Paul Peel, born in London, Ontario, in 1860, emerged as one of Canada’s most celebrated painters of the 19th century, despite his tragically short life. The youngest of five children, Paul was raised in a family deeply rooted in the arts. His father, John Robert Peel, was a monument maker and drawing instructor at the Mechanics' Institute in London. The Peel family’s home, located at 238 Richmond Street, was modest, and their income was supplemented by the family's monument business, known locally as The Peel Monument Works.
Paul's early artistic talent was nurtured in his father’s studio, where both he and his sister Mildred contributed to the fine carvings that came out of the shop. By the age of eight, Paul was already demonstrating a natural aptitude for drawing, often sketching cows, horses, and other subjects. His formal training began around the age of twelve under the guidance of his father, and later, he studied with local artist William Lee Judson, who had trained in Paris under prominent painters such as William-Adolphe Bouguereau and Jules Lefebvre.
Paul's ambition soon outgrew the opportunities available in London, Ontario. In 1877, he enrolled at the Pennsylvania Academy of Fine Arts, where he studied under Thomas Eakins, a leading figure in American art. Eakins’ influence on Peel was profound, instilling in him a rigorous approach to studying life forms and a dedication to merging classical techniques with the emerging impressionist style. Peel excelled at the academy, even serving as an instructor to help finance his studies.
After completing his studies in Philadelphia in 1880, Peel briefly set up a studio in Toronto, where his distinctive Bohemian appearance and artistic flair began to attract attention. However, his ambitions soon led him to Europe. He spent a few months at the Royal Academy in London before moving to Paris in 1881. There, Peel immersed himself in the vibrant artistic community, studying under acclaimed teachers like Jean-Léon Gérôme, Jules-Joseph Lefebvre, and Benjamin Constant. He quickly became a favorite student, particularly of Gérôme and Constant, and adapted well to life in Paris, becoming fluent in French and embracing the city's cultural life.
During his time in Europe, Peel spent his summers in scenic locales such as Calais, Normandy, and Brittany. It was in Concarneau and Pont-Aven that he met Isaure Verdier, a talented painter of miniatures and musician. Despite his modest financial situation, Peel's dedication and progress as an artist impressed the Verdier family, and he married Isaure in Copenhagen in 1882. The couple had two children, Robert and Marguerite, who became frequent subjects of Peel's paintings.
Peel’s work began to gain international recognition, particularly his depictions of his children. His most famous painting, After the Bath (1890), which features his two children fresh from the tub, won a third-class medal at the prestigious Paris Salon and was eventually acquired by the Hungarian National Gallery in Budapest. This painting, with its delicate rendering of light and skin tones, is often compared to the work of Jean-Baptiste-Camille Corot and William-Adolphe Bouguereau, demonstrating Peel's mastery of classical techniques and his sensitivity to the human form.
Despite his success, Peel’s return to Canada in 1890 for an exhibition and auction in Toronto was met with financial disappointment. The auction, held at Oliver, Coate & Company, yielded only modest returns, reflecting the challenging economic conditions in Toronto at the time. Nevertheless, Peel continued to work tirelessly upon his return to Paris, often pushing himself to the point of exhaustion.
Tragically, Peel's relentless work ethic contributed to his untimely death in 1892 at the age of 32. He died in his studio, likely from complications related to a lung infection. His death was a significant loss to the art world, as he was considered one of Canada’s most promising talents.
Today, Paul Peel's legacy endures through his paintings, which are held in major collections across Canada and internationally. His works, such as After the Bath, The Venetian Bather, and The First Lesson, continue to be celebrated for their technical excellence and emotional depth. Peel’s ability to capture the innocence and beauty of childhood, as well as his skillful treatment of light and texture, make him a pivotal figure in Canadian art history.
His works can be seen in various public collections, including the Art Gallery of Ontario, the National Gallery of Canada, and the Montreal Museum of Fine Arts, among others. A comprehensive study of his oeuvre, conducted by J. Edward Martin in 1974, catalogued 200 of Peel’s paintings, providing a detailed record of his contributions to Canadian and international art.
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