Frederick Marlett Bell-Smith, often referred to simply as F.M. Bell-Smith, was a Canadian painter whose work is celebrated for its evocative depictions of the Canadian Rockies, misty London streets, and regal portraits, particularly those of Queen Victoria. Born in London, England, in 1846, Bell-Smith's journey as an artist began under the tutelage of his father, John Bell-Smith, a miniature portrait painter. His early education at the South Kensington School of Art laid the foundation for what would become a prolific and influential career in both Canada and Europe.
Early Life and Emigration to Canada
Bell-Smith's family emigrated to Montreal in 1866, though Frederick remained in England until the following year, arriving in Montreal in July 1867. Upon his arrival, he was hired by photographer James Inglis, for whom he worked as a retoucher and colorist, applying oil and watercolors to photographs. This early work honed his skills in detail and composition, qualities that would define his later paintings.
Bell-Smith quickly integrated into the Canadian art scene, becoming a member of the Society of Canadian Artists, which his father co-founded in 1867. This organization was instrumental in fostering the development of Canadian art during a time when the country was still in its infancy as a confederation.
Military Service and Artistic Career
In May 1870, Bell-Smith served with the Victoria Rifles during the Fenian Raids, a series of conflicts that underscored the young nation's vulnerability. After his military service, he married Annie Myra Dyde in 1871 and moved to Hamilton, Ontario. There, he continued to work in photography studios while pursuing his passion for painting. His involvement with the Ontario Society of Artists (OSA), which he joined in 1872, marked the beginning of a more serious commitment to his art.
Between 1872 and 1884, Bell-Smith worked as a freelance artist, contributing drawings to the Canadian Illustrated News and teaching at the Ontario School of Art. His dedication to education was evident throughout his career, as he taught at various institutions, including Alma College in St. Thomas, Ontario, and the Central Public School in London, Ontario. His influence extended beyond the classroom, as he mentored a generation of Canadian artists who would carry forward the traditions he helped establish.
Royal Commissions and International Acclaim
Bell-Smith's career took a significant turn in 1894 when he was commissioned to paint scenes related to the sudden death of Canadian Prime Minister Sir John Thompson while visiting Queen Victoria at Windsor Castle. This project, which included the massive painting The Queen's Tribute to Canada and its companion pieces The Arrival of the Blenheim and The State Funeral at Halifax, brought Bell-Smith national attention. His connection with the Royal Family deepened when Princess Louise, whom he had met in Canada, facilitated his commission to paint Queen Victoria.
These royal commissions solidified Bell-Smith's reputation as a painter of historical significance and opened doors to further opportunities. His painting of Queen Victoria became iconic, and his works were exhibited to great acclaim in Canada and abroad.
Master of the Canadian Landscape
In addition to his portraiture and historical scenes, Bell-Smith was renowned for his landscape paintings, particularly those of the Canadian Rockies. His first trip to Western Canada came just two years after the last spike was driven, completing the Canadian Pacific Railway. With a special pass from the railway, he explored the rugged terrain, capturing the majesty of the Rocky and Selkirk Mountains in a way that few artists had before.
Bell-Smith's ability to convey the grandeur and beauty of the Canadian landscape made him a favorite among collectors and art enthusiasts. His paintings of coastal scenes, misty streets, and mountain vistas are characterized by a keen eye for detail and a deep appreciation for the natural world.
Legacy and Recognition
Throughout his career, Bell-Smith was an active member of numerous art organizations, including the Ontario Society of Artists, the Royal Canadian Academy of Arts (RCA), and the Palette Club of Toronto. His contributions to Canadian art were recognized with several awards, including the Jessie Dow Prize for watercolour at the Art Association of Montreal in 1909.
Bell-Smith's work is represented in many prestigious collections, including the Art Gallery of Ontario, the National Gallery of Canada, and the Royal Ontario Museum. His paintings continue to be popular at Canadian art auctions, reflecting the enduring appeal of his work.
In 1978, the Art Gallery of Greater Victoria organized a retrospective exhibition of Bell-Smith's work, which traveled across Canada. The exhibition catalog, researched and written by Roger Boulet, offers a comprehensive look at Bell-Smith's life and legacy, including reproductions of his work, sketches, photographs, and a detailed chronology of his career.
Conclusion
Frederick Marlett Bell-Smith's contribution to Canadian art is immeasurable. His ability to capture the essence of both the Canadian wilderness and the regal splendor of the British monarchy places him among the foremost painters of his time. His legacy lives on in the countless landscapes, portraits, and historical scenes that continue to inspire and captivate audiences today.
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