Lionel LeMoine Fitzgerald, born in 1890 in Winnipeg, Manitoba, emerged as one of Canada’s most distinctive painters. His journey into the art world began at a young age. At 14, while working in a wholesale drug office, he took night classes at A.S. Kesztheli's Art School in Winnipeg from 1909 to 1912. His early employment included stints in an engraver's plant and a stockbroker's office, but by 1912, Fitzgerald had committed himself fully to the pursuit of art.
Transition to Full-Time Artist
Around 1912, Fitzgerald decided to embrace art full-time, marrying Vally Wright and starting a family with two children, Edward and Patricia. To support his family, he engaged in various art-related jobs, from decorating windows to painting scenery. Despite these practical endeavors, Fitzgerald's passion for easel painting flourished, and he began exhibiting with the Royal Canadian Academy of Arts (RCA) between 1912 and 1925.
Influence and Style
Initially influenced by French Impressionists, Fitzgerald's work was deeply rooted in Canadian landscapes. His studies at the Art Students League of New York in 1921 under Boardman Robinson and Kenneth Hayes Miller further honed his style. Returning to Winnipeg, he joined the Winnipeg School of Art's staff in 1924 and became its principal in 1928. This period marked a significant phase in his artistic development.
The Group of Seven and the Canadian Group of Painters
Fitzgerald's work during the late 1920s and early 1930s showcased a shift towards greater stylization. In 1932, he became the last member of the Group of Seven, replacing J.E.H. MacDonald. His unique approach integrated more design elements, with less detailed trees and meticulous scenes from his home and backyard. This evolution in his style aligned with the formation of the Canadian Group of Painters in 1933, of which he was a founding member.
Teaching and Later Years
Fitzgerald's commitment to art education was unwavering. Despite his administrative duties as principal of the Winnipeg School of Art, he continued to produce admired works. His watercolors and oils of prairie landscapes, as well as his drawings, were celebrated for their precision and care. By the late 1940s and 1950s, Fitzgerald's style saw a return to Impressionist influences, reminiscent of Georges Seurat, although there is no direct evidence of his study of Seurat's work.
Techniques and Innovations
Known for his impressive graphics, Fitzgerald excelled in wood engravings, drypoints, and linocuts. His pen and ink drawings often featured tiny flecks or short strokes to outline his subjects, demonstrating his meticulous attention to detail. His abstract and semi-abstract works from the 1950s further showcased his versatility as an artist.
Legacy and Recognition
Fitzgerald's contributions to Canadian art were widely recognized. The National Gallery of Canada holds an extensive collection of his works, thanks to prudent acquisitions and generous donations. Some of his notable works include William's Garage (1927), Doc Snyder's House (1931), and From an Upstairs Window, Winter (1950/51). His exhibitions, such as the 1958 memorial exhibition and the 1963 "A New Fitzgerald" show, highlighted his diverse range of portraits, animal sketches, landscapes, and nudes.
Conclusion
Lionel LeMoine Fitzgerald's legacy as a pioneer of Canadian art is marked by his dedication to his craft, his influence on contemporaries like Bertram Brooker, and his role in the evolution of Canadian art movements. His quiet yet profound impact on the art world continues to inspire and resonate, reflecting the depth and richness of his artistic journey.
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