Goodridge Roberts was born in 1904 in Barbados, where his parents were on a brief vacation. His father, Theodore Goodridge Roberts, was a poet and novelist, and his mother, Frances Seymour Allen, was a figure of intellectual and emotional support. The family soon returned to Fredericton, New Brunswick, where they lived with Goodridge’s paternal grandfather, the rector of the Anglican parish church. The family's frequent relocations between Canada, England, and France during his childhood exposed Roberts to a variety of cultural and artistic influences.
Roberts' early experiences in England, particularly his visits to Kensington Gardens, sparked his love for nature and the desire to capture its beauty through art. A vivid memory of a spring day in the gardens, where he was struck by the variations in the shades of green and the play of sunlight on leaves, ignited his lifelong passion for painting. His first attempts at painting were modest, using watercolors to depict the trees by the Serpentine, but this experience set him on a path that would define his life's work.
Artistic Education and Development
Roberts' formal education in art began in Canada, where he attended the École des Beaux-Arts in Montreal from 1923 to 1925. His time at the school was marked by remarkable success, as he won numerous prizes and began to develop his distinctive style. A pivotal moment came when he visited a retrospective exhibition of James Wilson Morrice, whose work left a lasting impression on the young artist. Morrice's ability to simplify his subjects without losing their essence, particularly his use of green, black, and brown, deeply influenced Roberts.
Seeking further artistic growth, Roberts moved to New York City in 1926 to study at the Art Students League under prominent artists like John Sloan, Boardman Robinson, and Max Weber. Under Sloan, he honed his skills in rapid sketching from life, a practice that would shape his ability to quickly capture the essence of his subjects. Robinson introduced him to the work of Italian primitives, while Weber exposed him to the aims of the French modernists, leading Roberts to experiment with still life and figure painting influenced by Cézanne and Matisse.
Struggles and Early Career
Upon returning to Canada in 1929, Roberts faced the harsh realities of the Great Depression. He worked as a draftsman for the provincial forestry service in Fredericton, sustaining his artistic practice by creating watercolors before and after work each day. His attempts to make a living through various means, including selling Fuller brushes, met with little success. However, his determination led him to open a summer art school at Wakefield on the Gatineau River with fellow artists William Firth McGregor and Bernard More. Despite the modest beginnings, the school attracted attention from notable figures, marking the start of Roberts' involvement in the Canadian art scene.
In 1932, Roberts began a period of intense creativity while living in a tent on the property of H.O. McCurry, Assistant Director of the National Gallery of Canada, at Kingsmere. Surrounded by inspiring landscapes, he produced numerous watercolors, working with a limited palette of green, purple, and black. His work began to gain recognition, leading to his first one-man show at the Arts Club of Montreal, organized by Ernst Neumann, a fellow student from the École des Beaux-Arts.
Recognition and War Years
Roberts' career took a significant turn in 1933 when he was invited by John Lyman to participate in a group exhibition in Montreal. This exposure led to further opportunities, including becoming a member of the Eastern Group and the Contemporary Art Society in 1939. His landscapes during this period, characterized by dark skies and fiery clouds, reflected his growing mastery of color and composition.
In 1943, Roberts enlisted in the Royal Canadian Air Force (RCAF) and was appointed as a war artist. His time overseas, particularly at the Coastal Command station near Ford in Sussex, England, resulted in 116 drawings and watercolors that captured the realities of war. These works, now part of the War Records, added a new dimension to his artistic legacy.
Post-War Achievements and Later Life
After his release from the RCAF in 1945, Roberts returned to Canada and continued to paint, teach, and exhibit his work. His landscapes from this period, including the acclaimed "Lake Orford," showcased his ability to imbue ordinary scenes with a sense of grandeur and emotional depth. Despite his success, Roberts struggled to make a living solely from his art, leading him to continue teaching, a role he reluctantly accepted.
Roberts' marriage to Joan Carruthers Carter in 1954 and a Canadian Government fellowship that allowed him to study in France marked significant milestones in his personal and professional life. His work continued to receive accolades, including his election as a full member of the Royal Canadian Academy in 1956.
Throughout the 1960s, Roberts' work was featured in numerous exhibitions, both in Canada and internationally. His appointment as the first resident artist at the University of New Brunswick in 1959 provided him with a stable income and the opportunity to paint winter landscapes for the first time. His work from this period, particularly his paintings of the Saint John River, remains highly regarded.
Legacy and Retrospective
Goodridge Roberts' contribution to Canadian art was recognized with a major retrospective at the National Gallery of Canada in 1970, organized by James Borcoman and Alfred Pinsky. The exhibition highlighted the breadth and depth of his work, from landscapes to portraits, still lifes, and figure paintings. Roberts' ability to capture the essence of his subjects, whether in the tranquility of a rural scene or the timelessness of a portrait, cemented his place as a significant figure in Canadian art.
Roberts continued to paint and exhibit until his death in January 1974. His legacy lives on through the numerous collections that house his work, including the National Gallery of Canada, the Montreal Museum of Fine Arts, and the Art Gallery of Ontario. His wife, Joan, and their son, Timothy, have continued to support the preservation and exhibition of his work, ensuring that future generations can appreciate the art of Goodridge Roberts.
Goodridge Roberts' life and work exemplify the dedication and passion of an artist who, despite challenges, remained committed to his vision. His ability to transform ordinary scenes into moments of profound beauty and his influence on Canadian art make him a figure of enduring significance.
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