Pegi Nicol MacLeod, born Margaret Kathleen Nichol in 1904 in Listowel, Ontario, was a dynamic and innovative artist whose work and life left a lasting impact on Canadian art. Growing up in Ottawa, where her father was a prominent educator, Pegi showed an early interest in art. She attended Cartier Street Public School and Lisgar Collegiate, before embarking on formal art studies under the tutelage of Franklin Brownell at the Ottawa Art Association.
In 1922, Pegi moved to Montreal to study at the prestigious École des Beaux-Arts. Her time at the Beaux-Arts was marked by numerous accolades, as she won five medals for her outstanding work. Here, she formed lifelong friendships with fellow artists Marian Scott and Lillian Freiman. After a year in Montreal, she returned to Ottawa, where she continued to hone her craft while living at home until 1934.
Pegi's artistic journey took her across Canada, including painting trips to Alberta, where she worked among the Stoney Indians, and the Skeena River in British Columbia, where she painted West Coast Indigenous peoples. Her work often captured the vibrant landscapes of the Gatineau River and hills, and in 1931, her painting "The Log Run" won the prestigious Willingdon Prize.
Throughout the early 1930s, Pegi held several solo exhibitions, including at Lysle Courtenay Studios in Ottawa and Eaton's in Montreal. Her work during this period included landscapes, portraits, and illustrations for French Canadian stories adapted by Dr. Marius Barbeau, which were published in La Presse.
Pegi was not only a painter but also an active participant in the cultural life of her time. In Ottawa, she was a frequent guest at the home of Maud and Eric Brown, the latter being the Director of the National Gallery of Canada. These gatherings were lively affairs, where discussions about art and life flourished, and where Pegi's vibrant personality shone. She was described by Maud Brown as "bursting with vitality and ideas," a sentiment that was evident in both her art and her interactions with others.
In 1937, Pegi married Norman MacLeod, and the couple moved to New York City, where Norman worked as Vice-President of the Balaban-Gordon Company, Inc. The bustling streets of New York provided Pegi with new inspiration, and her work began to reflect the vibrant color and action of the city. Her daughter Jane was born during this period, and Pegi filled her sketchbook with studies of Jane and her friends at play.
Pegi's time in New York was both challenging and fruitful. Donald W. Buchanan, writing about her work during this period, noted her extreme sensitivity to the stimuli of the city. She attempted to capture the chaotic bustle of New York on canvas, often resulting in works packed with figures in motion, vibrant colors, and dynamic lines. Some of her conceptions seemed to demand the vast space of murals, yet even in smaller works, Pegi managed to convey the energy and diversity of the metropolis.
Throughout the 1940s, Pegi remained deeply connected to Canada, particularly through her summer teaching at the University of New Brunswick. Her art classes, held in the historic Fiddlehead Observatory in Fredericton, were characterized by her encouragement of individual expression and her focus on the theory of color. Pegi was a beloved figure in the Fredericton community, often seen painting on the steps of City Hall or capturing the lively scenes of the local market.
During World War II, Pegi was commissioned by the National Gallery of Canada to document the activities of the three women's services. The result was an impressive collection of 110 oil and watercolor paintings, now part of the National Gallery's war collection. Following the war, she returned to New York, where she continued to depict the vibrant life of the city. Her 1947 exhibitions in Toronto and Ottawa, titled "Manhattan Cycle," showcased her dynamic interpretations of urban life.
Tragically, Pegi Nicol MacLeod's life was cut short in 1949, when she passed away in New York City after an eight-month illness at the age of forty-five. Her death was a significant loss to the Canadian art world. Graham McInnes, writing about her passing, captured the essence of her contribution: "Her painting was simple, gay and direct. It caught life on the wing, arresting for a moment in vivid pattern its shifting kaleidoscope."
Pegi Nicol MacLeod's legacy is preserved in the collections of major Canadian institutions, including the National Gallery of Canada, the Art Gallery of Ontario, and the Beaverbrook Gallery in Fredericton. Her work continues to be celebrated for its vibrant energy, its bold use of color, and its unyielding sense of vitality. In her short but impactful career, Pegi Nicol MacLeod left an indelible mark on Canadian art, one that continues to inspire and captivate audiences today.
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