Frederick H. Varley, a name synonymous with the Group of Seven, stands out not just for his vibrant landscapes but also for his deeply emotional portraits and war scenes. Born in 1881 in Sheffield, England, Varley's journey as an artist took him from the hallowed halls of the Sheffield School of Art and the Antwerp Academy to the war-torn fields of France, and finally to the rugged landscapes of Canada. His life was marked by financial struggles, bouts of depression, and a relentless pursuit of artistic expression.
Early Life and Education
Varley's early years were shaped by his education at the Sheffield School of Art and later at the Antwerp Academy, where he quickly gained a reputation for his skill. His time in Antwerp was particularly formative, as he won two medals for life drawing and landscape painting. Despite his early success, Varley's life in London as a commercial artist was a struggle, marked by near-starvation and a failed attempt to make a living. It wasn't until his friend and fellow artist, Arthur Lismer, persuaded him to try his luck in Canada that Varley’s fortunes began to change.
Arrival in Canada and Formation of the Group of Seven
In 1912, Varley arrived in Toronto with only thirty shillings in his pocket, beginning his Canadian journey at Grip Ltd., a commercial art firm where he met most of the artists who would later form the Group of Seven. Although his tenure at Grip Ltd. was brief, it was here that Varley forged lifelong friendships and found a kindred spirit in Tom Thomson. The two would often embark on weekend excursions, though Varley, unlike his peers, was more interested in people than in nature.
Varley's bohemian lifestyle and fiery temperament made him both a difficult companion and a passionate artist. His early work in Canada focused on portraits, but it wasn't long before his attention turned to the Canadian landscape, a subject that would define his later career.
War Artist and Post-War Transformation
During World War I, Varley was sent to France as a war artist for the Canadian War Records. The war had a profound impact on Varley, who was deeply affected by the scenes of death and destruction he witnessed. His first major war canvas, For What?, is a haunting portrayal of a burial party preparing graves for a new cartload of bodies. The painting’s somber tones and narrative style evoke a powerful sense of loss and futility, a theme that would continue in his later war works, such as Some Day the People Will Return and German Prisoners.
Varley returned from the war a changed man, both as an artist and as a person. His experiences on the front lines deepened his interest in human emotions, leading him to focus more on portraiture than landscapes. His Self-Portrait of 1919 is a striking example of this shift, revealing a sensitive and introspective character.
Portraiture and Bohemian Life
One of Varley’s most celebrated portraits is the Portrait of Vincent Massey, painted in 1919. This work marked a departure from the stiff, formal portraits of the Victorian era, showcasing Varley's ability to capture not just the likeness of his subjects but also their essence. The portrait's success catapulted Varley into the ranks of Toronto’s fashionable portraitists, though his bohemian ways often put him at odds with his clients.
Varley’s portrait work during this period also included the stunning Gypsy Head, a vibrant and expressive painting that draws on the European tradition of portraiture while infusing it with a distinctly Canadian sensibility. His use of color, particularly the symbolic use of green in his later portraits, demonstrates his growing interest in the psychological effects of color, a concept he explored throughout his career.
The Pacific Coast and Later Years
In 1926, Varley moved to Vancouver to head the drawing and painting department at the Vancouver School of Art. This move marked a significant shift in his career, as he became less involved with the Group of Seven and more focused on his own artistic explorations. The rugged landscapes of the Pacific coast provided Varley with new inspiration, leading to some of his most powerful works, such as The Cloud, Red Mountain.
Varley’s time in Vancouver also exposed him to Eastern philosophy and art, which profoundly influenced his later work. His painting Dharana attempts to capture the mystical relationship between the figure and the landscape, though it is perhaps more notable for its exploration of spiritual themes than for its technical execution.
Varley's later years were marked by personal and financial struggles. His long-standing friendship with Vera Weatherbie, an art student who became his muse, provided some solace, but his bouts of depression and a failed stint at the Ottawa Art Association in 1938 only deepened his despair. Despite these challenges, Varley continued to paint, producing some of his most introspective and emotionally charged works in the final years of his life.
Legacy
Frederick H. Varley was a man of contradictions: a passionate artist with a deeply sensitive soul, yet one who often found himself at odds with those around him. His work, whether in landscape or portraiture, reflects a profound engagement with the world around him, infused with a sense of emotion and spirituality that set him apart from his peers.
While Varley may not have fully embraced the camaraderie of the Group of Seven, his contributions to Canadian art are undeniable. His war paintings remain some of the most poignant depictions of the human cost of conflict, and his portraits offer a window into the inner lives of his subjects. Today, Varley is remembered not just as a member of the Group of Seven but as an artist who charted his own path, leaving behind a body of work that continues to resonate with viewers more than a century later.
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