson (1877–1917) and members of the Group of Seven,
and Montreal artists such as Randolph Hewton (1888–1960), Mabel May (1877–
1971), Kathleen Morris (1893–1986), and other members of the Beaver Hall
Group. Watson recognized the exhibition’s importance: “At any time now we of
the old guard can drop out and never [be] missed,” he lamented in a letter to
Eric Brown. 33 By the mid-1920s the RCA was dominated by senior artists who
continued to work in outdated nineteenth-century aesthetics and who
spluttered with rage at what they took to be the incompetence of younger,
avowedly modernist artists. From 1926 to 1932 the RCA and the National
Gallery descended into ever more acrimonious bickering that threw the
academy into a weakened position. It never recovered its former status as an
exponent of progressive art in Canada.
LEFT: Homer Watson, Nut Gatherers in the Forest, 1900, oil on canvas, 121.9 x 86.5 cm, National Gallery of Canada, Ottawa. RIGHT:
Randolph Hewton, Baie-Saint-Paul, c.1927, oil on canvas, 43.5 x 48.5 cm, Agnes Etherington Art Centre, Kingston.
This must have been deeply saddening for Watson. Even so, he had
accomplished good work as president, implementing a new constitution and
putting the RCA on more stable financial footing after cutbacks during the First
World War. As an artist, too, he remained active and admired, albeit by a
smaller audience than he had enjoyed prior to the war. Just four years before
20
HOMER WATSON
the 1924 Wembley exhibition, where British critics lauded Canadian

modernists as the future of Canadian art, The Jenkins Art Gallery in Toronto
held a hearteningly successful show and sale of Watson’s work, paintings from
the previous approximately thirteen years that, until then, Watson had reserved
in his private Doon gallery. During that time he had moved from landscapes
characterized by dark, chromatically restricted hues to views in which lighter
but often puzzling reddish tonalities were increasingly present. Some one
hundred paintings were shown at The Jenkins Art Gallery, and half of them
found purchasers.
LAST YEARS AND TRAVEL WEST

Watson’s election to the Royal Canadian Academy of Arts (RCA) presidency at
the beginning of April 1918 had been a flattering testament to his stature as a
senior artist who managed to stay on good terms with almost everyone. It was
also an acknowledgement of his unwavering commitment to the academy; he
contributed to all but two of its fifty-seven annual exhibitions from 1880 until
the year of his death.
The election could not, however,

console Watson following the
death of his wife four months
before, in January 1918. He had
never been religious, but he had
long-standing pantheistic beliefs
about connections between nature
and humanity: beliefs that
underpinned his art from that time
onward. As early as 1879, he had
been sufficiently intrigued by ideas
about the afterlife and the occult
that he made the first of what
appear to have been several trips
from Doon to the hamlet of Lily Homer Watson, River Landscape, 1882, oil on canvas, 66.5 x 107.5 cm, Vancouver Art
Gallery.
Dale in southwestern New York
State, where visitors interested in
exploring spiritualism in a natural setting gathered at the recently incorporated
Cassadaga Lake Free Association.
Following Roxa’s death, he turned to the Bible for assurance that his wife’s
spiritual life continued after the death of her body. At this time he also became
fascinated by seances and spirit photography, which he pursued through the
Ontario Society of Psychic Research in Kitchener. Despite his newfound interest
in the Bible, however, Watson’s spiritualist longings continued to be expressed
through his search for suggestions of the mystical within the natural
environment. This interest was manifested in the intense subjectivity of his late
landscape paintings, in which he increasingly sacrificed optical veracity and
detail to unnatural colour and heavy brushwork. Strict faithfulness to his motifs
had never been crucial to Watson. Even in his early canvases he had combined
multiple on-site sketches into compositions in which visual veracity was
adjusted and compromised for the sake of order, liveliness, and mood. Much
21
HOMER WATSON
of The Pioneer Mill, 1880, for example, is based on a Doon landscape, but the
image also includes a line of vertical cliffs that were not part of the actual
locale. In his late landscapes, however, Watson increased the image's
subjective weight, often by favouring scenes of dusk and darkness: transitional
and mysterious times of day. All these elements came together in, for example,
such powerfully moody and personal landscapes as Moonlit Stream and
Evening Moonrise, both 1933.
By 1921, sustained by his sister’s emotional support and housekeeping,

Watson was beginning to recover from his grief and turning his attention back
to making art. In that year he visited the Rocky Mountains for the first time. He
made the trip at least twice more, in 1929 and 1933, during those years
travelling as far as the Pacific coast. In 1919 F.M. Bell-Smith (1846–1923) had
offered incitement for such a trip. “Have you ever been through the Rockies?”
he asked Watson. “I would be much interested to see what you could fish out
of those impossible subjects. I find it very difficult to get above facts. The facts
are terribly assertive.”34 The subject seemed an unlikely one for an artist
dedicated to the local landscapes of the Grand River, with their familiar human
history. But the mountains—in Near Twilight, B.C., c.1934, for example—proved
highly attractive to Watson despite his general advice to artists to avoid
stupendous scenery in which they would feel dominated and irrelevant. 35
Homer Watson, Near Twilight, B.C., c.1934, oil on Masonite, 86 x 112 cm, Art Gallery of Windsor.
22
HOMER WATSON
Bolstered by his 1921 trip west, weary of the demands of arts administration,
and afflicted with intensifying deafness, Watson embarked on the final years of
his career. The acquisition of his first automobile in 1923 enabled Watson to
carry his painting equipment with him on far-ranging painting trips. These
were, however, difficult years. Beginning in 1927, several heart attacks
progressively limited his ability to work. In especially poor health from 1929
onward, he wrote in 1933 that his “little grinding mill clatters to pieces with my
little strains.”36 Health problems were compounded by financial disaster when
the collapse of the stock market in October 1929 devastated the stocks and
bonds in which Watson had invested his considerable earnings. He eventually
saw no option but to transfer title of his current and future paintings to the
Waterloo Trust and Savings Company as collateral for a monthly allowance. At
the time of his death, the company possessed 460 of his pictures. 37
At the same time as his savings were almost entirely wiped out, Watson
experienced a substantial decline in demand for his paintings. The
Depression lingered well into the 1930s, severely hindering the
purchasing power of many of Watson’s previous customers. Plus, most of
his wealthiest patrons had died before the Depression even occurred.
In any case, by the 1920s Watson was out of step with contemporary
developments in art. The modernist Group of Seven in Toronto and the
Beaver Hall Group in Montreal were both founded in 1920, and the
Group of Seven in particular mounted an effective campaign to establish
its own brand of modernism at the heart of Canadian art. Watson
recognized the changing tastes and unsuccessfully attempted to
discourage a 1930 solo exhibition at the Art Gallery of Toronto. Sales
from the exhibition were modest at best. He apparently believed that he
was making a good attempt to update his style by adopting a colour
scheme dominated by shades of pink and purple, employing substantial
Homer Watson with spirits of the dead
impasto, and—thanks to his automobile—shifting to plein air painting and
(faked photograph), 1930, photographer
very little studio work. The results, unfortunately, attracted few converts unknown. This portrait was perhaps made
to Watson’s art and alienated many of his erstwhile supporters. during one of Watson’s visits to the
Cassadaga Lake Free Association, Lily
Dale, New York.
The RCA reviewed Watson’s grave financial situation at its council
meeting on May 11, 1936. His old friend Wyly Grier (1862–1957) followed up
by writing to Watson’s sister, assuring her that her brother “need never fear
destitution. The Academy has available bonds which have been legally
declared available for helping members in difficulty and love for Homer will do
the rest.”38 But it was too late. Watson, whose acute deafness and heart
problems had transformed him into “the hermit of Doon,”39 died in his native
village on May 30. He was eighty-one years old. An honorary Doctor of Laws
degree that the University of Western Ontario (now Western University) had
intended to bestow upon him in person was instead awarded posthumously.
The prime minister, William Lyon Mackenzie King, who as a boy had met
Watson in 1882, and who admired the artist and shared his interest in the
occult, devoted a paragraph in his diary to the death. Watson, he concluded,
was “one of the noblest souls I have ever known. A man I really and truly loved,
23
HOMER WATSON
a great gentleman & a great artist.”40
Homer Watson in the new gallery addition to his home, Doon, 1906, photographer unknown, Homer Watson House & Gallery, Kitchener.
24
HOMER WATSON
Homer Watson was above all a painter of rural landscapes, and was
especially devoted to settings that he knew intimately. Landscapes
were biographical manifestos and philosophical statements, an
opportunity to explore nature’s inner life, power, and meaning, but
also to probe the delicate relationship of respect that he believed
human beings should establish with the natural world. Those
convictions were at the core of all his work, even while the aesthetics
that informed his art changed substantially over the course of his
career.
25
HOMER WATSON
THE DEATH OF ELAINE 1877
Homer Watson, The Death of Elaine, 1877

Oil on canvas, 78.1 x 106.7 cm
Art Gallery of Ontario, Toronto
The Death of Elaine is one of Watson’s earliest large oils. It epitomizes his
youthful interest in romantic, literary themes prior to his decision to devote all
his energy to landscape painting. The story is from Alfred, Lord Tennyson’s
popular Idylls of the King, a collection of twelve poems (1859–85) that recount
the lives of King Arthur and his knights and that were themselves derived from
Sir Thomas Malory’s Le Morte d’Arthur (1485). Tennyson describes how the
knight Lancelot is wounded in a tournament in which he is wearing the token
of his host’s smitten daughter, Elaine. He is nursed back to health by Elaine
but, being in love with Queen Guinevere, he is unable to reciprocate Elaine’s
declaration of love. Soon after his departure she dies of a broken heart.
26
HOMER WATSON
Watson’s painting shows Elaine’s body being carried down the Thames to
Arthur’s castle, Camelot. She holds a letter that will reveal to Lancelot the
consequences of his indifference toward her. The sentiment of the
subject (Elaine’s chastity and her tragic death perfectly embodied
Victorian values), the looming castle, and the clouds that partly obscure
the rising moon all drench the painting in established symbols of
Romantic excess.
It is widely agreed that Watson taught himself to draw by imitating

engravings, etchings, and woodcuts in the illustrated books and journals
in his family’s library. Although it had long been accepted that the library
included at least one book illustrated by the prolific nineteenth-century
artist Gustave Doré (1832–1883), it was not until 1976 that a University of
Toronto student noted the similarities between The Death of Elaine and
Doré’s engraving titled The Dead Steer’d by the Dumb. 1 The Doré image Gustave Doré, The Dead Steer’d by the
was the frontispiece of an edition of Elaine published in London in 1867, Dumb, steel engraving by James H. Baker.
Published in Alfred Tennyson, Elaine
ten years before Watson produced his painting. There are several (London: Moxon, 1867), Victoria and
differences between Doré’s illustration and Watson’s painting, most Albert Museum, London.
notably: Watson’s reversal of the composition, the modified angle from

which we view the scene, the slightly altered architecture of Camelot, the
oarsman’s complicated headgear, and the decoration of the boat. The
similarities between the two images are, however, too numerous and
compelling to be coincidental.
27
HOMER WATSON
A COMING STORM IN THE ADIRONDACKS 1879
Homer Watson, A Coming Storm in the Adirondacks, 1879

Montreal Museum of Fine Arts
A Coming Storm in the Adirondacks is one of the first major statements in

Watson’s lifelong commitment to portraying nature’s power and drama. The
painting contains a wealth of detail—steep cliffs, angry clouds, blasted trees,
and dozens of rocks—that Watson controls by subordinating them to an
omnipresent, brooding atmosphere. As in Watson’s other oils from the late
1870s and early 1880s, draftsmanship informs all the objects—a trait that would
be increasingly replaced by richer brush strokes as the 1880s progressed.
Watson returned home to Doon in 1877 after an extended tour of New York
State, where he had painted various small landscapes, such as Susquehanna
Valley, c.1877, that carried traces of the work of the Hudson River School of
landscape painters. He later recalled of those months: “I got so impatient to
rush back home and use all this knowledge that I could not stay . . . any
longer.”1 Although he was eager to paint the familiar landscapes of Doon,
Watson also took time to transfer some of his American memories onto canvas.
Of these, A Coming Storm in the Adirondacks is a remarkably large and
consummate painting for the young and mostly self-taught artist.
28
HOMER WATSON
The Hudson River School’s work was characterized by both an analytical

precision of observation and a romanticism that could sometimes erupt
into the kinds of violent effects seen in, for example, Thomas Cole’s
Tornado in an American Forest, 1831. Like Cole, Watson presents a
tempestuous foreground bordered on both sides by trees and backed
by a sky filled with dark, ominous clouds: a dramatic atmosphere that was
probably also indebted to the work of the most prominent American
landscape painter of the day, George Inness (1825–1894). Watson is
Thomas Cole, Tornado in an American
highly convincing in his depiction of weather effects in A Coming Storm
Forest, 1831, oil on canvas,
in the Adirondacks. However, he was less assured in painting animals, 117.8 x 164.2 cm, National Gallery of Art,
something that is evident in the slightly awkward bear in the left Corcoran Collection, Washington, D.C.
foreground (and something that was occasionally noted by critics

and collectors). 2
Overall, however, the canvas is the most impressive of Watson’s American

views. It was one of four Watsons shown in the 1879 annual exhibition of the
Ontario Society of Artists, where a Toronto Globe reporter—in one of the
artist’s earliest favourable newspaper reviews—praised its striking appearance.
“The subject is well chosen,” the critic concluded, “and the treatment bold and
powerful.”3 When A Coming Storm in the Adirondacks was seen a year later at
the Spring Exhibition of the Art Association of Montreal (AAM; now the
Montreal Museum of Fine Arts), newspapers commented on the apparent gap
between Watson’s lack of formal training and the clear sophistication of the
canvas. The Montreal Gazette’s observation was typical, commending the artist
as a “genius comparatively unaided by culture.”4 The Montreal banker and art
collector George Hague evidently agreed, because he purchased A Coming
Storm in the Adirondacks out of the exhibition. Seven years later he donated it
to the AAM.
29
HOMER WATSON
THE PIONEER MILL 1880
Homer Watson, The Pioneer Mill, 1880

Oil on canvas, 86 x 127.8 cm
Royal Collection Trust, Windsor Castle, Berkshire
No painting was more important for Watson’s career than The Pioneer Mill.
This large canvas shows a small, dilapidated, and obviously non-functioning
mill nestled within a romantic landscape of sheer cliffs and encroaching trees,
the shapes and details of every object conveyed by the careful draftsmanship
that characterizes Watson’s early artworks. Its purchase in 1880 by Canada’s
governor general, the Marquis of Lorne, as a gift for Queen Victoria, remains
the best-known story about Watson’s journey from obscurity to international
renown.
Watson’s later recollections of the occasion were somewhat exaggerated.

There was never, for example, a “flaming” headline in the Toronto Globe that
read, “Country boy paints picture bought by Princess Louise” (the queen’s
daughter and Lorne’s wife) as Watson had written. 1 Still, the purchase led to
an ongoing relationship with Lorne, who bought subsequent work from
Watson and who also used his connections to further the artist’s career in
Britain beginning in the second half of the 1870s. Among other things, in 1889
Lorne gave Watson access to the room in which the painting hung in Windsor
Castle so that he could prepare an etching based on it.
30
HOMER WATSON
The Pioneer Mill—both oil and

etching—was very much of its time
and place. Late nineteenth-century
Ontario was fascinated with its
recent history, and especially with
the hardiness and independence
that were widely associated with
pioneers. The province’s rampant
industrialization during the
LEFT: Homer Watson, The Pioneer Mill, 1890, etching on paper, 33.4 x 44.5 cm, plate:
decades around 1880 led to waves 30.2 x 44.5 cm. RIGHT: Homer Watson, Life and Thought Hath Fled Away, c.1865–69,
of regret about the decline of graphite, black ink, and wash on wove paper, 17.8 x 23.4 cm, sketchbook page 7875.96,
National Gallery of Canada, Ottawa.
quaint water-wheel mills, symbols
of a supposedly simpler but
disappearing society. This theme recurs
frequently in Watson’s work, including in a polished drawing that he
significantly titled Life and Thought Hath Fled Away, c.1865–69. A similar state
of neglect defines The Pioneer Mill: the building’s roof is damaged, trees are
impinging, and the millrace (the current of water that turns the millwheel)
largely bypasses the wheel.
For Watson, all this was personal. The building in The Pioneer Mill recalls the
sawmill that Watson’s paternal grandfather had built in Doon. It was not,
however, intended as an accurate representation of the mill and its
surroundings. For example, the looming cliff adds a romantic touch that likely
derives from the river valleys that Watson had seen a few months earlier during
his travels in New York State. Watson was well aware that the downfall of his
grandfather’s mill (symbolized especially by the image’s dead tree) was due to
faceless industrialization and individual human greed. In a lengthy
unpublished essay he moralized on how his grandfather’s mill, by relentlessly
devouring trees, created a wasteland that ultimately spelled the mill’s
collapse. 2 For Watson, The Pioneer Mill was as much a warning about human-
engendered environmental degradation as it was a hymn to the pioneers of
the Doon area.
31
HOMER WATSON
NEAR THE CLOSE OF A STORMY DAY 1884
Homer Watson, Near the Close of a Stormy Day, 1884

Winnipeg Art Gallery
Near the Close of a Stormy Day is a

splendidly accomplished example
of Watson’s ability to paint the
mood-inducing and pictorially
unifying atmospheric effects that
root his landscapes in the lived
experience of familiar locales—a
quality that brought the artist
LEFT: George Inness, The Rainbow, c.1878–79, oil on canvas, 76.2 x 114.3 cm,
critical and popular success during Indianapolis Museum of Art. RIGHT: Narcisse Díaz de la Peña, The Storm, 1872, oil on
much of his long career. At the panel, 58.7 x 85.7 cm, Walters Art Museum, Baltimore.
same time, the painting moves

away from the comparatively histrionic effects of A Coming Storm in the
Adirondacks, 1879, not least by transposing the setting from an awe-inspiring
wilderness, complete with a bear, to a more human-scaled landscape that
features, in the aftermath of a violent storm, the reassuring presence of
farm animals.
32
HOMER WATSON
Like A Coming Storm in the Adirondacks five years earlier, Near the Close of a
Stormy Day recalls the romantic Hudson River School landscapes that Watson
surely saw during his time in New York in the late 1880s. More particularly,
however, its juxtaposition of a tumultuous sky and a human-scaled landscape,
and its concomitant poeticizing of the landscape as if it were a metaphor for a
higher meaning, suggests the influence of George Inness (1825–1894). It is
unlikely that the two artists actually met, although Watson may well have seen
Inness’s work while in New York. In any case, Inness paintings, such as The
Rainbow, c.1878–79, feature compositional arrangements and an emphasis on
striking atmospheric effects that prefigure Watson’s Near the Close of a Stormy
Day, even though the moods evoked in the two paintings are quite different.
For most viewers and critics, however, Near the Close of a Stormy Day appears
to have been understood less in terms of contemporary American painting
than of the art of the Barbizon painters who worked in France during the four
decades around mid-century. Certainly those painters’ presentations of familiar
landscapes in poetic but unsentimentalized terms—as in The Storm, 1872, by
Narcisse Díaz de la Peña (1807–1876)—had a strong following in North
America. In Canada, a Barbizon sensibility was pursued by artists as diverse as
Wyatt Eaton (1849–1896), William Brymner (1855–1925), and Horatio Walker
(1858–1938), and was much admired by prominent collectors. Indeed, when
Watson exhibited Near the Close of a Stormy Day in the 1884 Royal Canadian
Academy of Arts exhibition, newspaper critics signalled their approval in
phrases akin to those usually employed to praise Barbizon aesthetics. The
columnist from Toronto’s The Week, for example, described it as a “capital
[specimen] of his style, strong, truthful, and with good atmospheric effects.”1
It was therefore unsurprising that the painting quickly found a purchaser: the
businessman, politician, and philanthropist Edmund (E.B.) Osler, one of
Watson’s most munificent and frequent Toronto patrons.
33
HOMER WATSON
STUDIO FRIEZE 1893–94
Homer Watson, studio frieze (detail), 1893–94

Oil on plaster wall, 48 x 5,000 cm (original studio) and 40 x 6,814 cm (studio addition)
Homer Watson House & Gallery, Kitchener
Soon after their marriage in 1881,

Homer and Roxa Watson rented
the upper part of the solidly built
house of one of Doon’s founders,
Adam Ferrie. Watson transformed
one of the rooms into a painting
studio. The couple later bought
the property in its entirety and
lived in it for the rest of their lives.
By 1893 Watson’s career was in full
bloom, and he took advantage of
his comfortable income to build a
long-needed studio addition onto
the house. He then decorated it
and the adjoining original studio
Homer Watson, studio frieze (cropped detail of Daubigny section), 1893–94, oil on
with a painted frieze that still runs plaster wall, 48 x 5,000 cm (original studio) and 40 x 6,814 cm (studio addition), Homer
along the full length of the walls, Watson House & Gallery, Kitchener.
immediately below the ceiling.
The frieze is a tribute to thirteen European landscape painters who were

especially admired by Watson: Claude Lorrain (c.1600–1682), John Constable
(1776–1837), Jean-Baptiste-Camille Corot (1796–1875), Charles-François
Daubigny (1817–1878), Narcisse Díaz de la Peña (1807–1876), Thomas
Gainsborough (1727–1788), Meindert Hobbema (1638–1709), Jules Bastien-
34
HOMER WATSON
Lepage (1848–1884), Jean-François Millet (1814–1875), Salvator Rosa (1615–

1673), Théodore Rousseau (1812–1867), J.M.W. Turner (1775–1851), and
Jacob van Ruisdael (1628–1682). 1 All the artists’ names are painted in capital
letters. Superimposed over each name are one or (more rarely) two small
landscapes conceived by Watson in that artist’s style. A decision to focus the
mural on European artists perhaps explains the otherwise puzzling absence of
any American landscapists, including, most significantly, George Inness
(1825–1894).
Watson believed that all worthwhile art was grounded in tradition. His studio
frieze offers visual confirmation of that conviction by paying homage to the
European painters he—and the majority of other Canadian landscape painters—
most admired. Similarities between his work and that of Constable and the
Barbizon artists (Corot, Daubigny, Díaz de la Peña, Millet, and Rousseau) had
been a core part of Watson’s reputation ever since Oscar Wilde had publicly
drawn attention to them in 1882. In addition, Watson sometimes borrowed
compositional motifs from other artists. For example, van Ruisdael is echoed in
Watson’s The Old Mill, 1886. 2 The studio frieze is thus as much a personal nod
to artists who enriched Watson’s own work as it is a recognition of landscape
painting’s rich history.
Homer Watson, studio frieze (cropped detail of Gainsborough section), 1893–94, oil on plaster wall, 48 x 5,000 cm (original studio) and
40 x 6,814 cm (studio addition), Homer Watson House & Gallery, Kitchener.
35
HOMER WATSON
LOG-CUTTING IN THE WOODS 1894
Homer Watson, Log-cutting in the Woods, 1894

Oil on canvas, 45.7 x 61 cm
Montreal Museum of Fine Arts
Log-cutting in the Woods depicts two loggers who are dwarfed and
surrounded by trees whose branches and leaves spread over more than
half of the canvas. The labour of the two men, set within a rich landscape,
exemplifies Watson’s belief in the ideal relationship between human beings
and nature: one of respectful interdependence. In this painting, inspired by
landscapes with which Watson was familiar and dealing with a theme
commonly associated with rural life, the men harvest timber from the forest,
but do so without endangering the ongoing health of the natural world.
Watson painted Log-cutting in the Woods with the fluid brush strokes that by
1894 had come to dominate his work. It was one of eleven landscapes that he
showed at the 1894 Spring Exhibition of the Art Association of Montreal (AAM;
now the Montreal Museum of Fine Arts), where it won the $100 prize for the
best seascape or landscape in the show. “Perhaps no one has been so
uniformly successful this year as Mr. Homer Watson, R.C.A.,” stated the
Montreal Gazette’s critic. “His work is thoroughly conscientious, and there is
no striving after easily gained effects.”1
36
HOMER WATSON
The Montreal Metropolitan critic

was equally impressed, claiming
that “the quality of his landscapes
is unsurpassed by anything in the
exhibition. His work is distinctly
original, and the color and
composition charming. He may
fairly be called the Canadian
‘Rousseau.’”2 It’s not clear how
much the anonymous Metropolitan
critic knew about Théodore
Rousseau (1812–1867) beyond the
fact that he was one of the
Barbizon artists with whom, by this
date, Watson was routinely linked Théodore Rousseau, Oak Grove, Apremont, 1850–52, oil on canvas, 63.5 x 99.5 cm,
Musée du Louvre, Paris.
in newspapers and periodicals.
Like Watson, Rousseau had an
intense affinity for local landscapes and the people who lived and worked in
them, as well as for the expressive rendering of trees (for example, Oak Grove,
Apremont, 1850–52). The two artists also shared a rich approach to paint
application, a quality fully on display in Log-cutting in the Woods and that
embodied Watson’s 1890s shift away from highly detailed views rendered with
relatively flat paint application to canvases in which paint as a sensuous
substance increasingly blurs naturalistic detail.
At the time of its 1894 exhibition, Log-cutting in the Woods was already the
property of Donald Smith, 1st Baron Strathcona and Mount Royal. Smith
was one of Watson’s spectacularly wealthy patrons and one of the most
enthusiastic and thoughtful art collectors in Canada. Governor of the Hudson’s
Bay Company, president of the Bank of Montreal, co-founder of the Canadian
Pacific Railway, and Member of Parliament, he epitomized the kind of moneyed
and educated Montrealers who were at the forefront of the demand for
Watson’s art. Montreal owed its enviable visual arts infrastructure at that time
to three principal factors: the city’s status as the financial centre of Canada; the
AAM’s cultivation of a discriminating public by means of its frequent major
exhibitions of Canadian and European historical and contemporary art; and the
presence of the W. Scott & Sons art gallery, the best-connected and most
influential commercial gallery anywhere in the country.
37
HOMER WATSON
THE FLOOD GATE C.1900–1
Homer Watson, The Flood Gate, c.1900–1

Oil on canvas, mounted on plywood, 86.9 x 121.8 cm
National Gallery of Canada, Ottawa
The Flood Gate is a completely unified painting. Its pervasive dark colours, its
rich brushwork (significantly thicker than in Log-cutting in the Woods, 1894),
and its forceful sense of internal movement bind together the human figure,
the trees, the sky, and the choppy water, underscoring Watson’s favourite
theme of nature’s power and majesty. That theme is touchingly accentuated
by the smallness of the man and the cows within the turmoil of the rest of
the image.
The scene—Watson’s last major treatment of a mill theme—is of a man taking

pressure off a dam by opening its floodgate during a storm. This action would
preserve both the dam and the millpond that it had been built to create. A
niece of the artist claimed that the origins of the painting could be traced back
to Watson’s childhood, when he had witnessed the catastrophic consequences
of a burst dam. 1
38
HOMER WATSON
Critics at the time and later saw The Flood Gate as a high point in the
evolution of Watson’s style; the artist himself described it in 1908 as his
best painting thus far. 2 By that date he had exhibited it at the Royal
Glasgow Institute of the Fine Arts, at the Canadian National Exhibition in
Toronto (1903), at the Louisiana Purchase Exhibition in St. Louis (1904;
the painting won a bronze medal), and in the annual exhibition of the
Royal Canadian Academy of Arts (1908). A.Y. Jackson (1882–1974)
reportedly told Watson that the canvas belonged in the Louvre,3 and
Jackson’s fellow Group of Seven member Arthur Lismer (1885–1969)
characterized it in the 1930s as “an old master” painting: Canada’s finest
depiction of a rural landscape. 4
Watson conceived The Flood Gate in relation to the markedly different David Lucas (after John Constable), The
Lock and Dedham Vale, 1834, mezzotint,
painting The Lock, 1824, by John Constable (1776–1837), although he is 73.7 x 59.5 cm, private collection.
more likely to have seen the 1834 mezzotint of that painting, by David
Lucas (1802–1881), rather than the canvas itself. The differences between
The Flood Gate and The Lock were intentional, a reflection of Watson’s
wariness of being characterized as a mere follower or, worse, imitator of the
more famous artist:
I said, “Hang it, I will paint a subject Constable would have delighted to paint,”
and that is my grandfather’s ‘Mill Pond.’ … Just some fun for me in a way for
calling me a follower of Constable. I thought let ’em have it, for I felt in my
head I need follow no man. 5
In any case a reviewer of the 1908 RCA exhibition saw enough of a

resemblance between Constable’s art and The Flood Gate to describe the
Watson painting as being “after the Constable school of treatment.”6
Despite its strong reputation, The Flood Gate had a checkered history. Eric
Brown (1877–1939) of the National Gallery of Canada in Ottawa reported that,
during a 1919 American tour, the weight of the thick paint had torn the canvas
away from its stretcher, resulting in significant cracking of the paint. 7 Several
years earlier the work had been acquired from Watson by the Montreal
collector and banker J. Reid Wilson, who then discovered that the lighting in
his house was not strong enough to show the dark painting to advantage.
Wilson loaned it to Montreal’s Mount Royal Club, but the lighting there was no
better, and so he exchanged The Flood Gate for another Watson with brighter
colouring. It was still on the market in 1908 when the National Gallery declined
to buy it, much to the indignation of the critic Newton MacTavish: “I . . . cannot
think what was the matter with the commissioners when they failed to properly
appreciate it.”8 The Flood Gate was eventually acquired by the National
Gallery in 1925.
39
HOMER WATSON
THE RIVER DRIVERS 1914, 1925
Homer Watson, The River Drivers, 1914, 1925

Oil on canvas, 87 x 121.9 cm
MacKenzie Art Gallery, Regina
The River Drivers is one of a small number of seascapes in Watson’s oeuvre.

The painting shows a team of lumbermen driving freshly cut logs downriver
between steep cliffs and hills, under a strange and ominous sky. It bears a
strong compositional similarity to the earlier Smugglers’ Cove, Cape Breton
Island, Nova Scotia, 1909, a painting inspired by a boat trip around Cape
Breton Island that Watson made with his Montreal patron James Ross. 1 (Ross
owned property and had financial interests on the island.) Looking back over
his career in 1922, Watson evaluated The River Drivers as ranking among his
best paintings. 2 Yet in 1914, when he completed the first version of it, he
had felt “blue about my inability to master the theme in the way it is seen in
the vision.”3
40
HOMER WATSON
Norman MacKenzie—a
Saskatchewan lawyer and a
member of the National Gallery of
Canada’s board—harboured no
such doubts. MacKenzie was an
aficionado of Watson’s “heavy
style” and of his “natural austerity,”
both of which are evident in The
River Drivers. He happily paid the LEFT: Homer Watson, Smugglers’ Cove, Cape Breton Island, Nova Scotia, 1909, oil on
Masonite, 86.4 x 121.9 cm, Beaverbrook Art Gallery, Fredericton. RIGHT: Homer Watson,
purchase fee of $500. Before study for The River Drivers, c.1913, oil on cardboard, 25.4 x 35.6 cm, MacKenzie Art
delivering the painting, Watson Gallery, Regina.
gave it exposure by showing it at
the Canadian National Exhibition, the Spring Exhibition of the Art Association
of Montreal, and the Canadian Art Club (all in 1914), as well as at the 1915
Panama-Pacific International Exposition in San Francisco. The River Drivers’s
success in those exhibitions banished Watson’s doubts about its quality. “I
thought I was not getting it,” he wrote,
but since it is here [in the Canadian Art Club’s exhibition] and placed in the
centre of the wall on the right hand of the gallery—place of honor—I see I
builded better than I knew. All my brother artists say it is one of the best things
ever done by me. . . . I wish I could have been satisfied with it earlier. 4
While waiting for the painting to arrive, MacKenzie contented himself with an
oil-on-cardboard sketch for the larger version. That study is a rarity in Watson’s
work, and adds to the painting’s interest; few other small-scale oil sketches for
larger paintings have been identified. When the finished painting finally
reached MacKenzie, he was delighted with it. Eleven years later, Watson opted
to retouch parts of The River Drivers with lighter colouring, in keeping with his
changing palette in the early 1920s, the effect of which was to make details
more readily visible. MacKenzie enthusiastically confirmed that he thought the
revised image was even more effective than the 1914 original had been: “I
agree with you that it is at least one of the best things you have ever done.”5
41
HOMER WATSON
THE RANGES (CAMP AT SUNRISE) 1915
Homer Watson, The Ranges (Camp at Sunrise), 1915

Oil on canvas, 152 x 181 cm
Canadian War Museum, Ottawa
The painting today known as Camp at Sunrise was originally exhibited as The
Ranges, one of only a handful of military-themed canvases that Watson
painted during and immediately after the First World War. More than half of
the painting shows a cloud-filled sky. Below that, another quarter of the
canvas’s height consists of the colourfully painted Laurentians. These dominate
a row of tiny human figures lying on the ground during rifle-firing practice,
overseen by about a dozen officers.
42
HOMER WATSON
Unlike several other Canadian

artists—A.Y. Jackson (1882–1974),
Frederick Varley (1881–1969), and
David Milne (1881–1953), for
example—who were commissioned
to record military subjects in
Europe, Watson (who was fifty-nine
years old when the war began) did
not leave Canada. Instead, in 1914
The 1st Canadian Infantry Battalion training at Valcartier, Quebec, 1914, photographer
General Sam Hughes, Canada’s unknown, George Metcalf Archival Collection, Canadian War Museum, Ottawa.
Minister of Militia, requested that
Watson undertake paintings documenting the recruitment and training of the
First Contingent of the Canadian Expeditionary Force at Camp Valcartier in
Quebec. 1 Watson was doubtful, but allowed himself to be persuaded that
Valcartier offered a compelling landscape subject. By September 1915, after
almost a year of work, he had produced three canvases, all set in the camp and
all much larger than anything he had done before.
Some reviewers simply ignored the three paintings when they were seen at the
Royal Canadian Academy of Arts and at the Canadian Art Club in 1915. Others
were overtly critical. Samuel Morgan-Powell, for example, dismissed them as
showing inherently inartistic subjects more suited to General Hughes’s office
hallways than to an art gallery. 2 The reviewer for the Montreal Herald was
more positive, but recognized that Watson had been rather an odd choice for
the commission:
To a landscape painter, the straightness of line and mathematical precision in

every detail so dear to the heart of the military commander do not commend
themselves. . . . So Mr. Watson was obliged to compromise. He has painted the
Valcartier of nature first, and the Valcartier of history secondly. 3
The Herald’s reviewer was right.

The Ranges was clearly the work of
someone who was at home with
landscape painting but who had
never before included more than
six or seven people in a single
image and who did not usually
make human activity the dominant
element in his art. As the Herald
put it, Watson had depicted
“temporary events in a permanent
setting.” This was probably not
exactly what Hughes, whose
priority was to highlight the scale
and interest of troop activities, had
envisioned. Homer Watson, Passage to the Unknown, 1918–20, oil on canvas, 140 x 204 cm, location
unknown, reproduction of a black and white image appearing in RACAR: Revue d’art
canadienne / Canadian Art Review 14, no. 2 (1987).
43
HOMER WATSON
Toward the end of the war Watson accepted another military-themed

commission, this one from Commander J.K.L. Ross, the son of his greatest
patron, James Ross. On that occasion, though, he ventured into symbolism,
possibly reflecting his growing interest in spiritualism following his wife’s death
in 1918. 4 One of the paintings, Passage to the Unknown, 1918–20, deals with
the beginning of the war: a road transforms into a sky bridge over which
soldiers could pass on their way to serving in Europe. In the other painting, Out
of the Pit, 1919, Watson suggests hope for the future at the end of the war by
juxtaposing a burning castle, a rainbow, and a bright background. Whereas The
Ranges had its defenders, Passage to the Unknown seems to have pleased
almost no one, and was possibly destroyed by Ross himself.
44
HOMER WATSON
MOONLIGHT, WANING WINTER 1924
Homer Watson, Moonlight, Waning Winter, 1924

Oil on beaverboard screwed to framework, 86.6 x 121.9 cm
National Gallery of Canada, Ottawa
Moonlight, Waning Winter shows a prominent tree and a few oddly

proportioned houses in a late-winter landscape, the raised furrows of the fields
partially covered by melting snow. The painting exemplifies technical and
stylistic changes that Watson’s painting underwent during the 1920s. Prior to
that time his larger oils had been conceived in the studio, using on-the-spot
drawings. Watson combined and modified the drawings to create complex
compositions in which he attempted to communicate profound truths about
the natural world and his reactions to it.
Watson’s 1923 acquisition of a car changed his techniques and style. He could
now carry bulky equipment—including, for the first time, sturdy wood-pulp
boards on which to paint outdoors. The subject of Moonlight, Waning Winter
was not subsequently worked up in oil on canvas in his studio. He does,
though, appear to have continued to work on it during the days and weeks
following his initial painting trip. Some other oil-on-panel paintings from the
early 1920s onward seem to have received little or no additional work in
the studio.
45
HOMER WATSON
The subject of this painting indicates yet another change in Watson’s art
during the 1920s and 1930s. Previously he had favoured spring, summer,
and autumn scenes and often evoked atmospheric effects by painting
cloudy landscapes at dusk or shortly before or after rainstorms.
Moonlight, Waning Winter and other paintings from the later years of his
career retain his earlier curiosity about transitory atmospheric and light
effects, but they focus it on transitional moments between the seasons,
especially between autumn and winter (as in Early Winter, c.1930) and
between winter and spring. “The ploughed field emerging through the Homer Watson, Early Winter, c.1930, oil
snow in March is peculiar to Canada in its pastoral regions,” Watson on cardboard, 31.7 x 41.6 cm, National
Gallery of Canada, Ottawa.
wrote when he was bringing Moonlight, Waning Winter to completion. “I
always felt the line and rhythm of forms of earth thus disclosed, and I
hope to get others to see it, too.”1
Like many of Watson’s paintings from the 1920s and 1930s, the work reveals
the artist using a less sombre palette than he had employed during the
previous quarter century in canvases such as Country Road, Stormy Day,
c.1895, and The Flood Gate, c.1900–1. In several places the paint—largely
shades of white, pink, and purple—is applied with substantial body and in
multiple levels. “Sometimes I allow myself a little fling,” Watson wrote,
apparently with the innovations of Moonlight, Waning Winter in mind,
although my friends, my patrons I mean, think and say I am on the straight road
to perdition if I continue this crime. . . . Years ago any flings of this sort for me
at least had to be relegated to the limbo of forgotten things. There was and
still is the idiotic insistence in keeping a painter harping on the string of which
they liked the tune, but I find nature full of variety. 2
46
HOMER WATSON
MOONLIT STREAM 1933
Homer Watson, Moonlit Stream, 1933

Library and Archives Canada, on loan to Laurier House, Ottawa
In 1933 William Lyon Mackenzie King, the three-time prime minister of Canada
between 1921 and 1948, acquired two paintings from Watson: Evening
Moonrise and Moonlit Stream, both 1933. The latter, a dark, heavily painted
night view of a river reflecting the unnatural colours of clouds in a moonlit sky,
was a purchase. At the same time, Watson gave King Evening Moonrise as a
gift. Both canvases seem to have been entirely studio projects, rather than
beginning life on one of the painting trips that had led to, for example,
Moonlight, Waning Winter in 1924.
King had been born and had grown up near Doon, in Berlin (now Kitchener),
Ontario, and as an adult had become friends with Watson. Their rapport was
strengthened by their shared interest in the Kitchener-Waterloo region, as well
as in spiritualism and the occult. Watson was intrigued by spiritualism
throughout his life and, although his writings on the subject are vague, he
seems to have adhered to a pantheistic approach that sought out transcendent
meaning in natural phenomena. “All nature up to the horizon uttered the
47
HOMER WATSON
sombre chord that would be in unison with the refrain of the lost and the
caverns of the forest vibrated in their mystic depth,” he reminisced in an
undated description of experiencing a landscape at night. “[Everything]
seemed connected together by invisible ties and the limits of earth seemed to
mount in the air and be linked with the spirits of other worlds.”1
Moonlit Stream may be interpreted as supporting these ideas by means

of its evocative darkness, the unnatural colours in the sky and water, the
blurring of worldly detail, and the prominent inclusion of a moon that
lights up the surrounding darkness. For his part, King’s understanding of
the painting steered closer to religion than to the pantheistic
interpretation preferred by Watson. In one letter King described Moonlit
Stream as being “[a]bove all … a sort of presence, reminding me always
of the life beyond the veil, and of art finding its perfection there,”2 while
in another he waxed poetic about the painting’s light being “like the Homer Watson, Evening Moonrise, 1933,
answer to the prayer ‘Lighten our darkness we beseech thee, O Lord.’ It oil on panel, 31.8 x 41.9 cm, Library and
Archives Canada, on loan to Laurier
has caught the Divine light.”3 However, King also confessed that he had House, Ottawa.
difficulty understanding the unusual colours in the skies of both Moonlit
Stream and Evening Moonrise. 4 Certainly, the tonalities in Moonlit Stream’s sky
have little in common with those used by other Canadian artists, whether
traditional or modern.
Its small size was due principally to the several health crises that had hampered
the seventy-eight-year-old Watson’s ability to work on a larger scale. And
although the thickness with which it was painted, the corresponding loss of
naturalistic detail, the darkness of the landscape, and the startling colours in
the sky and river were not innovations at this point in Watson’s career, they are
brought together here with a new degree of intensity. Moonlit Stream thus
exists as a highly personal end-of-career statement by an artist who had been
disconnected for some fifteen years from developments elsewhere in Canadian
art. Indeed, 1933, the year in which Watson created Moonlit Stream, was also
the year that saw the birth of the Canadian Group of Painters: a group in which
most of the twenty-eight founding members were exponents of various strands
of Canadian modernist art. Moonlit Stream bears no similarity to the work of
any of them.
48
HOMER WATSON
Homer Watson’s letters, his unpublished manuscripts, and his

paintings, drawings, and prints document the issues that most
interested him as an artist. Of his concerns, the commemoration of
southern Ontario’s pioneers and early settlers and the visual
expression of Canadian regional and national identities locate Watson
firmly within the milieu of many of his fellow artists of the time. In
addition to these priorities, his dedication to safeguarding the natural
environment was exceptional and far-sighted.
49
HOMER WATSON
ONTARIO’S PIONEER MEMORY

Homer Watson was a grandson of
German and British settlers of
Ontario’s Waterloo County,
something of which he was very
proud. He occasionally dealt
explicitly with pioneer subjects, in
canvases such as The Pioneer Mill,
1880, and Pioneers Crossing the
LEFT: Homer Watson, Pioneers Crossing the River, 1896, oil on canvas, 86 x 122 cm,
River, 1896, and in preparatory
private collection. RIGHT: Homer Watson, drawing for A Land of Thrift, c.1883, ink over
drawings such as a detailed study graphite on paper, 56.5 x 71.8 cm (framed), Kitchener-Waterloo Art Gallery.
for a canvas titled A Land of Thrift,
c.1883. Images such as November among the Oaks, c.1920, depict the results
of early nineteenth-century settlement by portraying nature harmoniously
coexisting with the human presence. That presence could take many forms—
people, farm animals, fences, crops, mills, and other buildings—but it was
almost always there. Watson’s paintings are in many ways Canadian art’s most
consistent and loving visual documentation of the pioneer legacy in Ontario’s
historical sense of identity. Yet beneath their reassuring and often bucolic
surfaces, Watson’s landscapes raise difficult questions about the history of
European settlement in Canada.
In recent years pioneers and settlers have become subjects of debate.

Indigenous groups around the world demand that the descendants of pioneers
recognize their status as members of privileged collectives. Settler societies
tend to replicate their histories and beliefs in their new communities, often at
the expense of Indigenous populations that substantially predate the arrival of
non-Indigenous pioneers. The Anishnaabe, Haudenosaunee, and Neutral
(Attawandaron) peoples had been living in the Grand River area (including
what later became Waterloo County) for centuries. Before the early nineteenth-
century arrival there of the first pioneers, the British government formally
granted the land extending six miles on either side of the full length of the
river to the Haudenosaunee, in the Haldimand Proclamation of 1784; but First
Nations title to the land continues to be disputed to this day.
LEFT: Homer Watson, November among the Oaks, c.1920, oil on canvas, 57 x 78 cm, Vancouver Art Gallery. RIGHT: Six Nations
Confederacy Council (the self-governing council of the Six Nations of the Grand River), Ohsweken, c.1910, photographer unknown, Six
Nations Public Library, Ohsweken.
50
HOMER WATSON
During Watson’s lifetime Europeans regarded pioneers and settlers as highly

admirable people who homesteaded what was considered an empty
wilderness. Rather than being viewed through a critical lens, pioneers were
characterized almost entirely as having traits such as resilience,
resourcefulness, an immense capacity for work, and an aversion to complaining
about hardships. They stood for ideals of stability and human control. This was
especially the case during the decades from the 1850s to the 1880s, when
transportation networks were expanding, cities were growing, and traditional
family-run businesses were giving way to impersonal, large-scale operations.
The extent of change in Waterloo County may be gauged by the fact that
during the 1890s the population of the federal electoral district of Waterloo
South was 47 per cent rural and 53 per cent urban. Just a short time earlier it
had been overwhelmingly rural. 1
It was precisely because pioneers represented solidity and independence that

the Toronto Industrial Exhibition yearly featured a walk-through “pioneers”
display with a log cabin built on site, using pioneer methods. Similarly, the
large painting Logging, 1888, by George Agnew Reid (1860–1947), though
painted in Paris, was set in pioneer-era Ontario. Reid also planned a mural
cycle, for the Toronto Municipal Buildings: Hail to the Pioneers, Their Names
and Deeds Remembered and Forgotten, We Honour Here. (Only two of the
murals were completed: The Arrival of the Pioneers, 1899, and Staking a
Pioneer Farm, 1899.)2
LEFT: Homer Watson, Log-cutting in the Woods, 1894, oil on canvas, 45.7 x 61 cm, Montreal Museum of Fine Arts. RIGHT: George Agnew
Reid, Logging, 1888, oil on canvas, 107.4 x 194 x 2.3 cm, National Gallery of Canada, Ottawa.
REGIONAL IMAGERY AND CANADIAN ART

In his catalogue essay for the 1963 Watson retrospective exhibition at the
National Gallery of Canada in Ottawa, J. Russell Harper contended that Watson
was “as it were, the man who first saw Canada as Canada.”3 Landscape was a
preoccupation for Canadian artists during the second half of the nineteenth
century, and questions about the Canadian-ness of their work were timely.
Public interest in the country’s varied geography was encouraged by the
proliferation of outdoor sketching clubs; by illustrations in publications such as
Picturesque Canada (beginning in 1882), Canadian Illustrated News (1869–83),
and L’Opinion publique (1870–83); and by rapid railway construction from
51
HOMER WATSON
coast to coast. Visual artists responded to that popularity, with landscape

quickly establishing itself as a central theme in art exhibitions during the last
four decades of the nineteenth century. 4
Watson had many landscape artist peers—including Lucius O’Brien (1832–

1899), Marmaduke Matthews (1837–1913), John Arthur Fraser (1838–1898),
Allan Edson (1846–1888), and Otto Jacobi (1812–1901)—who portrayed
Canadian scenery with varying degrees of naturalism, idealism, and
romanticism. Examples ranged from Lake, North of Lake Superior, 1870, by
Frederick Verner (1836–1928) to Mount Rundle, Canadian National Park, Banff,
1892, an albumen photograph of the Rocky Mountains by Alexander
Henderson (1831–1913). Few, however, could equal Watson’s penetrating
engagement with a particular geography—in his case the area in and around
Doon, in Waterloo County—in an effort to understand it as deeply as possible.
LEFT: Alexander Henderson, Mount Rundle, Canadian National Park, Banff, 1892, albumen print, 20 x 25 cm, McCord Museum, Montreal.
RIGHT: Frederick Verner, Lake, North of Lake Superior, 1870, oil on canvas, 50.5 x 127 cm, Montreal Museum of Fine Arts.
Although he often made art in places other than the Grand River Valley (The
River Drivers, 1914 and 1925, for example, is set not on the Grand River but on
the Bay of Fundy in Nova Scotia), the vast majority of Watson’s paintings are
based to a significant extent on landscapes that he knew intimately. This was
the case whether he was documenting the everyday reality of agricultural
labour (Haymaking, Last Load, c.1880); commenting on the changing
relationship between landscape and industry (The Pioneer Mill, 1880); evoking
the grand sweep of the rolling landscape around Doon (A Cornfield, 1883);
capturing the comfortable interaction between village inhabitants and the
terrain in which they spent their lives (Log-cutting in the Woods, 1894; Nut
Gatherers in the Forest, 1900); investing the local landscape with subjective
mystery (Moonlit Stream, 1933); or in his later years painting in the open air
(Moonlight, Waning Winter, 1924).
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HOMER WATSON
LEFT: Homer Watson, Haymaking, Last Load, c.1880, oil on canvas, 53.2 x 80.1 cm, Art Gallery of Hamilton. RIGHT: Homer Watson, A
Cornfield, 1883, oil on canvas, 80.1 x 114.4 cm, National Gallery of Canada, Ottawa.
It is therefore unsurprising to read Watson’s many analyses of the relationship

between a country’s artists and its landscapes. In his view, significant art was
premised on its maker’s sense of “having roots in his native land and being a
product of its soil.”5 Explaining his decision to return to Canada in 1890 after
three years in Europe, he observed that as a Canadian artist in England he
constantly risked unintentionally imitating English artists’ depictions of a
landscape that was native to them but that was mere scenery to him. The
English artist “goes along a smooth road, [whereas] here [in Canada] we are
building roads, and that is more exciting.”6 Log-cutting in the Woods and The
River Drivers, for example, were seen as quintessentially Canadian subjects.
Although Watson rarely wrote about the work of other Canadian landscape
painters, it is probable—based on his comments about his own art—that he
would have expected them to portray their own environments with the kind of
familiarity and understanding that he poured into such Grand River Valley
images as The Pioneer Mill, and Near the Close of a Stormy Day, 1884.
THE PARADOX OF REPRESENTING NATURE

Watson’s evocation of breadth of effect and mood produced a seeming
paradox for his working method. Although he was conversant with—and
sincerely devoted to—landscapes along the Grand River, his paintings were not
faithful depictions of topographical reality. “I never make an exact copy from
nature,” he told interviewers throughout his career.
When I want to paint a picture I make a number of studies of things I wish to

put in the composition, and when I have these done, I sit down in my studio
and paint as suits my fancy, using the sketches where I feel they suit. A picture
. . . should be the sum-total of one’s experience. 7
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HOMER WATSON
He makes the same point in his

unpublished essay “The Idealist
versus the Realist,” in which he
advocates for the need to
recognize and balance two equally
important phenomena: the
underlying ideal of nature’s
omnipresent power, and
faithfulness to nature’s physical
appearance. 8
This was true even in the late

1870s and the early 1880s, at the
beginning of Watson’s career. Homer Watson, Grand River Landscape at Doon, c.1881, oil on canvas, 55.5 x 91.5 cm,
Although canvases such as A Art Gallery of Nova Scotia, Halifax.
Coming Storm in the Adirondacks,
1879; Grand River Landscape at Doon, c.1881; and Haymaking, Last Load,
c.1880, are alive with detail, they are composite images rather than
geographically precise records. As a University of Toronto professor, James
Mavor, phrased it in an 1899 article about Watson:
When one who knows a landscape very thoroughly, finds himself observing it
under a particular set of conditions, he will have present in his mind not only
what he happens to have in his eye at the moment, but what he has seen
before, and therefore a habit of close observation is necessarily linked to the
habit of generalization.
The results were landscapes that Mavor described as having “more absolute
truth to nature” than could be achieved from working only in the open air,
“when changing moods and tones confuse the painter.”9
RESPONSE TO THE GROUP OF SEVEN

Watson had complicated reactions
to Tom Thomson (1877–1917) and
the artists who in 1920 formed the
Group of Seven. He admired the
seriousness that they brought to
making art, but he had two
significant concerns. One was
stylistic. He viewed with skepticism
the group’s brilliant colours and
strongly design-based LEFT: Lawren Harris, Sunset, Kempenfelt Bay, 1921, oil on board, 81.3 x 101.6 cm,
collection of the Power Corporation of Canada. RIGHT: J.E.H. MacDonald, Mist Fantasy,
compositions: characteristics on Northland, 1922, oil on canvas, 53.7 x 66.7 cm, Art Gallery of Ontario, Toronto.
full display in, for example, Sunset,
Kempenfelt Bay, 1921, by Lawren Harris (1885–1970) and Mist Fantasy,
Northland, 1922, by J.E.H. MacDonald (1873–1972). He interpreted their style
as too artificial, as being more grounded in design and borrowed style rather
than being based in the artists’ personal connections to their subjects, and thus
too detached from nature itself. “Lines, patterns, symbols are all very well,” he
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HOMER WATSON
fretted in 1933. “They are necessary in a big design, but of themselves are
useless or meaningless unless clothed with the authority a study and love of
nature only can give.”10
Beyond his worries about stylistic modernism, Watson resented suggestions

that Thomson and the group produced art that was profoundly Canadian—but
that he did not do the same. During the 1920s the group successfully
promoted, to institutional and private collectors alike, a nationalist form of
modernism that located the unique promise of Canada in the rugged, sparsely
populated Precambrian Shield rather than in Watson’s familiar and settled
landscapes.
Watson felt that his rural imagery was being ignored not only because it did
not employ the stylistic traits of the Algonquin Park and Algoma artists, but
also because it had, as its subject, landscapes that displayed the productive
relationship between a location and the people who lived there. “I won’t be
made to think that all of Canada is north country. Canada to me is where man
lives . . . and advances his country by refining influences.”11 Thomson’s The
Jack Pine, 1916–17, might be iconic, but for Watson pine trees were “no more
Canadian than our elms, oaks or maple,” the deciduous trees that—as in Grand
River Valley, c.1880—he spent his career painting with such devotion. 12
LEFT: Tom Thomson, The Jack Pine, 1916–17, oil on canvas, 127.9 x 139.8 cm, National Gallery of Canada, Ottawa. RIGHT: Homer
Watson, Grand River Valley, c.1880, oil on board, 30 x 45 cm, Homer Watson House & Gallery, Kitchener.
The Group of Seven spoke directly to evolving attitudes during the early
twentieth century. Canada’s exploits during the First World War, and its
promising future as an independent nation with vast natural resources and an
expanding population, bolstered a belief that the country was coming into
maturity at home and internationally. The group’s insistence on the uniqueness
of the Canadian landscape fed an intensifying interest in articulating a
specifically Canadian identity: one that could be expressed visually through
physically challenging landscapes portrayed in dynamic modernist
languages. 13 Conversely, Watson clung to the local landscapes that he loved:
a trait that endeared him to the likes of Hector Charlesworth (a conservative
critic hostile to the brashness of the group), but that marked him as being out
of touch with more forward-looking moods. 14 And whereas the group’s bright
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HOMER WATSON
palettes and decorative compositions offered visual drama, Watson’s forays

into thick paint application and unusual and often muddy tones seemed more
eccentric and isolated than modern.
Homer Watson, The Old Mill, 1886, oil on canvas, 96.5 x 147.3 cm, Art Gallery of Ontario, Toronto.
In addition, the National Gallery of Canada’s Eric Brown (1877–1939) and Harry
McCurry (1889–1964) offered vital support to the modernist members of the
Group of Seven and the Beaver Hall Group, while showing dwindling interest in
the twentieth-century work of Watson and the more and more conservative
Royal Canadian Academy of Arts. After the First World War, Watson was thus
outflanked by the group both thematically and optically in presenting a
contemporary vision of twentieth-century Canada. The scope of his appeal
contracted accordingly.
ENVIRONMENTALISM
It cannot be claimed that Watson’s visual aesthetics have been influential for
other artists working over most of the past century. His pre-twentieth-century
work fitted neatly into nineteenth-century approaches to landscape
painting, but those ceased to be influential well before his death in 1936.
The art that Watson made after about 1916 was idiosyncratic and tangential
to the parameters of visual modernism and it exerted minimal influence
on his contemporaries or on later artists. His lifelong commitment to
environmentalism and to the sanctity of nature, however, echo strongly in
twenty-first-century cultural attitudes.
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HOMER WATSON
Watson believed in the importance

of people maintaining sustainable
relationships with nature, a
perspective that owed much to his
self-identification as a grandson of
pioneers. Yet he was also aware
that those pioneers had not always
respected natural resources and
processes. He seems to have
arrived at this knowledge
principally by observing southern
Ontario’s fast-changing
landscapes, although his
observations may have been
supported by his extensive but
poorly documented reading. Homer Watson, The Old Mill and Stream, 1879, oil on canvas, 60 x 88 cm, Castle Kilbride
Watson’s many drawings and Collection and Museum, Baden, Ontario.
paintings of rotting mills (including
The Old Mill and Stream, 1879; The Pioneer Mill, 1880; and The Old Mill, 1886)
can be read in part as nostalgic homages to displaced technologies. But they
can also be understood as displaying the consequences of upsetting the
balance between human needs and nature’s capacity to regenerate itself.
The narrator of one of Watson’s unpublished manuscripts recounts taking

shelter in an abandoned mill that, like the structure in The Pioneer Mill, Watson
based on his grandfather’s defunct sawmill in Doon. The speaker realizes that
by the end of its heyday the mill had devoured all the trees in its vicinity.
Starved of timber, the mill was then damaged by floods that previously would
have been absorbed by the forest. Both the mill and the forest that once
surrounded it died of human-inflicted wounds. 15
Environmental preservation was Watson’s justification when in 1913 he was

instrumental in creating the Waterloo County Grand River Park Limited. He
then served as president of the company, whose purpose was to buy and save
a forty-acre stand of trees (Cressman’s Woods) near Doon. Cressman’s Woods
as a site for human recreation and rejuvenation was a favourite theme in
Watson’s art, and it appears as such in, for example, Woods in June, c.1910. In
1920 the tract’s mortgage holder demanded full payment, and Watson again
came to the fore, raising the money needed to save the trees from logging.
Cressman’s Woods continues to exist, and in 1944 it was renamed Homer
Watson Park. As Watson wrote in a 1934 letter, “[Trees] have a hard time. I
must save some to show what a beast man is sometimes.”16
57
HOMER WATSON
Homer Watson, Woods in June, c.1910, oil on canvas, 70.1 x 98.1 cm, Kitchener-Waterloo Art Gallery.
That beastliness continues. Ontario’s Environmental Commissioner reflected

in 2010 that whereas a healthy ecosystem requires a minimum of 30 per cent
forest cover (other experts prefer 40 to 50 per cent), the province’s southern
forest cover averaged just 22 per cent overall and as low as 5 per cent in
some areas. In addition, urban sprawl continues to devour farmland at an
alarming rate. Approximately 18 per cent of Ontario’s Class I farmland (most
of which is located in the south of the province) was lost in the twenty years
from 1976 to 1996. Homer Watson’s environmental concerns have never been
more relevant.
58
HOMER WATSON
Homer Watson’s early canvases emphasize draftsmanship and detail.

From there he quickly adopted a modified approach that relied upon
rich brushwork and increasingly limited tonalities. To appeal to
audiences and especially to convey his deeply personal reactions to
his subject matter, he attempted to update his style—particularly his
use of colour—but with mixed results. What never changed was his
determination to convey nature’s power and intensity, an approach
that grew from a deep respect for the natural world, and from a desire
to emulate it in art and ensure its preservation.
59
HOMER WATSON
SUBJECT MATTER AND MEDIA

Homer Watson was a prolific artist.
His many hundreds of oil paintings
range in size from small to very
large. Moonlit Stream, 1933, for
example, measures about 32 x 42
centimetres, whereas A Coming
Storm in the Adirondacks, 1879, is
almost 86 x 119 centimetres,
comparable in size to other major
canvases from Watson’s early years
as a professional artist. He also
LEFT: Homer Watson, Landscape with Road, c.1889, etching on wove paper, 9.6 x 14 cm,
filled multiple sketchbooks with
plate: 6.5 x 10.1 cm, National Gallery of Canada, Ottawa. RIGHT: Homer Watson,
drawings, and in 1889–90 landscape drawings and a preliminary outline of a building, early 1880s, pen and ink on
completed etchings of six subjects. paper, 35.5 x 27.5 cm, sketchbook page 7875.92r, National Gallery of Canada, Ottawa.
His earliest work consists largely of

Romantic narrative drawings and paintings, often on literary themes. The best-
known and most accomplished of these is The Death of Elaine, 1877, based on
the Idylls of the King cycle of poems by Alfred, Lord Tennyson (published
1859–85). After his early twenties, he devoted himself almost exclusively to
landscapes. The overwhelming majority of these depict scenery in and around
his hometown of Doon, Ontario, where—except for one extended and six
shorter stays in Great Britain, and brief trips to various other parts of Canada as
well as the United States and France—he spent his entire life.
Watson had a strong interest in nature’s power and drama. This fascination
probably derived, at least in part, from woodcuts and engravings in the
illustrated books and periodicals, such as the American journal The Aldine, that
his family owned when he was a boy. These media often exploit sharp contrasts
between dark and light areas of the image, contrasts that seem to be reflected
in Watson’s predilection for the dramatic cloud formations associated with
stormy weather. 1 Turbulent skies, with their contrasts of light and dark, appear
frequently in the early years of Watson’s career, in his sketchbooks and in such
canvases as River Landscape, 1882; Near the Close of a Stormy Day, 1884; The
Flood Gate, c.1900–1; and The River Drivers, 1914 and 1925.
60
HOMER WATSON
LEFT: A page from The Aldine 6, no. 5 (May 1873). RIGHT: Homer Watson, Morning at Lakeview, Ontario, 1890, oil on cardboard,
25.4 x 35.6 cm, Art Gallery of Ontario, Toronto.
But above all, Watson’s psychological and emotional attachment to nature was
premised on the harmonious relationship between landscapes and humanity.
Morning at Lakeview, Ontario, 1890, with its three tiny figures arranged in a
landscape that is protective rather than threatening, is typical of his bringing
together the human and natural worlds. So is the bucolic Log-cutting in the
Woods, 1894. “We cannot think of any form of nature that will be complete
apart from man,” Watson wrote, “nor is it pleasant to think of man apart from
his relation to the soil.”2
JOHN CONSTABLE AND BARBIZON PAINTING

Given Watson’s preoccupation
with local landscapes and with
human–nature interaction, it is
unsurprising that the artists with
whom his work was most often
associated were the English
landscape painter John Constable
(1776–1837) and such French LEFT: Homer Watson, In Valley Flats near Doon, c.1910, oil on canvas, 66 x 101.5 cm,
Barbizon artists as Jean-François Homer Watson House & Gallery, Kitchener. RIGHT: Homer Watson, Two Cows in a
Stream, c.1885, oil on canvas, 33.5 x 54 cm, Homer Watson House & Gallery, Kitchener.
Millet (1814–1875), Charles-
François Daubigny (1817–1878),
Narcisse Díaz de la Peña (1807–1876), Théodore Rousseau (1812–1867),
Constant Troyon (1810–1865), and Jules Dupré (1811–1889). In the 1893–94
frieze that he painted on the walls of his studio, Watson included the names
and invented landscape paintings of five of those artists: Constable, Millet,
Daubigny, Díaz de la Peña, and Rousseau.
The thematic, formal, and psychological similarities between Watson,

Constable, and the Barbizon artists were strong. All were emotionally and
psychologically devoted to landscapes with whose topography and inhabitants
61
HOMER WATSON
they were closely familiar—seen, in Watson’s case, in images such as Two Cows
in a Stream, c.1885; In Valley Flats near Doon, c.1910; and The Flood Gate,
c.1900–1, among many others. Watson repeatedly argued that any landscape
painter’s richest and most meaningful work is done where “every familiar scene
is hallowed with a glamour which gives a charm the attractions of a strange
land can never give, and he paints it with a soul.”3
However, when similarities between his art and that of Constable and the
Barbizon artists were first proposed (in 1882, most famously by Oscar Wilde),
Watson had never seen original work by any of those artists. While he
acknowledged the points of comparison, he was also at pains to proclaim that
he was painting independently of the Europeans, even if his work seemed to
run along parallel lines.
LEFT: Homer Watson, The Stone Road, 1881, oil on canvas, 91.5 x 129.8 cm, National Gallery of Canada, Ottawa. RIGHT: Homer Watson,
A Grey Day at the Ford, 1885, oil on canvas, 60 x 90 cm, collection of the Hamilton Club.
Watson and the European artists’ commitment to rural landscapes to which

they had personal connections was only one of their similarities. Equally
important was their mutual attempt to express the importance of nature not
through precise detail—as Watson had done in his earliest paintings, influenced
by the Hudson River School’s prioritizing of optical veracity (The Pioneer Mill,
1880, and The Stone Road, 1881, for example)—but through the use of broad
pictorial effects whose sweep and power suggest pervasive moods that convey
nature’s underlying vitality and significance (as with Near the Close of a Stormy
Day, 1884, and many others). In the United States this style reached its apogee
in the work of George Inness (1825–1894), whose highly personal and poetic
approach to landscape painting was undoubtedly important to Watson.
Although the foreground of an early work such as A Coming Storm in the
Adirondacks, 1879, relies on precise draftsmanship to bring out a wealth of
detail in the rocks and trees, it is the sky—with its broadly brushed clouds and
its generally dark tonality—that points toward the blurred outlines, the
suppressed detail, and the unifying atmospherics of later canvases such as
Country Road, Stormy Day, c.1895, and the magisterially moody The Flood
Gate, c.1900–1. Hence, too, Watson’s partiality to “grey” days, as in A Grey Day
at the Ford, 1885, and to the times just before or just after rainstorms, when (as
in Before the Storm, 1887, or After the Rain, 1883) the air has a physicality that
unites diverse details into a shimmering unity.
62
HOMER WATSON
Homer Watson, Before the Storm, 1887, oil on canvas, 61.4 x 91.5 cm, Art Gallery of Windsor.
All great artists, Watson stated, followed a similar trajectory, beginning their
careers by concentrating on the analysis of detail but progressing from there to
the submerging of individual objects through the massing of form and the
synthesizing effects of light, colour, and atmosphere. Thus Constable, in
Watson’s evaluation, reached maturity by adopting (in paintings such as The
Hay Wain, 1821) unifying colour schemes that treated “the moods of nature . . .
in a . . . broad manner.” Similarly, Jean-Baptiste-Camille Corot (1796–1875; The
Oak in the Valley, 1871)—one of the Barbizon artists most admired by Watson
—“does not insult the intelligence” of viewers
by telling them a lot [of] trivial small matters. . . . He felt[,] as he doubtless

expected you should feel when you are enwrapped with a sentiment or love of
nature’s beauty at the close of day, that in the mystery of the light at that hour
you are filled with a fine thought of the spirit of the scene, that you have
implanted in you then an idea of the law of nature’s general harmony. 4
63
HOMER WATSON
LEFT: John Constable, The Hay Wain, 1821, oil on canvas, 130.2 x 185.4 cm, National Gallery, London. RIGHT: Jean-Baptiste-Camille
Corot, The Oak in the Valley, 1871, oil on canvas, 39.8 x 52.8 cm, National Gallery, London.
The British critic R.A.M. Stevenson was one of many viewers who identified a
commitment to broad and evocative pictorial effects as a crucial point of
contact between Watson and the Barbizon artists. At the same time, though, he
commented on the Canadian artist’s occasionally “rude” and “uncultured”
approaches to picture making. This was not entirely a criticism. Stevenson
attributed Watson’s “rudeness” in part to a lack of experience. But he also
suggested that the largely self-trained Watson’s sometimes unsophisticated
expressive strength, which resulted in occasional faults in his depiction of
individual objects, opened the door to the creation of unifying effects—
something that Stevenson saw as Watson’s forte.
Thus, the artist’s loose brushwork and broadly delineated forms in such
canvases as Log-cutting in the Woods, 1894, and especially The Flood Gate,
c.1900–1, conveyed a satisfyingly Barbizon-like sense of nature’s internal
consistency, poetry, and harmony. These were qualities intended by Watson
and admired by Stevenson, both of whom were skeptical about landscape
paintings that looked cobbled together out of separate elements and weighed
down with unnecessary detail. 5 Similarly, in 1896 the Canadian artist and critic
Harriet Ford (1859–1938) praised Watson’s “desire to express with breadth the
large things of nature, the mystery and charm, the dignity of things, which live
close to life.”6
LEFT: Homer Watson, Cattle Fording River in Moonlight, 1898, oil on board, 86.4 x 122.4 cm, private collection. RIGHT: Homer Watson,
Sheep and Shepherd, c.1900, oil on canvas, 55.9 x 76.8 cm, private collection.
64
HOMER WATSON
PAINT APPLICATION AND TONALITY

Watson employed two means to achieve his broad effects: heaviness of paint
application and subdued tonalities. The first of these, paint application, began
to change in the early 1880s. Prior to that point, in canvases such as The
Castellated Cliff and A Coming Storm in the Adirondacks, both from 1879, he
often treated the brush as if it were a pencil: a tool for drawing. By the early
1880s, however, he was producing canvases such as After the Rain, 1883, in
which draftsmanship is much less evident in the forms and details. That
tendency intensified around the time of his first visit to Europe, from 1887 to
1890. It would increase even more throughout much of the nearly half century
remaining in his working life, achieving some of its strongest statements in
such canvases as the impasto-laden The Flood Gate, c.1900–1.
LEFT: Homer Watson, The Castellated Cliff, 1879, oil on canvas, 87.6 x 126.2 cm, National Gallery of Canada, Ottawa. RIGHT: Homer
Watson, After the Rain, 1883, oil on canvas, 81.3 x 125.1 cm, Beaverbrook Art Gallery, Fredericton.
Feeling that he was better equipped by temperament and personal history to

paint Canadian rather than British landscapes, Watson maintained that nature
in Canada consisted of “strong forces” that called for sturdy paint application
in order to reveal their “vital truth.”7 For example, in The Hillside Gorge, 1889,
he exploited the brush to apply paint in broad strokes that convey a sense of a
bracing wind. Later, with The River Drivers, 1914 and 1925, he combines an
austere landscape with a sky exploding with light and motion.
In conjunction with his increasingly

rich paint application, Watson
limited his palette to a generally
narrow and cool tonality with a few
muted highlights, a development
that had begun during his first visit
to Britain and that led to such
canvases as Country Road, Stormy
Day, c.1895. The Toronto art LEFT: Homer Watson, Country Road, Stormy Day, c.1895, oil on board, 60 x 75 cm,
dealer John Payne, for example, private collection. RIGHT: Homer Watson, Below the Mill, 1901, oil on canvas,
79.4 x 129.5 cm, Montreal Museum of Fine Arts.
wrote in 1888 of his admiration of
Watson’s British canvases, which
he nicknamed “the browneys.”8 “One of the vices of Canadian colouring,” in
the view of an 1887 observer, “is its warmth not to say loudness, and Mr.
Watson’s work has been a protest against this fault.”9 Twenty-six years later, in
65
HOMER WATSON
1913, a newspaper reviewer accurately described Watson’s favourite colours—

seen in, for example, Below the Mill, 1901—as “deep rich browns and siennas
balanced with touches of bright greens and dull reds.”10
At his best, as in Summer Storm, c.1890, Watson used tonality as one tool for
the creation of a powerful sense of place, atmosphere, and mood. As his
choices of colours became more restricted, however, some commentators
complained that he was becoming monochromatic but without establishing
the kind of powerful mood that he had produced in, for example, River
Landscape, 1882; Near the Close of a Stormy Day, 1884; or Country Road,
Stormy Day, c.1895. As early as the mid-1890s he was occasionally being
criticized for what the traditional academic artist Wyly Grier (1862–1957)
described as a preoccupation with style and technique for their own sake. 11
In 1904 a Montreal reviewer protested that “the tone of some of [Watson’s
paintings] recalls strangely some of the old mezzo-tints,” and that this—
combined with the “whacking on [of] plenty of pigment and varnish”—resulted
in a “hopelessly artificial style.”12 Four years earlier another reviewer had
lauded the “force and individuality” that made Watson “without a doubt one of
the best landscape painters we have.” That writer nonetheless worried that the
work could become “too heavy and gloomy and pigmental, and that to see too
many of his canvases at a time gives one a sense of depression.”13
LEFT: Homer Watson, The Load of Grass, 1898, oil on board, 76.2 x 56 cm, Vancouver Art Gallery. RIGHT: Homer Watson, Summer Storm,
c.1890, oil on board, 33 x 45 cm, Homer Watson House & Gallery, Kitchener.
The artist, however, was as unrepentant about his sombre and restricted colour
schemes as he was about his heavy paint application. For Watson, canvases
such as The Load of Grass, 1898, among others, had nothing to do with the
sense of oppressiveness that increasing numbers of critics found in them.
Instead, he expressed concern that the Impressionists had made a fetish of
pure, highly saturated colours, and contended that their paintings were
exercises in working through technical problems rather than being vehicles for
conveying the magnificence of nature itself. 14 As Watson’s tonalities became
darker, strength of lighting became an important consideration in the hanging
66
HOMER WATSON
of his work. The most frustrating example of this occurred early in the
twentieth century, when The Flood Gate, c.1900–1, was returned to him
because the lighting in its first purchaser’s home, as well as in another venue to
which the painting was loaned, was too low for such a dark canvas.
POST-1920 PAINTINGS
Soon after the end of the First World War, Watson began experimenting with
colours that were often brighter and more diverse than those he had generally
favoured during the previous two decades. For example, Emerald Lake, Banff,
painted after 1920, sets up a striking contrast between light and dark. In works
such as this Watson was perhaps paying more attention to the chromatic
palettes of Impressionism, although there is little in his writings to confirm that
he had any significant understanding of, or engagement with, the
Impressionists or, indeed, of other modernists, almost all of whom preferred
brighter, purer colours than he used. The chromatic scheme of Moonlight,
Waning Winter, 1924, is made up largely of variations of white, along with light
pinks and purples. Purple also became more pervasive in Watson’s depictions
of clouds and skies during these years. Other paintings feature rich foliage
presented in comparatively muddy shades of orange or rusty red—for example,
The Valley of the Ridge, 1922.
LEFT: Homer Watson, Emerald Lake, Banff, c.1925, oil on board, 73.5 x 85 cm, Homer Watson House & Gallery, Kitchener. RIGHT: Homer
Watson, The Valley of the Ridge, 1922, oil on Masonite, 135.9 x 201.8 cm, Kitchener-Waterloo Art Gallery.
Besides their use of new and often unnatural colours, Watson’s late paintings
broke new ground for him in their relatively tight focus. During the 1880s and
1890s especially, but also during the first two decades of the twentieth
century, his more ambitious paintings had been studio constructions:
expansive views that he built by modifying and combining plein air drawings of
individual motifs. After the early 1920s, however, close-up landscape views,
rather than the broader composite scenes of his earlier years, came to
dominate his work.
67
HOMER WATSON
In part this was because of the artist’s declining health, which made it difficult
for him to undertake large, complex canvases. A second factor, however, was
his 1923 acquisition of an automobile. That purchase enabled Watson to make
painting trips that would otherwise have been too physically demanding. Now,
unencumbered by the need to minimize the amount and weight of his
equipment, he was able to paint directly onto sturdy panel supports in the
immediate presence of his open-air subjects. Moreover, he often did not
repaint the resulting views onto canvas, or even do further work on them, once
he was back in his studio. This seems to have been the case with, for example,
Storm Drift, 1934, which he painted directly onto board without later
transferring it to canvas. Watson’s paintings from these years thus tended to be
produced more quickly than in the past, and the relationship between the
finished images and the natural scenes that had inspired them became less
mediated. In many cases, too, the paint was applied with a new degree of
liveliness, thickness, and energy.
Homer Watson, Storm Drift, 1934, oil on paperboard, 86.5 x 121.8 cm, Kitchener-Waterloo Art Gallery.
68
HOMER WATSON
Watson’s career-long resolve to convey the immediacy and power of nature

thus remained unchanged during his final years. The thick impasto and
dynamic brushwork of his late paintings—Moonlit Stream, 1933, and High
Water, Pine Bend, c.1935, for example—continued what had always been his
determination to seek out the forces that drove the natural world. What was
paramount, during the 1920s and 1930s, was the degree to which those forces
were implied in the immediacy and the gestural violence of oils such as Speed
River Flats near Preston, c.1930. These late works in effect mimicked, in their
rough physicality, the forces and the grandeur that Watson had always
believed existed just beneath nature’s surface.
LEFT: Homer Watson, High Water, Pine Bend, c.1935, oil on board, 86 x 121 cm, Kitchener-Waterloo Art Gallery. RIGHT: Homer Watson,
Speed River Flats near Preston, c.1930, oil on board, 30 x 40 cm, Homer Watson House & Gallery, Kitchener.
69
HOMER WATSON
Homer Watson’s works can be found in numerous public and private

collections across Canada, as well as in the Royal Collection Trust in
the United Kingdom. The most significant public collections of his work
are at the National Gallery of Canada, Ottawa; the Homer Watson
House & Gallery, Kitchener; the Art Gallery of Ontario, Toronto; and the
Kitchener-Waterloo Art Gallery. Although the following institutions hold
the works listed below, the works may not always be on view.
70
HOMER WATSON
ART GALLERY OF HAMILTON

123 King Street West
Hamilton, Ontario, Canada
905-527-6610
artgalleryofhamilton.com
Homer Watson, Haymaking, Last

Load, c.1880
Oil on canvas
53.2 x 80.1 cm
ART GALLERY OF NOVA SCOTIA

1723 Hollis Street
Halifax, Nova Scotia, Canada
902-424-5280
artgalleryofnovascotia.ca
Homer Watson, Grand River

Landscape at Doon, c.1881
Oil on canvas
55.5 x 91.5 cm
71
HOMER WATSON
ART GALLERY OF ONTARIO

317 Dundas Street West
Toronto, Ontario, Canada
416-979-6648
ago.ca
Homer Watson, Homer Watson, The Homer Watson, On the Homer Watson, The
Susquehanna Valley, Death of Elaine, 1877 Mohawk River, 1878 Old Mill, 1886
c.1877 Oil on canvas Oil on canvas Oil on canvas
Oil on canvas 78.1 x 106.7 cm 64.8 x 86.4 cm 96.5 x 147.3 cm
22.4 x 32.5 cm
Homer Watson,
Morning at Lakeview,
Ontario, 1890
Oil on cardboard
25.4 x 35.6 cm
ART GALLERY OF WINDSOR

401 Riverside Drive West
Windsor, Ontario, Canada
519-977-0013
agw.ca
Homer Watson, Before the Homer Watson, Near Twilight,

Storm, 1887 B.C., c.1934
Oil on canvas Oil on Masonite
61.4 x 91.5 cm 86 x 112 cm
72
HOMER WATSON
BEAVERBROOK ART GALLERY

703 Queen Street
Fredericton, New Brunswick, Canada
506-458-2028
beaverbrookartgallery.org
Homer Watson, Smuggler’s Cove, Homer Watson, After the Rain,

Cape Breton Island, Nova Scotia, 1883
1909 Oil on canvas
Oil on Masonite 81.3 x 125.1 cm
86.4 x 121.9 cm
CANADIAN WAR MUSEUM

1 Vimy Place
Ottawa, Ontario, Canada
819-776-7000
warmuseum.ca
Homer Watson, The Ranges

(Camp at Sunrise), 1915
Oil on canvas
152 x 181 cm
73
HOMER WATSON
CASTLE KILBRIDE COLLECTION AND MUSEUM

60 Snyder’s Road West
Baden, Ontario, Canada
519-634-8444
wilmot.ca/en/Castle-Kilbride-Museum.aspx
Homer Watson, The Old Mill and

Stream, 1879
Oil on canvas
60 x 88 cm
HOMER WATSON HOUSE & GALLERY

1754 Old Mill Road
Kitchener, Ontario, Canada
519-748-4377
homerwatson.on.ca
Homer Watson, The Homer Watson, Grand Homer Watson, Two Homer Watson,
Swollen Creek, c.1870 River Valley, c.1880 Cows in a Stream, Summer Storm, c.1890
Oil on canvas Oil on board c.1885 Oil on board
82.5 x 70 cm 30 x 45 cm Oil on canvas 33 x 45 cm
33.5 x 54 cm
74
HOMER WATSON
Homer Watson, studio Homer Watson, In Homer Watson, Homer Watson, Speed
frieze, 1893–94 Valley Flats Near Doon, Emerald Lake, Banff, River Flats Near
Oil on plaster wall c.1910 c.1925 Preston, c.1930
48 x 5,000 cm (original Oil on canvas Oil on board Oil on board
studio) and 66 x 101.5 cm 73.5 x 85 cm 30 x 40 cm
40 x 6,814 cm (studio
addition)
KITCHENER-WATERLOO ART GALLERY

101 Queen Street North
Kitchener, Ontario, Canada
519-579-5860
kwag.ca
Homer Watson, Homer Watson, Woods Homer Watson, The Homer Watson, Storm
drawing for A Land of in June, c.1910 Valley of the Ridge, Drift, 1934
Thrift, c.1883 Oil on canvas 1922 Oil on paperboard
Ink over graphite on 70.1 x 98.1 cm Oil on Masonite 86.5 x 121.8 cm
paper 135.9 x 201.8 cm
56.5 x 71.8 cm
Homer Watson, High

Water, Pine Bend,
c.1935
Oil on board
86 x 121 cm
75
HOMER WATSON
LAURIER HOUSE
335 Laurier Avenue East
613-992-8142
pc.gc.ca/en/lhn-nhs/on/laurier
Homer Watson, Evening Homer Watson, Moonlit Stream,

Moonrise, 1933 1933
Oil on panel Oil on panel
31.8 x 41.9 cm 31.8 x 41.9 cm
MACKENZIE ART GALLERY

University of Regina
3475 Albert Street
Regina, Saskatchewan, Canada
306-584-4250
mackenzieartgallery.ca
Homer Watson, study for The Homer Watson, The River Drivers,
River Drivers, c.1913 1914, 1925
Oil on cardboard Oil on canvas
25.4 x 35.6 cm 87 x 121.9 cm
76
HOMER WATSON
MONTREAL MUSEUM OF FINE ARTS

1380 Sherbrooke Street West
Jean-Noël Desmarais Pavilion
Montreal, Quebec, Canada
514-285-2000
mbam.qc.ca
Homer Watson, A Homer Watson, Log- Homer Watson, Below

Coming Storm in the cutting in the Woods, the Mill, 1901
Adirondacks, 1879 1894 Oil on canvas
Oil on canvas Oil on canvas 79.4 x 129.5 cm
85.7 x 118.3 cm 45.7 x 61 cm
NATIONAL GALLERY OF CANADA

380 Sussex Drive
613-990-1985
gallery.ca
Homer Watson, Quilp Homer Watson, Life Homer Watson, The Homer Watson,
and Sampson Brass in and Thought Hath Fled Castellated Cliff, 1879 Roxanna Bechtel
the Old Curiosity Shop, Away, c.1865–69 Oil on canvas Watson, probably
late 1860s to early Graphite, black ink, and 87.6 x 126.2 cm 1880s
1870s wash on wove paper Graphite and
Pen and black ink, dry 17.8 x 23.4 cm watercolour on wove
brush, and graphite on (sketchbook page paper
wove paper 7875.96) 20 x 17.1 cm
27.3 x 20.3 cm (sketchbook page
7875.90)
77
HOMER WATSON
Homer Watson, The Homer Watson, Down Homer Watson, A Homer Watson, On the
Stone Road, 1881 in the Laurentides, Cornfield, 1883 River at Doon, 1885
Oil on canvas 1882 Oil on canvas Oil on canvas
91.5 x 129.8 cm Oil on canvas 80.1 x 114.4 cm 61 x 91.6 cm
65.8 x 107 cm
Homer Watson, Homer Watson, Homer Watson, A Homer Watson,

Landscape, Scotland, Landscape with Road, Hillside Gorge, 1889 Landscape, 1889
1888 c.1889 Oil on canvas Etching in brown ink on
Oil on canvas Etching on wove paper 45.5 x 61 cm heavy buff wove paper
86.5 x 122.3 cm 9.6 x 14 cm; plate: 19 x 17.7 cm, plate:
6.5 x 10.1 cm 9.8 x 15.1 cm
Homer Watson, Homer Watson, Nut Homer Watson, The

landscape drawings Gatherers in the Forest, Flood Gate, c.1900–1
and a preliminary 1900 Oil on canvas
outline of a building, Oil on canvas 86.9 x 121.8 cm
c.1895–96 121.9 x 86.5 cm
Pen and ink on paper
35.5 x 27.5 cm
(sketchbook page
7875.92r)
78
HOMER WATSON
Homer Watson, Moonlight, Homer Watson, Early Winter,

Waning Winter, 1924 c.1930
Oil on beaverboard screwed to Oil on cardboard
framework 31.7 x 41.6 cm
86.6 x 121.9 cm
ROYAL COLLECTION TRUST, WINDSOR CASTLE

Windsor Castle
Windsor, Berkshire, United Kingdom
303-123-7324
royalcollection.org.uk/visit/windsorcastle
Homer Watson, The Pioneer Mill, Homer Watson, The Last of the
1880 Drouth (The Last Day of the
Oil on canvas Drought), 1881
86 x 127.8 cm Oil on canvas
92.1 x 138.5 cm
79
HOMER WATSON
VANCOUVER ART GALLERY

750 Hornby Street
Vancouver, British Columbia, Canada
604-662-4719
vanartgallery.bc.ca
Homer Watson, River Homer Watson, The Homer Watson,

Landscape, 1882 Load of Grass, 1898 November among the
Oil on canvas Oil on board Oaks, c.1920
66.5 x 107.5 cm 76.2 x 56 cm Oil on canvas
57 x 78 cm
WINNIPEG ART GALLERY

300 Memorial Boulevard
Winnipeg, Manitoba, Canada
204-786-6641
wag.ca
Homer Watson, Near the Close of

a Stormy Day, 1884
Oil on canvas
96.5 x 142.6 cm
80
HOMER WATSON
NOTES
BIOGRAPHY
1. Elizabeth Bloomfield, Waterloo Township through Two Centuries (Kitchener:
Waterloo Historical Society, 1995), 201.
2. See, for example: Letter from Watson to Mrs. F.J. Martin, February 28, 1922,
Homer Watson Fonds, National Gallery of Canada Library & Archives. Unless
otherwise noted, all archival correspondence is drawn from this fonds.
3. Jennifer C. Watson, “Homer Watson in the Kitchener-Waterloo Art Gallery,”

RACAR (Revue d’art canadienne / Canadian Art Review) 14, no. 2 (1987): 144n5.
4. Muriel Miller, Homer Watson: The Man of Doon (Toronto: The Ryerson Press,
1938), 11.
5. Miller, Homer Watson, 17. Miller most likely received the information from
Watson or his sister, Phoebe. For counterclaims that Watson did meet Inness,
however briefly, see: “G. Horne Russell, President of RCA,” Montreal Gazette,
November 18, 1922, and J. Russell Harper, Homer Watson, R.C.A., 1855–1936:
Paintings and Drawings / Peintures et dessins (Ottawa: National Gallery of
Canada, 1963), 8.
6. Letter from Watson to John M. Lyle, February 15, 1933.
7. “Art in Toronto,” Toronto Evening Telegram, May 20, 1878, 7.
8. “Ontario Society of Artists: Seventh Annual Exhibition—Second Day,”

Toronto Globe, May 17, 1879, 8.
9. Kevin O’Brien, “Oscar Wilde and Canadian Artists,” Antigonish Review 1,

no. 4 (Winter 1971): 11–28.
10. Watson, in text dictated to Myrtle Bean and reprinted in Jane VanEvery,
With Faith, Ignorance and Delight: Homer Watson (Doon, ON: Homer Watson
Trust, 1967), 48.
11. “Canadian Art,” Toronto Mail, May 19, 1882, 8.
12. Letter from John Payne to Watson, February 28, 1889.
13. Letter from Watson to Mrs. F.J. Martin, February 28, 1922.
14. Letter from Roxa Watson to Phoebe and Susan Mohr Watson,
autumn 1888.
15. “Information Form for the Purpose of Making a Record of Canadian Artists
and Their Work,” Doc C/A—Homer Watson, National Gallery of Canada Library
& Archives.
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HOMER WATSON
16. See Rosemarie L. Tovell, “Homer Watson’s The Pioneer Mill: The Making
and Marketing of a Print in the Canadian Etching Revival,” Journal of Canadian
Art History 31, no. 2 (2010): 28–31.
17. Reproduced in “The Pictures at the New Gallery,” Pall Mall Gazette “Extra,”
May 6, 1889, 76.
18. Letter from Roxa Watson to Phoebe Watson, May 2, 1897, Homer Watson
Fonds, Queen’s University Archives.
19. Charles Dumas, “Art Dealers and Collectors,” in Ronald de Leeux, John
Sillevis, and Charles Dumas, The Hague School: Dutch Masters of the 19th
Century (Paris: Grand Palais, with Weidenfeld and Nicolson, London, 1983),
126.
20. Letter from Roxa Watson to Phoebe and Susan Mohr Watson, April 8, 1889.
21. Letter from Roxa Watson to Phoebe and Susan Mohr Watson, May 5, 1889.
22. Letter from Watson to Phoebe and Susan Mohr Watson, 1890.
23. O’Brien, “Oscar Wilde and Canadian Artists,” 23.
24. Letter from Roxa Watson to Phoebe and Susan Mohr Watson, July 12,
1888.
25. Letter from Watson to Charles Porteous, May 28, [1901?], Charles Porteous
Papers, Volume 9, File “T,U,V,W,” Library and Archives Canada.
26. James Mavor, “The Art of Mr. Homer Watson,” Art Journal (July 1899):
208–11.
27. Letter from James Spooner to Watson, August 25, 1885.
28. Letter from John Payne to Watson, April 14, 1888.
29. Letter from Watson to Edmund Morris, March 31, 1907, Canadian Art Club
papers, Edward P. Taylor Library & Archives, Art Gallery of Ontario.
30. Letter from Watson to Robert Gagen, n.d., Ontario Society of Artists
papers, Archives of Ontario.
31. For example: “Canadian Pictures at Wembley: Inadequate Character of the

Display Proven by Documentary Evidence,” Saturday Night 39, no. 28 (May 31,
1924): 3. The newspapers included Watson’s name, but that may have been an
error. The original letter no longer exists, so it is impossible to know whether
Watson wrote his signature on it.
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HOMER WATSON
32. Draft of a letter from Watson to Eric Brown, February 16, 1924/1925. In the
past, the National Gallery had been allowed to add from its own collection to
RCA-juried international exhibitions, and Nut Gatherers in the Forest had
entered the gallery’s collection in 1909.
33. Draft of a letter from Watson to Eric Brown, February 16, 1924/1925.
34. Letter from F.M. Bell-Smith to Watson, February 7, 1919.
35. Watson, “The Methods of Some Great Landscape Painters” (lecture given at
the University of Toronto on February 3, 1900), in Gerald Noonan, Refining the
Real Canada: Homer Watson’s Spiritual Landscape (Waterloo: mlr editions
canada, 1997), 269.
36. Watson, quoted in Muriel Miller, Homer Watson: The Man of Doon
(Toronto: Summerhill Press, 1988), 114.
37. Noonan, Refining the Real Canada, 194.
38. Letter from Wyly Grier to Phoebe Watson, May 11, 1936.
39. R.C. Reade, “Hermits of Art,” Toronto Star Weekly (May 4, 1939): 3.
40. William Lyon Mackenzie King, diary entry for May 30, 1936, Library and
Archives Canada.
KEY WORKS: THE DEATH OF ELAINE

1. Ian Paterson, “Arthurian Legend, Tennyson, and Homer Watson’s Death of
Elaine,” unpublished student essay, 1976, Edward P. Taylor Library & Archives,
Art Gallery of Ontario.
KEY WORKS: A COMING STORM IN THE ADIRONDACKS

1. Quoted in Jane VanEvery, With Faith, Ignorance and Delight: Homer Watson
(Doon, ON: Homer Watson Trust, 1967), 47. Watson had received some
lessons from an unidentified American artist during his travels in New York.
2. For example: Letter from the Marquis of Lorne to Watson, January 14, 1888,
and letter from John Payne to Watson, May 17, 1888, Homer Watson Fonds,
National Gallery of Canada Library & Archives.
3. “Ontario Society of Artists: Seventh Annual Exhibition—Second Day,”

Toronto Globe, May 17, 1879, 8.
4. “Art Association of Montreal: Exhibition of Works by Canadian Artists,”

Montreal Gazette, April 14, 1880, 4.
KEY WORKS: THE PIONEER MILL

1. Watson to John M. Lyle, February 15, 1933, Homer Watson Fonds, National
Gallery of Canada Library & Archives.
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HOMER WATSON
2. Jane VanEvery, With Faith, Ignorance and Delight: Homer Watson (Doon,
ON: Homer Watson Trust, 1967), 53. See also Brian Foss, “Homer Watson and
The Pioneer Mill,” Journal of Canadian Art History 33, no. 1 (Spring 2012):
46–84.
KEY WORKS: NEAR THE CLOSE OF A STORMY DAY

1. “Notes on the Montreal Art Exhibition,” The Week, May 1, 1884, 344.
KEY WORKS: STUDIO FRIEZE

1. In “The Methods of Some Great Landscape Painters,” a 1900 lecture he gave
at the University of Toronto, Watson elaborated on his interest in most of
these artists, omitting only Gainsborough and Bastien-Lepage. The text is
published in Gerald Noonan, Refining the Real Canada: Homer Watson’s
Spiritual Landscapes (Waterloo: mlr editions canada, 1997), 248–69.
2. J. Russell Harper, Homer Watson, R.C.A. 1855–1936: Paintings and

Drawings / Peintures et dessins (Ottawa: National Gallery of Canada, 1963), 16.
KEY WORKS: LOG-CUTTING IN THE WOODS

1. “The Spring Exhibition,” Montreal Gazette, May 5, 1894, 6.
2. “Art Gallery Jottings: The Different Pictures Ably Criticised—An Improvement

on Former Years,” Montreal Metropolitan, May 5, 1894, 9.
KEY WORKS: THE FLOOD GATE

ON: Homer Watson Trust, 1967), 31–32.
2. Watson to Newton MacTavish, May 5, 1908, Newton MacTavish Fonds,

North York Public Library.
3. Phoebe Watson to M.E. Becker, May 20, 1921, Homer Watson Fonds,
4. Arthur Lismer, The Flood Gate by Homer Watson (Outline for Picture Study,
series 1, no. 8) (Ottawa: National Gallery of Canada, [1932?]).
5. Watson to Arthur Lismer, n.d.
6. “Royal Canadian Academy Exhibition,” Toronto Globe, April 24, 1908, 5.
7. Today, the causes of the damage are considered uncertain, but they were
likely more complex than Brown had suggested.
8. MacTavish to Watson, May 4, 1908, Newton MacTavish Fonds, North York

Public Library.
KEY WORKS: THE RIVER DRIVERS

1. J. Russell Harper, Painting in Canada: A History (Toronto: University of
Toronto Press, 1966), 206–7.
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HOMER WATSON
2. Watson to Mrs. F.J. Martin, February 28, 1922, Homer Watson Fonds,
3. Watson to Norman MacKenzie, April 30, 1914, MacKenzie Art Gallery papers,
Regina.
4. Watson to MacKenzie, April 30, 1914.
5. MacKenzie to Watson, July 20, 1925.
KEY WORKS: THE RANGES (CAMP AT SUNRISE)

1. Hughes had created the Valcartier facility ex nihilo in the days immediately
following Canada’s entry into the war on August 4.
2. Samuel Morgan-Powell, “Exhibition Is Here for Month,” Montreal Star,

November 22, 1915, 2.
3. “Royal Canadian Academy of Arts Opens Galleries,” Montreal Herald,

November 19, 1915, 5.
4. Muriel Miller, Homer Watson: The Man of Doon (Toronto: Summerhill Press,
1988), 95.
KEY WORKS: MOONLIGHT, WANING WINTER

1. Watson, quoted in Muriel Miller, Homer Watson: The Man of Doon (Toronto:
Summerhill Press, 1988), 105.
2. Watson, quoted in Miller, Homer Watson, 105.
KEY WORKS: MOONLIT STREAM

1. Homer Watson, “A Return to the Village,” in Gerald Noonan, Refining the
Real Canada: Homer Watson’s Spiritual Landscape (Waterloo: mlr editions
canada, 1997), 330. George Inness, too, had intended his landscapes to be
material references to a non-material world, although it is not at all clear
whether or how fully Watson was aware of this. Inness’s touchstones in this
regard were the theories of the eighteenth-century mystic Emmanuel
Swedenborg.
2. W.L. Mackenzie King to Watson, June 22, 1933, Homer Watson Fonds,
3. King to Watson, October 1, 1933.
4. King to Watson, October 1, 1933.
SIGNIFICANCE & CRITICAL ISSUES

1. Geoffrey Hayes, Waterloo County: An Illustrated History (Kitchener: Waterloo
Historical Society, 1997), 82.
85
HOMER WATSON
2. Watson and the pioneer theme are discussed in Brian Foss, “Homer Watson
and The Pioneer Mill,” Journal of Canadian Art History 33, no. 1 (Spring 2012):
46–84.
3. J. Russell Harper, Homer Watson, R.C.A., 1855–1936: Paintings and

4. See especially Dennis Reid, “Our Own Country Canada,” being an Account of
the National Aspirations of the Principal Landscape Artists in Montreal and
Toronto, 1860–1890 (Ottawa: National Gallery of Canada / National Museums
of Canada, 1979).
5. Watson, “The Methods of Some Great Landscape Painters,” published in

Gerald Noonan, Refining the Real Canada: Homer Watson’s Spiritual Landscape
(Waterloo: mlr editions canada, 1997), 267–68.
6. Watson, quoted in Frank Page, Homer Watson, Artist and Man (Kitchener:
Commercial Printing Company, 1939), 16–17.
7. R.M. Fleming, “Homer Watson, Painter of Canadian Pictures,” Ottawa

Evening Journal, November 15, 1913, 11.
8. Watson, “The Idealist versus the Realist,” published in Noonan, Refining the
Real Canada, 288–305.
9. James Mavor, “The Art of Mr. Homer Watson,” Art Journal (July 1899):
209–10.
10. Letter from Watson to John Lyle, February 15, 1933, Homer Watson Fonds,
National Gallery of Canada Library & Archives. Unless otherwise noted, all
archival correspondence is drawn from this fonds.
11. Letter from Watson to Wyly Grier, n.d. [after October 19, 1923].
12. Letter from Watson to Eric Brown, January 24, [1926].
13. See, for example: Mary Vipond, “The Nationalist Network: English Canada’s
Intellectuals and Artists in the 1920s,” Canadian Review of Studies in
Nationalism 7, no. 1 (1980): 32–52; and Charles C. Hill, The Group of Seven: Art
for a Nation (Toronto: McClelland and Stewart, 1995).
14. Paul Walton, “Beauty My Mistress: Hector Charlesworth as Art Critic,”

Journal of Canadian Art History 15, no. 1 (1982): 84–106.
ON: Homer Watson Trust, 1967), 61–62.
16. Letter from Watson to Eric Brown, April 13, 1934.
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HOMER WATSON
STYLE & TECHNIQUE

1. J. Russell Harper, Homer Watson, R.C.A., 1855–1936: Paintings and
2. Watson, quoted in Jane VanEvery, With Faith, Ignorance and Delight: Homer
Watson (Doon, ON: Homer Watson Trust, 1967), 53.
3. Watson, “The Methods of Some Great Landscape Painters,” in Gerald

Noonan, Refining the Real Canada: Homer Watson’s Spiritual Landscape
(Waterloo: mlr editions canada, 1997), 268–69.
4. Watson, “The Methods,” 260, 262.
5. R.A.M.S. [R.A.M. Stevenson], “Mr. Homer Watson,” Pall Mall Gazette, July 22,
1899, 3.
6. Harriet Ford, “Canadian Pictures,” Mail and Empire, March 17, 1896, 3.
7. Letter from Watson to Mrs. F.J. Martin, 1922, Homer Watson Fonds, National
Gallery of Canada Library & Archives. Unless otherwise noted, all archival
correspondence is drawn from this fonds.
8. Letter from John Payne to Watson, June 13, 1888.
9. “In the Art Rooms,” Toronto Daily Mail, June 20, 1887, 5.
10. “Homer Watson, Painter of Canadian Pictures,” Ottawa Evening Journal,

November 15, 1913, 11.
11. Wyly Grier, “Art Notes,” The Week, February 8, 1895, 258–59.
12. “Art Exhibition,” Montreal Witness, March 26, 1904, 6.
13. “Spring Exhibition—Second Notice,” Montreal Witness, March 22, 1900, 4.
14. Letter from Watson to Arthur Lismer, n.d.
87
HOMER WATSON
GLOSSARY
academic tradition
Associated with the royal academies of art established in France and England
in the seventeenth and eighteenth centuries respectively, the academic
tradition emphasized drawing, painting, and sculpture in a style highly
influenced by ancient classical art. Subject matter for painting was
hierarchically ranked, with history painting of religious, mythological,
allegorical, and historical figures holding the position of greatest importance,
followed, in order, by genre painting, portraiture, still lifes, and landscapes.
Anishinaabe/Anishnabe
A collective term that means “the people” or “original people” and refers to a
number of interconnected communities such as the Ojibway/Ojibwa/Ojibwé,
Odawa, Chippewa, Saulteaux, Mississauga, Potawatomi, and others. In Canada,
the Anishinaabe/Anishnabe region includes areas of Manitoba, Ontario,
and Quebec.
Art Association of Montreal (AAM)

Founded in 1860 as an offshoot of the Montreal Society of Artists (itself dating
to 1847), the Art Association of Montreal became the Montreal Museum of
Fine Arts in 1947. The MMFA is now a major international museum, with more
than 760,000 visitors annually.
Barbizon
A village on the edge of the forest of Fontainebleau near Paris and, from the
1830s to the 1870s, a gathering place for French landscape painters who
rejected the academic style in favour of realism. This informal group, later
known as the Barbizon school, emphasized painting en plein air, in and directly
from nature, setting the path for Impressionism. Major artists of the group
include Théodore Rousseau, Jean-François Millet, and Jean-Baptiste-Camille
Corot.
Bastien-Lepage, Jules (French, 1848–1884)

A leading French Naturalist painter, Bastien-Lepage was especially known for
his rural scenes and portraits of famous performers. He studied with Alexandre
Cabanel at the École des Beaux-Arts in Paris 1867 and was awarded the
prestigious Legion of Honour in 1879 for his Portrait of Sarah Bernhardt.
Beaver Hall Group

A group of approximately twenty-nine Montreal-based artists (1920–23),
named after its headquarters on Montreal’s Beaver Hall Hill. Half of the group’s
members and associates were women. Like the Group of Seven (founded just
weeks earlier), it promoted modernist art, but the Beaver Hall Group went
beyond landscapes to concentrate on urban and rural scenes, portraiture, and
the human figure. Prominent adherents included Emily Coonan, Adrien and
Henri Hébert, Prudence Heward, Edwin Holgate, Mabel May, Sarah Robertson,
Albert Robinson, and Anne Savage.
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HOMER WATSON
Bell-Smith, F.M. (British/Canadian, 1846–1923)

A prolific watercolour and oil painter best known today for his landscapes and
especially for his views of the Rocky and Selkirk mountain ranges. The English-
born Bell-Smith studied art in London before immigrating in 1867 to Canada,
where he worked and taught in Montreal, Hamilton, Toronto, and elsewhere in
southern Ontario. He made his first visit to British Columbia in 1887 on free
passes supplied by the Canadian Pacific Railway, and his intense engagement
with the mountains would draw him back several times over the next three
decades.
British Empire Exhibition

The British Empire Exhibition was a celebration of colonial industry, natural
resources, and culture held in 1924 and 1925 at Wembley Park in London,
England. Featuring gardens, pavilions, a stadium, and an amusement park, the
grand exhibition was intended to enhance trade and economic connections
between Britain’s various territories, fifty-six of which were participants.
Canada’s pavilion highlighted not only the dominion’s dairy, mining, forestry,
and rail industries, but also recent and contemporary Canadian art.
Brown, Eric (British/Canadian, 1877–1939)

As the first director of the National Gallery of Canada, Brown held the position
from 1912 until his death. Earlier, he had been curator of the gallery’s
collection, at the invitation of Sir Edmund Walker, a banker and major patron
of the arts. Brown was a passionate builder of the gallery’s collections, both
international and Canadian, and travelled often to Europe to make contacts
with artists and dealers.
Brymner, William (Scottish/Canadian, 1855–1925)

A painter and influential teacher who contributed greatly to the development
of painting in Canada, Brymner instructed at the Art Association of Montreal.
Several of his students, including A.Y. Jackson, Edwin Holgate, and Prudence
Heward, became prominent figures in Canadian art.
Canadian Art Club

Active from 1907 to 1915, the Toronto-based Canadian Art Club was
spearheaded by the painters Edmund Morris and Curtis Williamson as a
departure from what they viewed as the low standards of the Ontario Society
of Artists. The invitation-only club included prominent Canadian painters and
sculptors influenced by international developments, including recent Dutch
and French painting. One of its goals was to entice expatriates, most notably
James Wilson Morrice and Clarence Gagnon, to exhibit in Canada. Homer
Watson served as the Canadian Art Club’s first president.
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HOMER WATSON
Canadian Group of Painters

Founded in 1933 after the disbanding of the Group of Seven by former
members and their associates, the Canadian Group of Painters championed
modernist painting styles against the entrenched traditionalism of the Royal
Canadian Academy of Arts. It provided a platform for artists across Canada
who were pursuing a variety of new concerns, from the formal experimentation
of Bertram Brooker to the modern-figure subjects of Prudence Heward and
Pegi Nicol MacLeod and the expressive landscapes of Emily Carr.
Clausen, George (British, 1852–1944)

A painter of rural landscapes and peasant life, Clausen was a proponent of
British Impressionism and a co-founder of the New English Art Club in 1886.
He believed in bringing reform to the stiff traditional style of the Royal
Academy of Arts, where he taught from 1904 to 1906. He served as a war artist
during the First World War and was knighted in 1927.
Constable, John (British, 1776–1837)

Viewed today, along with J.M.W. Turner, as one of the greatest British
landscape and sky painters of the nineteenth century. Constable painted
mostly in his native region of Suffolk and the surrounding areas. He took a
more expressive approach to his paintings than many of his predecessors and
contemporaries.
Corot, Jean-Baptiste-Camille (French, 1796–1875)

Although known today as a landscape painter—among the most influential of
the nineteenth century—and the leading member of the Barbizon school of
French nature painters, Corot rose to prominence in his own time for the
Romantic tableaux he exhibited regularly at the Paris Salon.
Daubigny, Charles-François (French, 1817–1878)

Daubigny was a naturalistic landscape painter and one of the earliest
promoters in France of plein air painting. Although closely associated with the
Barbizon school, a group of artists who lived and painted outdoors in the
forest of Fontainebleau, he was more dedicated to river scenery than to forest
interiors. His interest in the depiction of light and its reflections made him a
precursor of Impressionism. He was also an important supporter of
Impressionist painters such as Claude Monet and Camille Pissarro.
Doré, Gustave (French, 1832–1883)

Doré worked in various media, including painting and sculpture, but was best
known as a popular caricaturist, illustrator, and printmaker. He produced large
numbers of wood engravings for many publications, including literary works by
authors such as Dante Alighieri, John Milton, Cervantes, Lord Byron, Edgar
Allan Poe, and Alfred, Lord Tennyson. Technically brilliant, his illustrations and
prints were often characterized by their exploitation of fantasy, excess, and
the sublime.
90
HOMER WATSON
Dowdeswell Gallery
A gallery opened in about 1878 by art dealer Charles William Dowdeswell in
London, England. The Dowdeswell Gallery supported rising English artists
from 1878 to the early 1920s, exhibiting their paintings and publishing their
prints. Among the artists promoted by the gallery were James McNeill Whistler,
Myles Birket Foster, and Byam Shaw.
Dupré, Jules (French, 1811–1889)

A landscape and marine painter and a leading member of the Barbizon school,
although he seldom took the forest of Fontainebleau as a subject. As a young
artist, Dupré had been influenced by the work of the English Romantic
landscape painter John Constable. Throughout his career he was less
interested than most of his Barbizon colleagues in exploring the shifting effects
of light than he was in transmuting the landscape into emotionally evocative
visual statements.
Dutch Gallery
The Dutch Gallery was opened in 1892 as the London, England, branch of the
Amsterdam-based E.J. van Wisselingh & Co. art dealership. Operating until the
First World War, the gallery exhibited especially Barbizon and Hague School
landscapes and genre scenes. The Dutch Gallery was renamed E.J. van
Wisselingh’s Gallery in 1906.
Díaz de la Peña, Narcisse (French, 1807–1876)

A landscape painter who, beginning in the early 1830s, established friendships
with artists with whom he later formed the Barbizon school. Like most of those
artists, he worked extensively in the forest of Fontainebleau, where he often
spent his summers. He had a particularly close relationship with fellow Barbizon
painter Théodore Rousseau. Diaz de la Peña’s landscapes tend to be more
richly painted and to rely on more dramatic lighting effects than do the
generally more meditative views of his colleagues.
Eaton, Wyatt (Canadian/American, 1849–1896)

A landscape, genre, and portrait painter as well as an illustrator, Eaton was
born in Quebec’s Eastern Townships, but moved to New York City in 1867
before spending four years, 1872–1876, working and studying in London and
Paris. Following his first trip to France he was inspired by the work of Jean-
François Millet and other artists of the Barbizon school. Eaton taught at The
Cooper Union art school in New York, and was a founding member of the
Society of Canadian Artists, as well as of both the American Art Association
and its successor, the Society of American Artists.
91
HOMER WATSON
Edson, Aaron Allan (Canadian, 1846–1888)

A leading landscape painter of his day, Edson spent time living and studying in
England, Scotland, and France at various points in his life, but otherwise
centred his career in Montreal and in Quebec’s Eastern Townships. His early
interest in vivid detail was augmented by his rich and sophisticated sense of
colour, and by his poetic experiments with the depiction of light. Edson was a
founding member of the Society of Canadian Artists (1867). His death at the
age of forty-one cut short one of the most accomplished artistic careers of his
day in Canada.
engraving
The name applied to both a type of print and the process used in its
production. Engravings are made by cutting into a metal, wood, or plastic
plate with specialized tools and then inking the incised lines. The ink is
transferred to paper under the immense pressure of a printing press.
en plein air
French for “in the open air,” used to describe the practice of painting or
sketching outdoors to observe nature, and in particular the changing effects of
weather, atmosphere, and light.
Ford, Harriet (Canadian, 1859–1938)

A painter, muralist, writer, and jewellery maker, Ford studied at the Central
Ontario School of Art in Toronto in 1881, then travelled to England and France
to continue her art education at the Royal Academy of Arts and Académie
Colarossi. She was a founding member of the Society of Mural Decorators.
Ford co-edited the magazine Tarot (1896), which was dedicated to the Arts
and Crafts Movement.
Fraser, John Arthur (British/Canadian, 1838–1898)

A painter, photographer, illustrator, and art teacher born in England. Upon
immigrating to Canada around 1860, Fraser began painting studio backdrops
for the photographer William Notman, becoming a partner in Notman’s
Toronto firm in 1867.
Gainsborough, Thomas (British, 1727–1788)

A leading British portrait painter of the second half of the eighteenth century,
Gainsborough was known for the feathery quality of his brushwork. He had a
well-known rivalry with the portraitist Sir Joshua Reynolds. In 1768,
Gainsborough was a founding member of the Royal Academy of Arts
in London.
Goupil Gallery
The London, England, branch of renowned Paris-based art dealership Goupil &
Cie., the Goupil Gallery was established by Ernest Gambart in 1857 as a prints
and drawings shop. In the mid-1870s it became increasingly important as an
exhibiting venue for such prominent late-nineteenth- and early-twentieth-
century British and French artists as James McNeill Whistler and the Barbizon
school painters. The gallery was destroyed during the Second World War.
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HOMER WATSON
Gregory, E.J. (British, 1850–1909)

Edward John (E.J.) Gregory was a watercolour and oil painter and, from 1871
to 1875, illustrator for the weekly newspaper The Graphic. He was best known
for portraits and scenes of daily life. Gregory was also much admired for his
technical skill and his sophisticated draftsmanship, qualities that helped him
win gold medals at international exhibitions during the late nineteenth century.
Grier, E. Wyly (Australian/Canadian, 1862–1957)

A portrait painter who depicted influential Canadian businessmen, politicians,
and others. Following studies at the Slade School of Art in London, the Scuola
Libera del Nudo in Rome, and the Académie Julian in Paris, he returned to
Canada in 1891 and established a portrait studio in Toronto. Grier served as
president of the Royal Canadian Academy of Arts from 1929 to 1939, and in
1935 became the first Canadian to be knighted for his work as an artist.
Group of Seven
A progressive and nationalistic school of landscape painting in Canada, active
between 1920 (the year of the group’s first exhibition, at the Art Gallery of
Toronto, now the Art Gallery of Ontario) and 1933. Founding members were
the artists Franklin Carmichael, Lawren Harris, A.Y. Jackson, Frank Johnston,
Arthur Lismer, J.E.H. MacDonald, and Frederick Varley.
Hague School
A group of Dutch Realist painters active in The Hague, on the northwest coast
of the Netherlands, from around 1860 to 1890. They were influenced by
France’s Barbizon school, which also reacted against the idealization of nature
in academic art. The Hague School style is characterized by sombre tones used
to depict everyday scenes of fishermen, farmers, windmills, and seascapes. The
group led to the formation of the Amsterdam Impressionists, and included
Jozef Israëls and Jacob Maris.
Harris, Lawren (Canadian, 1885–1970)

A founding member of the Group of Seven in Toronto in 1920, Harris was
widely considered its unofficial leader. Unlike other members of the group,
Harris moved away from painting representational landscapes, first to
abstracted landscapes and then to pure abstraction. The Group of Seven broke
up in 1933, and when the Canadian Group of Painters was formed in 1933,
Harris was elected its first president.
Haudenosaunee
The Haudenosaunee, or People of the Longhouse, form a democratic
confederacy of five Iroquois nations consisting of the Mohawk, Oneida,
Onondaga, Cayuga, and Seneca. In 1722, the Tuscarora nation joined the
confederacy, which became known as Six Nations to English speakers. Each
nation has its own language and traditional territory, spread throughout New
York and parts of Quebec and eastern Ontario. The Six Nations of the Grand
River reserve, where all nations are represented, is located near Brantford,
Ontario, on the still-disputed Haldimand Tract land.
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HOMER WATSON
Henderson, Alexander (Canadian, 1831–1913)

A landscape and portrait photographer, whose images of nature and
wilderness were prized in his day. An important figure in the early history of
Canadian photography, Henderson was appointed chief of the Canadian
Pacific Railway’s new photography department in 1892.
Hewton, Randolph (Canadian, 1888–1960)

A founding member of the Beaver Hall Group and the Canadian Group of
Painters, Hewton painted landscapes, figures, and portraits. He was one of
William Brymner’s many students at the school of the Art Association of
Montreal, and later studied at the Académie Julien in Paris. From 1921 to 1924
he was the director of the school of the AAM, where he encouraged his
students to experiment with the bright, assertive colours and decorative
compositions that he favoured in his own art.
Hobbema, Meindert (Dutch, 1638–1709)

A landscape painter of wooded scenes, gently winding rural roads, and forest
entrances dappled with light. As a teenager, Hobbema trained in the studio of
eminent Dutch Golden Age painter Jacob van Ruisdael. Hobbema was not well
known during his lifetime and died a pauper, but he gained recognition from
the eighteenth century onward, especially for later paintings such as Avenue of
Trees in Middelharnis, 1689.
Hudson River School

A nationalistic and Romantic school of landscape painting that arose informally
in the mid-nineteenth century when increasing industry threatened to change
the natural environment of the United States. The majority of Hudson River
School painters were based in New York, often depicting the Catskill and
Adirondack mountains. These painters embedded a sense of drama, the
sublime, and the monumental into their portrayals of nature, transforming
landscape into a symbol of the intangible sense of God’s creation. Thomas
Cole and Asher Durand were among the school’s leading members.
impasto
Paint applied so thickly that it stands out in relief and retains the marks of the
brush or palette knife.
Impressionism
A highly influential art movement that originated in France in the 1860s and is
associated with the emergence of modern urban European society. Claude
Monet, Pierre-Auguste Renoir, and other Impressionists rejected the subjects
and formal rigours of academic art in favour of scenes of nature and daily life
and the careful rendering of atmospheric effects. They often painted outdoors.
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HOMER WATSON
Inness, George (American, 1825–1894)

A largely self-taught landscape painter whose influences included both the
Hudson River School and Barbizon painting. Inness’s aesthetics and philosophy
were heavily indebted to the eighteenth-century Swedish mystic and
theologian Emanuel Swedenborg, with whom he shared a belief in the close
connection between the natural and spiritual worlds. He was widely recognized
during his lifetime as a major figure in American art: someone whose
landscapes excelled in evoking atmosphere, emotion, and spiritual
suggestiveness.
International Society of Sculptors, Painters and Gravers

A professional artists’ union that existed from 1898 to 1925, dedicated to
exhibiting and promoting what it termed “the finest art of the day.” The union
became known as simply The International, with James McNeill Whistler
serving as its first president, followed first by French sculptor Auguste Rodin
and then by Irish painter William Orpen. The majority of The International’s
public and private exhibitions were held in London, England, with the first
American exhibition held in 1904 at the Pennsylvania Academy of the Fine
Arts. Membership was by invitation only.
Jackson, A.Y. (Canadian, 1882–1974)

A founding member of the Group of Seven and an important voice in the
formation of a distinctively Canadian artistic tradition. A Montreal native,
Jackson studied painting in Paris before moving to Toronto in 1913; his
northern landscapes are characterized by the bold brush strokes and vivid
colours of his Impressionist and Post-Impressionist influences.
Jacobi, Otto (German/Canadian, 1812–1901)

Primarily a landscape painter, Jacobi immigrated to Canada from Germany in
1860. He was associated with the Düsseldorf school of landscape painting,
with its emphasis on visually detailed scenes, often with narrative content.
Upon settling in Montreal he dedicated himself to the portrayal of Canada’s
topography, his early Canadian work occasionally using photographs by
William Notman as source material. He served as president of the Royal
Canadian Academy of Arts from 1890 to 1893.
Kerr-Lawson, James (Scottish/Canadian, 1862–1939)

Both a skilled lithographer and a painter of landscapes and urban scenes, Kerr-
Lawson immigrated to Canada as a child. He studied first at the Ontario School
of Art, and later in France and Italy. He returned to Canada in 1885, but after a
brief stay he moved to Europe, establishing himself in Glasgow and London. In
1908 Kerr-Lawson became a founding member of the Senefelder Club to
promote interest in lithography. He also exhibited with the Canadian Art Club
from 1912 to 1915.
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HOMER WATSON
Lismer, Arthur (British/Canadian, 1885–1969)

A landscape painter and founding member of the Group of Seven, Lismer
immigrated to Canada from England in 1911. He was also an influential
educator of adults and children, and he created children’s art schools at both
the Art Gallery of Ontario in Toronto (1933) and the Montreal Museum of Fine
Arts (1946).
Lorrain, Claude (French, c. 1604–1682)

A painter, printmaker, draftsman, and master of the landscape—a genre that
did not exist as such in his day. Lorrain employed a limited palette of colours
to achieve remarkable atmospheric effects, and his study of light falling on
natural environments, evident in both his paintings and prints, was unique for
his time.
MacDonald, J.E.H. (British/Canadian, 1873–1932)

A painter, printmaker, calligrapher, teacher, poet, and designer, and a
founding member of the Group of Seven. His sensitive treatment of the
Canadian landscape was influenced by Walt Whitman’s poetry and Henry
David Thoreau’s views on nature.
Martin, Thomas Mower (British/Canadian, 1838–1934)

Martin was principally a landscape painter. He immigrated to Canada from
England in 1862. He soon established himself as a professional artist in
Toronto, becoming a founding member of both the Ontario Society of Artists
and the Royal Canadian Academy of Arts. He produced landscapes in eastern
Canada as well as in the United States, but is perhaps best known for the
mountain landscapes he painted and exhibited after the Canadian Pacific
Railway gave him and other artists free passes to travel west.
Matthews, Marmaduke (British/Canadian, 1837–1913)

An oil and watercolour painter who immigrated to Toronto from England in
1860. He used free passes issued to artists by the Canadian Pacific Railway to
make trips to western Canada in the 1880s and 1890s, producing several views
of the mountains there. Matthews was also a founding member of the Ontario
Society of Artists, later becoming president, and the Royal Canadian Academy
of Arts.
Mauve, Anton (Dutch, 1838–1888)

A prominent figure of the Hague School of landscape painters, Mauve was a
skilled colourist who specialized in rural scenes of cattle and sheep, and of
peasants at work. As a teenager, he apprenticed with Pieter Frederik van Os,
and later drew on the influences of Jean-Baptiste-Camille Corot and the
Barbizon school. He had a profound early impact on Vincent van Gogh, whom
he taught and to whom he was related by marriage.
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HOMER WATSON
May, (Henrietta) Mabel (Canadian, 1877–1971)

A modernist painter of landscapes, urban scenes, and portraits and figure
paintings of women. May studied under William Brymner at the Art Association
of Montreal, before spending time in Britain and France in 1912–13. After her
return to Canada she was commissioned by the Canadian War Memorials Fund
to depict women workers in munitions factories. May was an active member of
Montreal’s Beaver Hall Group in the early 1920s and a founder of the Canadian
Group of Painters in 1933.
McCurry, H.O. (Canadian, 1889–1964)

An avid collector and advocate for the arts and art education in Canada, H.O.
McCurry was patron to artist Tom Thomson and close with members of the
Group of Seven. He was the assistant director of the National Gallery of
Canada, Ottawa, from 1919 to 1939, and succeeded Eric Brown as director
from 1939 to 1955.
mezzotint
An engraving technique whereby a metal plate is systematically pricked with
numerous tiny holes to produce a print with subtle gradations of dark and
light, used often from the seventeenth to nineteenth centuries for reproducing
paintings.
Millet, Jean-François (French, 1814–1875)

Born into a peasant family, Millet was one of the founders of the Barbizon
school, a group known for painting en plein air and favouring landscapes as
subject matter. He is prominently recognized for empathetic depictions of rural
labourers and peasants created just as the Industrial Revolution was causing
mass migrations from the countryside to urban centres such as Paris. Millet was
awarded the Legion of Honour in 1868 and was an inspiration for Vincent
van Gogh.
Milne, David (Canadian, 1881–1953)

A painter, printmaker, and illustrator whose work—principally landscapes—
displays the tonal brilliance and concern with process of his Impressionist and
Post-Impressionist influences. Milne lived in New York early in his career, where
he trained at the Art Students League and participated in the Armory Show
in 1913.
modernism
A movement extending from the mid-nineteenth to the mid-twentieth century
in all the arts, modernism rejected academic traditions in favour of innovative
styles developed in response to contemporary industrialized society.
Modernist movements in the visual arts have included Gustave Courbet’s
Realism, and later Impressionism, Post-Impressionism, Fauvism, and Cubism
and on to abstraction. By the 1960s, anti-authoritarian postmodernist styles
such as Pop art, Conceptual art, and Neo-Expressionism blurred the distinction
between high art and mass culture.
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Morris, Edmund Montague (Canadian, 1871–1913)

A painter best known for his portraits of Indigenous leaders during Canada’s
post-Confederation treaty negotiations, especially of the early twentieth
century, although he was also an admired landscape painter. In 1906 Morris,
on commission, accompanied the James Bay expedition for the negotiation of
Treaty 9 with Cree and Ojibway peoples. He often used pastel in detailed,
close-up portraits of Indigenous chiefs. With fellow painter Curtis Williamson,
Morris instigated the creation of the Canadian Art Club in 1907, of which he
was a key member.
Morris, Kathleen (Canadian, 1893–1986)

A painter especially noted for her urban and rural subjects. Morris studied at
the Art Association of Montreal under William Brymner and Maurice Cullen.
Although she does not appear to have exhibited with the Beaver Hall Group in
the early 1920s, she is closely associated with the group. Her paintings of
scenery in Montreal and Quebec City, as well as her depictions of the ByWard
Market in Ottawa, exemplify the interest that she and her contemporaries had
in chronicling modern city life.
Muir, Catherine Adah (1860–1952)

Usually called Caterina or Cassy, Muir married the artist James Kerr-Lawson in
1889 and was an ardent promoter of his work. She was born in Scarborough,
Ontario, but relocated to Europe with her mother and stepfather in 1887. She
and Kerr-Lawson travelled and lived in England, Scotland, France, Spain, Italy,
and Morocco. During the First World War she volunteered at Queen Mary’s
Hospital for Nurses, in London.
National Gallery of Canada

Established in 1880, the National Gallery of Canada in Ottawa holds the most
extensive collection of Canadian art in the country as well as works by
prominent international artists. Spearheaded by the Governor General the
Marquis of Lorne, the gallery was created to strengthen a specifically Canadian
brand of artistic culture and identity and to build a national collection of art
that would match the level of other British Empire institutions. Since 1988
the gallery has been located on Sussex Drive in a building designed by
Moshe Safdie.
Neutral (Attawandaron)
The Neutral Confederacy existed prior to the mid-seventeenth century as a
political and cultural union of several Indigenous nations spanning
southwestern Ontario, across the Niagara River to New York. The Neutral, a
name used by Samuel Champlain, or Attawandaron, a name used by the
Huron-Wendat, were eventually dispersed by the Seneca and absorbed into
Haudenosaunee communities.
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New English Art Club

Formed in London, England, in 1886 as a rejection of the conservative style of
the Royal Academy of Arts. The New English Art Club was composed of a
group of artists influenced by Impressionism, with early members including
James McNeill Whistler, Walter Sickert, Philip Wilson Steer, and John Singer
Sargent. The club still exists today to promote painting from the direct
observation of nature and the human figure.
Notman-Fraser photographic studio

A highly successful studio opened by photographer and entrepreneur William
Notman at 120 King Street East in Toronto in 1868, the third of his studio
operations in Canada, which would eventually be part of the largest
photographic business in North America. The Toronto studio was managed by
Notman’s business partner John Arthur Fraser, a painter, photographer, and
illustrator. The studio closed in 1880 when it was sold by Fraser.
Ontario Society of Artists (OSA)

Canada’s oldest extant professional artists’ association, formed in 1872 by
seven artists from various disciplines. Its first annual exhibition was held in
1873. The OSA eventually played an important role in the founding of OCAD
University and the Art Gallery of Ontario in Toronto.
O’Brien, Lucius Richard (Canadian, 1832–1899)

A prominent oil and watercolour painter of Canadian landscapes, vice-
president of the Ontario Society of Artists (1874–80), and the founding
president of the Royal Canadian Academy of Arts (1880–90). He travelled
extensively in Canada, reaching as far as the west coast. For the serial
publication Picturesque Canada (1882–84) he supervised the commissioning of
illustrations, himself producing the vast majority of images upon which the
engraved illustrations were based.
Reid, George Agnew (Canadian, 1860–1947)

A painter of portraits, figure studies, and genre and historical scenes. With his
training in the academic tradition, and his roles as president of the Royal
Canadian Academy of Arts (1906–9) and principal of the Ontario College of
Art, Reid became a key figure in Ontario’s art scene. Inspired by the mural
revivals in Europe and the United States, he promoted mural art in Canada—an
activity that was part of his larger concern with using the visual arts to beautify
urban life and encourage civic virtues.
Romantic tradition
A multi-faceted movement that affected most areas of eighteenth- and
nineteenth-century Western culture, including art, literature, and philosophy.
Romanticism privileged the emotional and the subjective; it arose in
opposition to Enlightenment-era rationalism.
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Rosa, Salvator (Italian, 1615–1673)

A Baroque painter, poet, satirist, and composer adopted by artists of the
Romantic movement as an unorthodox and rebellious figure. Rosa famously
refused to work on commission and insisted on choosing his subject matter,
yet found financial success in receiving the patronage of Cardinal Giovanni
Carlo de’ Medici. He portrayed sweeping views of religious and historical
subjects in rugged and wild landscapes.
Ross, James (Canadian/Scottish, 1848–1913)

An engineer, businessman, and philanthropist known for his involvement in the
construction of several Canadian railways and support of hospitals and other
institutions. Ross served as the president of several business ventures,
including the Dominion Bridge Company, the Mexican Light and Power
Company, and the Montreal Light, Heat and Power Company. He was also the
president of the Art Association of Montreal, to which he made considerable
donations. He held one of the finest art collections in Canada, including
European Old Masters, and was Canadian artist Homer Watson’s most
supportive patron.
Rousseau, Théodore (French, 1812–1867)

A leading figure of French nineteenth-century landscape painting in general
and of the Barbizon school in particular. Rousseau’s early emphasis on painting
from the direct observation of nature challenged the calm, idealistic
landscapes of his Neoclassical teachers. His works embraced nature as a wild
and undisciplined force with power that outshone the human industries of
modern life.
Royal Academy of Arts

Established in 1768, the Royal Academy of Arts in London was a central art
institution that, along with the Paris Salon, could exert tremendous influence
on an artist’s career. By the mid-nineteenth century, European avant-garde
movements such as Impressionism began to diminish the power held by the
Royal Academy and similar institutions.
Royal Canadian Academy of Arts (RCA)

An organization of professional artists and architects modelled after national
academies long present in Europe, such as the Royal Academy of Arts in the
U.K. (founded in 1768) and the Académie royale de peinture et de sculpture in
Paris (founded in 1648).
Royal Glasgow Institute of the Fine Arts

The Glasgow Institute of the Fine Arts was founded in 1861 to exhibit and
promote the work of contemporary artists. In 1891 it became the Royal
Glasgow Institute of the Fine Arts. It supported many prominent nineteenth-
and early-twentieth-century figures, including William Holman Hunt, Frances
and Margaret MacDonald, George Frederic Watts, and James McNeill Whistler.
Currently the institute organizes the largest annual art exhibition in Scotland.
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Royal Institute of Oil Painters

Founded in 1882, the Royal Institute of Oil Painters remains the only major
British society to exclusively promote works completed in oil. The institute is
one of nine member groups of the Federation of British Artists.
Royal Society of British Artists

Established in 1823 by a group of artists as an alternative to the Royal
Academy in London. The society’s membership consists of sculptors, painters,
architects, and printmakers. Its first gallery was designed by John Nash and
built on Suffolk Street, London. Prominent past members include James
McNeill Whistler, Frank Brangwyn, and Walter Richart Sickert.
The Jenkins Art Gallery

A Toronto-based gallery operated by the art dealer Thomas Jenkins on
Grenville Street in the early decades of the twentieth century. It exhibited both
Canadian and international artists. In 1920 it held a major exhibition and sale
of paintings by Homer Watson.
Thomson, Tom (Canadian, 1877–1917)

A seminal figure in the creation of a national school of painting, whose bold
vision of Algonquin Park—aligned stylistically with Post-Impressionism and Art
Nouveau—has come to symbolize both the Canadian landscape and Canadian
landscape painting. Thomson and the members of what would in 1920
become the Group of Seven profoundly influenced one another’s work. (See
Tom Thomson: Life & Work by David P. Silcox.)
Troyon, Constant (French, 1810–1865)

A landscape painter of the Barbizon school who gained more recognition for
his turn toward animal painting after 1846, especially his scenes of cattle in
rural and forest settings. Troyon won first-class medals at the Paris Salon in
1846 and 1848, and was elected to the Legion of Honour in 1849.
Turner, J.M.W. (British, 1775–1851)

Widely considered the foremost British landscape painter of the nineteenth
century, Turner imbued his paintings with an expressive romanticism. His
subject matter ranged from local landscapes to otherworldly natural events.
He has been heralded as a precursor to both Impressionism and modernist
abstract art.
van Ruisdael, Jacob (Dutch, 1628–1682)

The leading landscape painter of the Dutch Golden Age. Van Ruisdael had a
long career during which he emphasized the lively, romantic character of his
subjects by using panoramic views, expansive skies, billowing clouds, stormy
weather, rushing water, traces of a human presence, and a technique that
combines detail with thick impasto.
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Varley, F.H. (Frederick Horsman) (British/Canadian, 1881–1969)

A founding member of the Group of Seven, known for his contributions
to Canadian portraiture as well as landscape painting. Originally from
Sheffield, England, Varley moved to Toronto in 1912 at the encouragement
of his friend Arthur Lismer. From 1926 to 1936 he taught at the Vancouver
School of Decorative and Applied Arts, now known as Emily Carr University
of Art + Design.
Verner, Frederick Arthur (Canadian, 1836–1928)

A landscape painter known for calm and idyllic depictions of Canadian scenery,
especially the Prairies. He studied in London, but returned in 1862 to Canada,
where he initially worked in photography. Verner was intrigued by the art of
Paul Kane, and soon began depicting his own Indigenous subjects. He also
gained fame for his many depictions of buffalo. Although he moved
permanently to London in 1880, he continued to exhibit in Canada, and
became a member of the Royal Canadian Academy of Arts in 1893.
Walker, Horatio (Canadian, 1858–1938)

Although born and raised in rural Ontario, Walker specialized in paintings of
French rural life, especially on Île d’Orléans, Quebec, where he lived for many
years and where he took up permanent residence in 1928. His widely admired
art drew upon Jean-François Millet’s depictions of the rural poor in France and
the naturalism of the Barbizon school. Walker was a founding member of the
Canadian Art Club in 1907, serving as the club’s president in 1915.
Whistler, James McNeill (American/British, 1834–1903)

Whistler, a painter and printmaker, was a leading promoter of “art for art’s
sake”: the doctrine that an artist should create evocative visual experiences
based principally on the subtle harmonization of colour, not on sentiment or
moral lessons. Believing that painting and music had much in common, he
used music references in the titles of many of his paintings, including
Arrangement in Grey and Black No.1 (1871; better known as Whistler’s Mother).
In 1877 the art critic John Ruskin accused him of “flinging a pot of paint in the
public’s face” when Whistler exhibited Nocturne in Black and Gold: The Falling
Rocket. Whistler sued Ruskin, but was awarded damages of only one farthing.
Wilde, Oscar (Irish, 1854–1900)

A popular and controversial playwright and poet, known for works such as The
Picture of Dorian Grey (1890) and The Importance of Being Earnest (1895).
Wilde had an international reputation for his brilliant wit, sparkling prose,
flamboyant clothing, advocacy of the Aesthetic Movement, and insistence on
the importance of beauty in daily life and the autonomy of art. His
imprisonment from 1895 to 1897 for gross indecency remains a touchstone in
LGBTQ2+ history.
woodcut
A relief method of printing that involves carving a design into a block of
wood, which is then inked and printed, using either a press or simple hand
pressure. This technique was invented in China and spread to the West in the
thirteenth century.
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Homer Watson has been the subject of one major retrospective

exhibition and catalogue. Books about him range from reminiscences
by family members to more detailed, analytical studies. In addition,
Watson wrote a few essays that were not published during his lifetime.
Voluminous correspondence is held in the Homer Watson Fonds in the
National Gallery of Canada Library & Archives in Ottawa, and
additional correspondence can be found at the Edward P. Taylor
Library & Archives at the Art Gallery of Ontario, Toronto; North York
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Public Library; University of Toronto Archives; Art Gallery of Greater

Victoria; MacKenzie Art Gallery Archives, Regina; Library and Archives
Canada, Ottawa; and the Homer Ransford Watson Fonds in the
Queen’s University Archives, Kingston.
KEY EXHIBITIONS
LEFT: Installation view of Bringing Heritage Home at the Homer Watson House & Gallery, Kitchener, 2012, photograph by Robert McNair.
RIGHT: Installation view of Bringing Heritage Home at the Homer Watson House & Gallery, Kitchener, 2012, photograph by Robert
McNair.
1878 Ontario Society of Artists Annual Exhibition, Toronto.
1880 Canadian Academy of Arts Annual Exhibition, Ottawa.
1886 Colonial and Indian Exhibition, London.
1893 World’s Columbian Exposition, Chicago.
1899 Dowdeswell Gallery, London.
Cottier Gallery, New York.
1901 Pan-American Exposition, Buffalo.
1904 Louisiana Purchase Exposition, St. Louis.
1906 Cottier Gallery, New York.
1920 Masterpieces of Canadian Art by Homer Watson, The Jenkins Art Gallery,
Toronto.
1930 Exhibition of Paintings by Homer Watson, R.C.A., O.S.A., Art Gallery of Toronto.
1936 Homer Watson, R.C.A., LL.D.: Memorial Exhibition of Selected Works, Mellors
Galleries, Toronto.
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HOMER WATSON
1963 Homer Watson, R.C.A., 1855–1936: Paintings and Drawings / Peintures et

dessins, National Gallery of Canada, Ottawa.
1975 Nature Seen through a Temperament: Homer Watson, 1855–1936, Kitchener-

Waterloo Art Gallery.
1991 Homer Watson Annual Exhibition, Homer Watson House & Gallery, Kitchener.
This series of annual exhibitions has continued to the present day.
2005–6 Homer Watson: Not Your Average Pastoral Picnic: Selections from the
Permanent Collection, Kitchener-Waterloo Art Gallery.
2012 Bringing Heritage Home, Homer Watson House & Gallery, Kitchener.
2015 Parallel Destinies: Homer Watson and Carl Ahrens, Dundas Museum
and Archives.
WRITINGS BY THE ARTIST

Watson’s writings principally comprise essays that combine
autobiographical reminiscence and fictionalization to advance his views
about landscape painting as a genre, the need for human beings to
establish respectful relationships with their geographical environments,
and the ways in which painters transpose the natural landscape into the
artificiality of art. None of those essays was published during his lifetime,
and all exist in varying degrees of incompleteness. They are, though,
essential for any reader hoping to grasp the complexity of Watson’s
thinking about issues that were important to him.
“Conservation of Cressman’s Bush for Waterloo County.” Waterloo

Historical Society Annual Report 31 (1944): 30–32.
“The Methods of Some Great Landscape Painters.” Queen’s University

Homer Watson, “A Landscape Painter’s
Archives: Homer Watson Fonds. Published in Gerald Noonan, Refining Day,” first page from a prose manuscript,
the Real Canada: Homer Watson’s Spiritual Landscape. Waterloo: mlr n.d., Queen’s University Archives,
Kingston.
editions canada, 1997, 245–69.
“The Idealist versus the Realist.” Queen’s University Archives: Homer Watson
Fonds. Published in Noonan, 288–305.
“A Return to the Village.” Queen’s University Archives: Homer Watson Fonds.

Published in Noonan, 306–32.
Untitled novel (incomplete draft). Queen’s University Archives: Homer

Watson Fonds.
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HOMER WATSON
CRITICAL WRITINGS
Bingeman, Shannon E. “Eventide along the Grand: Homer Watson’s Mystical
Landscape.” Master’s thesis, Art History. Ottawa: Carleton University, 2013.
Bruder, Joan, and Jason Ouellette, comps. Homer Watson, 1855–1936:

A Bibliography. Kitchener: Homer Watson House & Gallery, 1995.
Foss, Brian. “Homer Watson and The Pioneer Mill.” Journal of Canadian Art
History 33, no. 1 (Spring 2012): 46–84.
Harper, J. Russell. Homer Watson, R.C.A., 1885–1936: Paintings and

Drawings / Peintures et dessins. Exhibition catalogue. Ottawa: National
Gallery of Canada, 1963.
Mavor, James. “The Art of Mr. Homer Watson.” The Art Journal (July
1899): 208–11.
Miller, Muriel. Homer Watson: The Man of Doon. Toronto: Ryerson Press,
1938; revised edition: Toronto: Summerhill Press, 1988.
Noonan, Gerald. Refining the Real Canada: Homer Watson’s Spiritual

Landscapes. Waterloo: mlr editions canada, 1997.
Tovell, Rosemarie L. “Homer Watson’s The Pioneer Mill: The Making and
Marketing of a Print in the Canadian Etching Revival.” Journal of Canadian
Art History 31, no. 2 (2010): 12–39. Homer Watson, c.1913, photograph by
Edmond Dyonnet, National Gallery of
Canada Archives, Ottawa.
Watson, Jennifer C. “Homer Watson in the Kitchener-Waterloo Art
Gallery.” RACAR (Revue d’art canadienne / Canadian Art Review) 14, no. 2
(1987): 143–50.
VIDEO
Saving Places, episode 3: Homer Watson House. Gail Gallant, producer and
writer. Toronto: PTV Productions, 2008.
FURTHER READINGS
Brooke, Janet M. Discerning Tastes: Montreal Collectors, 1880–1920. Exhibition
catalogue. Montreal: Montreal Museum of Fine Arts, 1989.
Catalogue of an Exhibition by Homer Watson, R.C.A., O.S.A. Exhibition

catalogue. Art Gallery of Toronto, 1930.
Hayes, Geoffrey. Waterloo County: An Illustrated History. Kitchener: Waterloo

Historical Society, 1997.
Homer Watson, R.C.A., LL.D.: Memorial Exhibition of Selected Works. Exhibition

catalogue. Toronto: Mellors Galleries, 1936.
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HOMER WATSON
Illustrated Atlas of the County of

Waterloo. Toronto: H. Parsell &
Co., 1881.
Kerr, Darlene. The Landscapes of

Homer Watson: A Particular Time
and Place. Exhibition
catalogue. Kitchener: Homer
Watson House & Gallery, 2000.
MacTavish, Newton. “Homer

Watson.” In Newton MacTavish,
The Fine Arts in Canada, 92–95.
Toronto: Macmillan Company of
Canada Limited, 1925. Installation view of Homer Watson, R.C.A., 1855–1936: Paintings and Drawings /
Peintures et dessins at the National Gallery of Canada, Ottawa, 1963, photographer
unknown.
Myers, Carol Moore-Ede. Lives and
Works of the Canadian Artists, no.
4: Homer Watson. Toronto: Dundurn Press, 1977.
Nature Seen through a Temperament: Homer Watson, 1855–1936. Exhibition

catalogue. Kitchener: Kitchener-Waterloo Art Gallery, 1975.
O’Brien, Kevin. “Oscar Wilde and Canadian Artists.” Antigonish Review 1, no. 4
(Winter 1971): 11–28.
Page, Frank E. Homer Watson, Man and Artist. Kitchener: Commercial

Publishing Co., 1939.
Stevenson, O.J. “And He Spake of Trees.’” In O.J. Stevenson, A People’s Best,

47–52. Toronto: The Musson Book Company Ltd., 1927.
VanEvery, Jane. With Faith, Ignorance and Delight: Homer Watson. Doon, ON:
Homer Watson Trust, 1967.
107
HOMER WATSON
ABOUT THE AUTHOR
BRIAN FOSS
Brian Foss has been the director of Carleton University’s School
for Studies in Art and Culture since 2009. Prior to that he was
professor of art history at Concordia University (1988–2009), and
he has also been the Craig Dobbin Visiting Chair of Canadian
Studies at University College Dublin (2014–15). With Anne
Whitelaw and Sandra Paikowsky he edited The Visual Arts in
Canada: The Twentieth Century, a collection of twenty new essays
(Oxford University Press, 2010). Outside of Canadian art, his
monograph War Paint: Art, War, State and Identity in Britain 1939–
1945 was published in 2007 by Yale University Press. “My first opportunity to do
sustained work on Homer
Foss has curated and co-curated several exhibitions of historical
Watson came in 2000, when I
Canadian art, including the work of Mary Hiester Reid (with Janice
Anderson, Art Gallery of Ontario, 2000) and the Beaver Hall held a Canadian Centre for
Group (with Jacques Des Rochers, Montreal Museum of Fine Arts, the Visual Arts Fellowship at
2015). The Beaver Hall Group show won the Canadian Museums the National Gallery of
Association’s 2015 Award of Outstanding Achievement for art
Canada. That fellowship
exhibitions, and the catalogue was the recipient of that year’s
Melva J. Dwyer Award from ARLIS/NA (the Art Libraries Society of gave me time and funding to
North America), as well as of the 2016 publications prize from the work my way through the
Société des musées du Québec. Foss was co-editor of RACAR:
NGC’s collection of
Revue d’art canadienne / Canadian Art Review (2001–12) and is
currently the chair of the advisory board of the Journal of
hundreds of pages of
Canadian Art History / Annales d’histoire de l’art canadien. drawings from Watson’s
sketchbooks as well as large
holdings of his
correspondence and
unpublished writings,
especially in Ottawa but also
in Toronto, Kingston, Victoria,
and Regina.”
108
HOMER WATSON
COPYRIGHT & CREDITS
ACKNOWLEDGEMENTS
From the Author
The origins of this project lie with the Canadian Centre for the Visual Arts,
at the National Gallery of Canada (NGC), which gave me the funding, time,
and facilities to read through the gallery’s collection of Homer Watson’s
correspondence and to think seriously about his art. I will always be grateful for
that opportunity. While I was in residence the late Murray Waddington (Chief,
Library and Archives) added to the gallery’s already voluminous holdings of
Watson papers. I regret that he did not live to see this book’s publication.
Cyndie Campbell, the extraordinary head of the NGC Archives, was equally
supportive.
I’m indebted to the private collectors who shared their artworks with me, and
to the museum employees who responded patiently to my questions. Above
all, Faith Hieblinger at the Homer Watson House & Gallery was unstintingly
generous. Thanks also to Sandu Sindile; Tobi Bruce and Christine Braun (Art
Gallery of Hamilton); Georgiana Uhlyarik and Donna Austria (Art Gallery of
Ontario); Nicole McCabe and Jaclyn Meloche (Art Gallery of Windsor);
Meredith Briden (Beaverbrook Art Gallery); Tracy Loch (Castle Kilbride);
Jennifer Bullock (Kitchener-Waterloo Art Gallery); Jacques Des Rochers, Marie-
Claude Saia, Justine Lebeau, and Anna Ciocola (Montreal Museum of Fine
Arts); and Elaire Maund (Vancouver Art Gallery). Back at the NGC, John Collins,
Sonia Del Re, and Jacqueline Warren gave me liberal access to the gallery’s
many Watson sketchbooks, while Susan Walker of the painting conservation
lab helped me understand the physical aspects of his oils.
At the Art Canada Institute, Kendra Ward, Amanda Lewis, and Joy Xiang
personified the principle of respectful collaboration. And, as ever, this book
has benefited immeasurably from the advice, raised eyebrows, and outright
criticisms of Charles C. Hill, the volume and detail of whose knowledge of
Canadian art never fail to amaze.
From the Art Canada Institute
The Art Canada Institute gratefully acknowledges the generosity of the

anonymous Title Sponsor of this book.
The Art Canada Institute gratefully acknowledges the other sponsors of the
2018–2019 Canadian Online Art Book Project: Alexandra Bennett in memory of
Jalynn Bennett, Consignor Canadian Fine Art, Kiki and Ian Delaney, Maxine
Granovsky Gluskin and Ira Gluskin, Gershon Iskowitz Foundation, The Sabourin
Family Foundation, Karen Schreiber and Marnie Schreiber, and Sandra L.
Simpson.
109
HOMER WATSON
We also sincerely thank the Founding Sponsor for the Art Canada Institute:
BMO Financial Group; and the Art Canada Institute Patrons: Butterfield Family
Foundation,* David and Vivian Campbell,* Connor, Clark & Lunn Foundation,
Albert E. Cummings,* the Fleck family,* Roger and Kevin Garland,* Glorious
and Free Foundation,* Charlotte Gray and George Anderson, The Scott Griffin
Foundation,* Jane Huh,* Lawson Hunter, Gershon Iskowitz Foundation,* Alan
and Patricia Koval Foundation, Phil Lind,* Nancy McCain and Bill Morneau,*
John O’Brian, Gerald Sheff and Shanitha Kachan,* Stephen Smart,* Nalini and
Tim Stewart,* and Robin and David Young.*
We thank our Lead Benefactors: Alexandra Baillie, Alexandra Bennett and the
Jalynn Bennett Family Foundation,* Grant and Alice Burton, Kiki and Ian
Delaney,* Jon S. and Lyne Dellandrea,* Michelle Koerner and Kevin Doyle,*
Sarah and Tom Milroy,* Partners in Art,* Sandra L. Simpson,* Pam and Michael
Stein,* and Sara and Michael Angel.*
*Indicates a Founding Patron of the Art Canada Institute
The ACI gives special thanks to the Homer Watson House & Gallery, and the
work of Faith Hieblinger and Nichole Martin, who provided a tremendous
amount of contextual and artistic resources for this title. The ACI is grateful to
the gallery’s mindful keeping of the artist’s former home and studio, which
crucially maintains Homer Watson’s legacy for those of the present.
This online art book was also made possible by the support and assistance of
Agnes Etherington Art Centre (Jennifer Nicoll); Albany Institute of History and
Art (Allison Munsell Napierski); Art Gallery of Hamilton (Christine Braun); Art
Gallery of Nova Scotia (Shannon Parker); Art Gallery of Ontario (Eva Athanasiu,
Tracy Mallon-Jensen); Art Gallery of Windsor (Nicole McCabe); Beaverbrook
Art Gallery (Celine Gorham, John Leroux); Canadian War Museum (Susan Ross);
Castle Kilbride (Tracy Loch); Estate of Lawren Harris; the Hamilton Club
(Amanda Nesbitt); Indianapolis Museum of Art; Kitchener-Waterloo Art Gallery;
Library and Archives Canada (Brechin Group); MacKenzie Art Gallery (Marie
Olinik); McCord Museum; Montreal Museum of Fine Arts (Marie-Claude Saia);
Museé du Louvre; National Gallery of Art, Washington, D.C. (Peter Huestis);
National Gallery of Canada (Emily Antler, Philip Dombowsky); National Gallery,
London; National Portrait Gallery, London; Power Corporation of Canada (Paul
Marechal); Queen’s University Archives (Jeremy Heil); Royal Collection Trust
(Agata Rutkowska); Six Nations Public Library (Feather Maracle); Tate; Toronto
Reference Library; Vancouver Art Gallery (Danielle Currie); Walters Art Museum
(Ruth Bowler); Winnipeg Art Gallery (Nicole Fletcher); the York Club (Cyril
Duport); and Ronald and Shirley Levene, Greg McKee, Robert McNair, Beverly
and Fred Schaeffer, and Frank Tancredi.
The ACI recognizes the private collectors who have given permission for their
work to be published in this edition.
110
HOMER WATSON
IMAGE SOURCES
Every effort has been made to secure permissions for all copyrighted material.
The Art Canada Institute will gladly correct any errors or omissions.
Credit for Cover Image
The Wheatfield, c.1880–90. Private collection. Photo courtesy of Homer Watson House & Gallery, Kitchener.
Credit for Banner Images
Biography: Homer Watson, c.1913, photograph by Edmond Dyonnet. (See below for details.)
Key Works: The Pioneer Mill, 1880. (See below for details.)
Significance & Critical Issues: Before the Storm, 1887. (See below for details.)
Style & Technique: River Landscape, 1882. (See below for details.)
Sources & Resources: Drawing for A Land of Thrift, c.1883. (See below for details.)
Where to See: Installation view of Bringing Heritage Home at the Homer Watson House & Gallery, Kitchener,
2012. (See below for details.)
111
HOMER WATSON
Credits for Works by Homer Watson
After the Rain, 1883. Collection of the Beaverbrook Art Gallery, Fredericton, gift of Lord Beaverbrook, 1959
(1959.277). Photo credit: Beaverbrook Art Gallery.
Before the Storm, 1887. Collection of the Art Gallery of Windsor, memorial bequest of Mr. and Mrs. G.
Hudson Strickland, 1982, 1990 (1982.029). Photo credit: Art Gallery of Windsor.
Below the Mill, 1901. Collection of the Montreal Museum of Fine Arts, purchased 1903 (1903.204). Photo
credit: Montreal Museum of Fine Arts.
Cattle Fording River in Moonlight, 1898. Private collection. Photo credit: Robert McNair.
The Castellated Cliff, 1879. Collection of the National Gallery of Canada, Ottawa, purchased 1980 (23664).
Photo credit: National Gallery of Canada.
A Cornfield, 1883. Collection of the National Gallery of Canada, Ottawa, purchased 1952 (5899). Courtesy of
Brian Foss.
Country Road, Stormy Day, c.1895. Private collection. Photo credit and courtesy of Frank Tancredi.
A Coming Storm in the Adirondacks, 1879. Collection of the Montreal Museum of Fine Arts, gift of George
Hague, 1887 (1887.203). Photo credit: Montreal Museum of Fine Arts.
112
HOMER WATSON
The Death of Elaine, 1877. Collection of the Art Gallery of Ontario, Toronto, gift of Mrs. Mary King, Toledo,
Ohio, 1937 (2434). Photo credit: Art Gallery of Ontario.
Down in the Laurentides, 1882. Collection of the National Gallery of Canada, Ottawa, donated by the artist as
a Royal Canadian Academy of Arts diploma work, Doon, 1882 (122). Photo credit: National Gallery of Canada.
Drawing for A Land of Thrift, c.1883. Collection of the Kitchener-Waterloo Art Gallery, gift of Paul and Stella
Murphy, 1983. Courtesy of Kitchener-Waterloo Art Gallery.
Early Winter, c.1930. Collection of the National Gallery of Canada, Ottawa, gift of Mrs. S.J. Williams, Mrs.
Harvey Sims, Mrs. T.M. Cram, and Miss Geneva Jackson, Kitchener, 1943. Photo credit: National Gallery
of Canada.
Emerald Lake, Banff, c.1925. Collection of the Homer Watson House and Gallery, Kitchener. Photo credit:
Homer Watson House & Gallery.
Evening Moonrise, 1933. Collection of Library and Archives Canada, on loan to Laurier House, Ottawa
(C-151410). Courtesy of Brechin Group.
Grand River Landscape at Doon, c.1881. Art Gallery of Nova Scotia, Halifax, purchased 1950 (1950.1). Photo
credit: Art Gallery of Nova Scotia.
Grand River Valley, c.1880. Homer Watson House & Gallery, Kitchener. Photo credit: Homer Watson House
& Gallery.
113
HOMER WATSON
A Grey Day at the Ford, 1885. Collection of the Hamilton Club. Photo credit: Daniel Banko. Courtesy of the
Hamilton Club.
Haymaking, Last Load, c.1880. Collection of the Art Gallery of Hamilton, gift of the North American Life
Assurance Co., 1963. Photo credit: Art Gallery of Hamilton.
High Water, Pine Bend, c.1935. Kitchener-Waterloo Art Gallery, gift of Earl Putnam, 1980. Photo credit:
Robert McNair. Courtesy of Kitchener-Waterloo Art Gallery.
A Hillside Gorge, 1889. Collection of the National Gallery of Canada, Ottawa, gift of the Royal Canadian
Academy of Arts, 1890 (5). Courtesy of Brian Foss.
The Flood Gate, c.1900–1. Collection of the National Gallery of Canada, Ottawa, purchased 1925 (3343).
In Valley Flats near Doon, c.1910. Collection of the Homer Watson House & Gallery, Kitchener. Photo credit:
“A Landscape Painter’s Day,” first page from a prose manuscript, n.d., Queen’s University Archives, Kingston,
purchased through Chancellor Richardson Memorial Fund (2033). Photo credit and courtesy of Jeremy Heil.
Landscape, 1889. Collection of the National Gallery of Canada, Ottawa, purchased 1981 (23984). Photo
credit: National Gallery of Canada.
114
HOMER WATSON
Landscape drawings and a preliminary outline of a building from Sketchbook F, early 1880s. Collection of the
National Gallery of Canada, Ottawa (7875.92r). Photo credit: National Gallery of Canada.
Landscape, Scotland, 1888. Collection of the National Gallery of Canada, Ottawa, purchased 1957 from
Harold M. Gully, Toronto (6678). Photo credit: National Gallery of Canada.
Landscape with Road, c.1889. Collection of the National Gallery of Canada, Ottawa, purchased 1962 (7903).
The Last of the Drouth (The Last Day of the Drought), 1881. Royal Collection Trust, Windsor, acquired by
Queen Victoria (RCIN 400547). Photo credit: Royal Collection Trust.
Life and Thought Hath Fled Away, c.1865–69. Collection of the National Gallery of Canada, Ottawa
(7875.96). Photo credit: National Gallery of Canada.
The Load of Grass, 1898. Collection of the Vancouver Art Gallery, Founders’ Fund (33.26). Photo credit:
Vancouver Art Gallery.
Log-cutting in the Woods, 1894. Collection of the Montreal Museum of Fine Arts, gift of Lord Strathcona and
family, 1927. Photo credit: Brian Merrett.
Moonlight, Waning Winter, 1924. Collection of the National Gallery of Canada, Ottawa, purchased 1927
(3514). Photo credit: National Gallery of Canada.
115
HOMER WATSON
Moonlit Stream, 1933. Library and Archives Canada on loan to Laurier House, Ottawa (C-151411). Courtesy
of Brechin Group.
Morning at Lakeview, Ontario, 1890. Collection of the Art Gallery of Ontario, Toronto, gift of the McLean
Foundation, 1960 (59/6). Photo credit: Art Gallery of Ontario.
Near the Close of a Stormy Day, 1884. Collection of the Winnipeg Art Gallery, gift of Lieutenant Colonel H.F.
Osler (G-47-164a). Photo credit: Ernest Mayer. Courtesy of the Winnipeg Art Gallery.
Near Twilight, B.C., c.1934. Art Gallery of Windsor, gift of the Willistead Art Gallery of Windsor Women’s
Committee, 1962 (1962.030). Photo credit: Art Gallery of Windsor.
November among the Oaks, c.1920. Collection of the Vancouver Art Gallery, gift of Dr. Rodrigo Restrepo
(2007.21.3). Photo credit: Henry Robideau. Courtesy of the Vancouver Art Gallery.
Nut Gatherers in the Forest, 1900. Collection of the National Gallery of Canada, Ottawa, purchased 1909
(90). Photo credit: National Gallery of Canada.
The Old Mill, 1886. Collection of the Art Gallery of Ontario, Toronto, gift from the Fund of the T. Eaton Co.
Ltd. for Canadian Works of Art, 1948 (48/10). Photo credit: Art Gallery of Ontario.
The Old Mill and Stream, 1879. Collection of Castle Kilbride, Baden. Photo credit: Robert McNair. Courtesy of
116
HOMER WATSON
On the River at Doon, 1885. Collection of the National Gallery of Canada, Ottawa (5900). Photo credit:
National Gallery of Canada.
On the Mohawk River, 1878. Collection of the Art Gallery of Ontario, Toronto, gift of Colonel D.H.C. Mason,
Toronto, 1949 (48/34). Photo credit: Art Gallery of Ontario.
Passage to the Unknown, 1918–20. Location unknown. Courtesy of RACAR 14:2 (1987) and Ellen Donald.
Pioneers Crossing the River, 1896. Private collection. Courtesy Brian Foss.
The Pioneer Mill, 1880. Royal Collection, Windsor, acquired by Queen Victoria as a gift from the Marquis of
Lorne (RCIN 400548). Photo credit: Royal Collection Trust.
The Pioneer Mill, 1890. Private collection. Photo credit: Robert McNair.
Quilp and Sampson Brass in the Old Curiosity Shop, late 1860s to early 1870s. Collection of the National
Gallery of Canada, Ottawa, purchased 1962 (Sketchbook 7875.63). Photo credit: National Gallery of Canada.
The Ranges (Camp at Sunrise), 1915. Canadian War Museum, Beaverbrook Collection of War Art, Ottawa
(19710261-0810). Photo credit: Canadian War Museum.
117
HOMER WATSON
The River Drivers, 1914, 1925. MacKenzie Art Gallery, Regina, gift of Mr. Norman MacKenzie (1914-003).
Photo credit: Don Hall. Courtesy of the MacKenzie Art Gallery.
River Landscape, 1882. Collection of the Vancouver Art Gallery, gift of Susan and Rick Diamond (2007.5.2).
Photo credit: Trevor Mills. Courtesy of the Vancouver Art Gallery.
Roxanna Bechtel Watson from Sketchbook C, c.1880s. Collection of the National Gallery of Canada, Ottawa,
purchased 1962 (7875.90). Photo credit: National Gallery of Canada.
Sheep and Shepherd, c.1900. Private collection. Photo credit: Robert McNair.
Smugglers’ Cove, Cape Breton Island, Nova Scotia, 1909. Beaverbrook Art Gallery, Fredericton, gift of Lord
Beaverbrook, 1959 (1959.275). Photo credit: Beaverbrook Art Gallery.
Speed River Flats near Preston, c.1930. Collection of Homer Watson House & Gallery, Kitchener. Photo credit:
The Stone Road, 1881. Collection of the National Gallery of Canada, Ottawa, purchased 1960 (7797). Photo
credit: National Gallery of Canada.
Storm Drift, 1934. Collection of Kitchener-Waterloo Art Gallery, gift of Earl Putnam 1980. Photo credit:
Kitchener-Waterloo Art Gallery.
118
HOMER WATSON
Studio frieze, 1893–94. Homer Watson House & Gallery, Kitchener. Courtesy of Homer Watson House
& Gallery.
Study for The River Drivers, c.1913. Collection of the MacKenzie Art Gallery, Regina, gift of Norman
Mackenzie (1936-19). Photo credit: Don Hall. Courtesy of the MacKenzie Art Gallery.
Summer Storm, c.1890. Collection of the Homer Watson House & Gallery, Kitchener. Photo credit: Robert
McNair. Courtesy of the Homer Watson House & Gallery.
Sunlit Village, 1884. Private collection. Photo credit: Robert McNair.
Susquehanna Valley, c.1877. Collection of the Art Gallery of Ontario, Toronto, purchased 1983 (83/13).
Photo credit: Art Gallery of Ontario.
The Swollen Creek, c.1870. Collection of the Homer Watson House & Gallery, Kitchener. Photo credit: Homer
Watson House & Gallery.
Two Cows in a Stream, c.1885. Collection of the Homer Watson House & Gallery, Kitchener. Photo credit:
The Valley of the Ridge, 1922. Collection of the Kitchener-Waterloo Art Gallery, gift of Earl Putnam, 1980.
Photo credit: Kitchener-Waterloo Art Gallery.
119
HOMER WATSON
Woods in June, c.1910. Collection of the Kitchener-Waterloo Art Gallery, gift of William H. Kaufman, Helen
M. Sandwell, and S. Jean Koetsier in memory of Alvin R. and Jean H. Kaufman, 1978. Photo credit: Robert
McNair. Courtesy of Homer Watson House & Gallery.
Credits for Photographs and Works by Other Artists
An Adirondack Pastorale, 1869, by George Inness. Albany Institute of History and Art, gift of the estate of
Marjorie Doyle Rockwell (1995.30.2). Courtesy of Albany Institute of History and Art.
A page from The Aldine Vol. 6, No. 5, May 1873. Photo credit: Joy Xiang.
Baie-Saint-Paul, c.1927, by Randolph Hewton. Collection of the Agnes Etherington Art Centre, Kingston,
bequest of Douglas S. Wilson, 1993 (36-009). Photo credit: Paul Litherland. Courtesy of Agnes Etherington
Art Centre.
The Canadian Art section at the British Empire Exhibition, Wembley Park, London, England, 1924.
Photographer unknown. Courtesy of the National Gallery of Canada.
Canadian section at the Colonial and Indian Exhibition, London, 1886. Courtesy of The Illustrated London
News (May 1886).
The Cowherd, c.1879, by Anton Mauve. Collection of the Montreal Museum of Fine Arts, bequest of William
John and Agnes Learmont. Photo credit: Montreal Museum of Fine Arts.
120
HOMER WATSON
The Dead Steer’d by the Dumb, by Gustave Doré, published in Alfred Tennyson, Elaine, London: Moxon,
1867. Victoria and Albert Museum, London. Photo credit: Joy Xiang. Courtesy of the Toronto Reference
Library.
The 1st Canadian Infantry Battalion training at Valcartier, Quebec, 1914. Canadian War Museum, George
Metcalf Archival Collection, Ottawa (19740416-003). Photographer unknown. Courtesy of the Canadian War
Museum.
The Hay Wain, 1821, by John Constable. Collection of the National Gallery, London, gift of Henry Vaughan,
1886 (NG1207).
Homer Watson, c.1913, photograph by Edmond Dyonnet. Edmond Dyonnet Collection, National Gallery of
Canada, Ottawa. Courtesy of National Gallery of Canada.
Homer Watson in the new gallery addition to his home, Doon, 1906. Photographer unknown. Courtesy of
Homer Watson picnicking in Cressman’s Woods (now Homer Watson Park), 1934. Photographer unknown.
Courtesy of Homer Watson House & Gallery.
Homer Watson reclining outdoors, c.1880. Photographer unknown. Collection of Queen’s University Archives,
Kingston (Homer Watson Fonds, 2033-2-10). Courtesy of Queen’s University Archives.
121
HOMER WATSON
Homer Watson’s birthplace, 1866. Photographer unknown. Courtesy of Homer Watson House & Gallery.
Homer Watson with Rex the dog in Cressman’s Woods, 1925. Photographer unknown. Courtesy of Homer
Watson House & Gallery.
Homer Watson with spirits of the dead (faked photograph), 1930. Photographer unknown. Courtesy of
Queen’s University Archives.
Installation view of Bringing Heritage Home at the Homer Watson House & Gallery, Kitchener, 2012. Photo
credit: Robert McNair. Courtesy of Homer Watson House & Gallery.
Installation view of Bringing Heritage Home at the Homer Watson House & Gallery, Kitchener, 2012. Courtesy
of Homer Watson House & Gallery. Photo credit: Robert McNair.
Installation view of Homer Watson, R.C.A., 1855–1936: Paintings and Drawings / Peintures et dessins at the
National Gallery of Canada, Ottawa, 1963. Photographer unknown. Courtesy of National Gallery of Canada.
The Jack Pine, 1916–17, by Tom Thomson. Collection of the National Gallery of Canada, Ottawa, purchased
1918 (1519). Photo credit: National Gallery of Canada.
Lake, North of Lake Superior, 1870, by Frederick Verner. Collection of the Montreal Museum of Fine Arts, gift
of Isabella C. McLennan, 1935 (1935.652). Photo credit: Montreal Museum of Fine Arts.
122
HOMER WATSON
The Lock and Dedham Vale, 1834, by David Lucas (after John Constable). Private collection.
Logging, 1888, by George Reid. Collection of the National Gallery of Canada, Ottawa, transfer from Foreign
Affairs and International Trade Canada, 2011, gift of the Brigadier General W.F. Sweny, C.M.G., DSO, in
memory of his father, Colonel George A. Sweny, 1938 (45392). Photo credit: National Gallery of Canada.
Members of the Canadian Art Club, c.1907–13. Collection of Edward P. Taylor Library & Archives, Art Gallery
of Ontario, Toronto, gift of Lachlan MacTavish, 1971, 1976 (Newton MacTavish Fonds, LA.SC018.S8.41).
Photographer unknown. Courtesy of the Art Gallery of Ontario.
Mist Fantasy, Northland, 1922, by J.E.H. MacDonald. Collection of the Art Gallery of Ontario, Toronto, gift of
Mrs. S.J. Williams, Toronto, in memory of F. Elinor Williams, 1927 (899). Photo credit: Art Gallery of Ontario.
Mount Rundle, Canadian National Park, Banff, 1892, by Alexander Henderson. Notman Photographic
Archives at McCord Museum, Montreal (MP 118/78). Courtesy of McCord Museum.
The Oak in the Valley, 1871, by Jean-Baptiste-Camille Corot. Collection of the National Gallery, London, gift
of Mrs. Alice Bleecker, 1981 (NG6466).
Oscar Wilde, 1882, by Napoleon Sarony. Collection of the National Portrait Gallery, London, purchased 1976
(NPG P24). Courtesy of the National Portrait Gallery.
123
HOMER WATSON
The Rainbow, c.1878–79, by George Inness. Collection of the Indianapolis Museum of Art. Photo credit:
Indianapolis Museum of Art.
Roxanna “Roxa” Watson with Mary Watson and Rex the dog, Doon, 1917. Photographer unknown. Courtesy of
Sir John Douglas Sutherland Campbell, Marquis of Lorne, 1879, by Notman & Sandham Studio, McCord
Museum, Montreal (51-076-Misc.II). Courtesy of McCord Museum.
Six Nations Confederacy Council, Ohsweken, c.1910. Photographer unknown. Collection of the Six Nations
Legacy Consortium, Ohseweken (SNPL000091v00i). Courtesy of Six Nations Public Library.
The Storm, 1872, by Narcisse Díaz de la Peña. Collection of Walters Art Museum, Baltimore (37.121). Photo
credit: Walters Art Museum.
Sunset, Kempenfelt Bay, 1921, by Lawren Harris. Collection of the Power Corporation of Canada. © Estate of
Lawren Harris. Courtesy of the Power Corporation of Canada.
Tornado in an American Forest, 1831, by Thomas Cole. Collection of the National Gallery of Art, Washington,
D.C., museum purchase of the collection of the former Corcoran Gallery of Art (Corcoran Collection,
2014.136.117).
124
HOMER WATSON
Winter Work, 1883–84, by George Clausen. Collection of the Tate, London, purchased with assistance from
the Friends of the Tate Gallery, 1983 (T03666). Photo credit: Tate.
BOOK CREDITS
Publisher
Sara Angel
Executive Editor
Kendra Ward
Operations Executive / Web & Layout Director

Simone Wharton
French Editorial Director

Ersy Contogouris
Managing Editor
Michael Rattray
Editor
Amanda Lewis
Production and Copy Editor

Alicia Peres
Proofreader
Strong Finish Editorial Design
Translator
Christine Poulin
French Copy Editor

Annie Champagne
French Proofreader
Ginette Jubinville
Senior Image Research Associate

Stephanie Burdzy
Image Research Associate

Joy Xiang
125
HOMER WATSON
Digital Image Specialist

Rachel Topham
Layout Designer and Associate

Emily Derr
French Layout Associate

Ruth Jones
Design Template
Studio Blackwell
COPYRIGHT
© 2018 Art Canada Institute. All rights reserved.
Art Canada Institute

Massey College, University of Toronto
4 Devonshire Place
Toronto, ON M5S 2E1
Library and Archives Canada Cataloguing in Publication
Foss, Brian, 1955-, author

Homer Watson : life & work / Brian Foss.
Includes bibliographical references.
Issued in print and electronic formats.
ISBN 978-1-4871-0185-5 (hardcover).--ISBN 978-1-4871-0183-1
(PDF).--ISBN 978-1-4871-0184-8 (HTML)
1. Watson, Homer, 1855-1936. 2. Watson, Homer, 1855-1936--

Criticism and interpretation. 3. Painters--Canada--Biography.
4. Biographies. I. Art Canada Institute, issuing body II. Title.
ND249.W3F68 2018 759.11 C2018-905174-4

C2018-905175-2
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HOMER WATSON

Life & Work by Brian Foss

Homer Ransford Watson (1855–1936) has been characterized as

EARLY YEARS AND ARTISTIC BEGINNINGS

Watson’s earliest competent work included drawings based on novels and

NEW YORK TRAVEL AND EARLY FAME

Watson quickly began to build a reputation. He was elected an associate

Striking though Watson’s first

promotion to full academician in

On a practical level, Watson—buoyed artistically, financially, and socially by

OSCAR WILDE AND “THE CANADIAN CONSTABLE”

In later life Watson often resented Wilde’s comparisons because—as he

Watson’s frustration was exacerbated by the difficulty of gaining a toehold in

After a shaky beginning in Britain, Watson’s prospects began to improve. He

Clausen was also sufficiently

Watson, a committed environmentalist, was the key organizer and president of

Watson’s conviction about the

Watson remained the club’s

had been reinstated by a

Things exploded soon after

retired president Homer Watson. 31 He insisted, however, that he had not

the 1924 Wembley exhibition, where British critics lauded Canadian

LAST YEARS AND TRAVEL WEST

The election could not, however,

By 1921, sustained by his sister’s emotional support and housekeeping,

a great gentleman & a great artist.”40

THE DEATH OF ELAINE 1877

Homer Watson, The Death of Elaine, 1877

It is widely agreed that Watson taught himself to draw by imitating

notably: Watson’s reversal of the composition, the modified angle from

A COMING STORM IN THE ADIRONDACKS 1879

Homer Watson, A Coming Storm in the Adirondacks, 1879

A Coming Storm in the Adirondacks is one of the first major statements in

The Hudson River School’s work was characterized by both an analytical

foreground (and something that was occasionally noted by critics

Overall, however, the canvas is the most impressive of Watson’s American

THE PIONEER MILL 1880

Homer Watson, The Pioneer Mill, 1880

Watson’s later recollections of the occasion were somewhat exaggerated.

The Pioneer Mill—both oil and

NEAR THE CLOSE OF A STORMY DAY 1884

Homer Watson, Near the Close of a Stormy Day, 1884

Near the Close of a Stormy Day is a

same time, the painting moves

STUDIO FRIEZE 1893–94

Homer Watson, studio frieze (detail), 1893–94

Soon after their marriage in 1881,

The frieze is a tribute to thirteen European landscape painters who were

Lepage (1848–1884), Jean-François Millet (1814–1875), Salvator Rosa (1615–

LOG-CUTTING IN THE WOODS 1894

Homer Watson, Log-cutting in the Woods, 1894

The Montreal Metropolitan critic

THE FLOOD GATE C.1900–1

Homer Watson, The Flood Gate, c.1900–1

The scene—Watson’s last major treatment of a mill theme—is of a man taking

In any case a reviewer of the 1908 RCA exhibition saw enough of a

THE RIVER DRIVERS 1914, 1925

Homer Watson, The River Drivers, 1914, 1925

The River Drivers is one of a small number of seascapes in Watson’s oeuvre.