December 16, 1916
Dr. MacCallum dropped by again today. He brought with him a copy of The Canadian Magazine. There was my painting, on page 177, alone on its own page. It was strange and exhilarating to see my canvas on the magazine page and my name among the other writers and artists in the Table of Contents.
Earlier in the fall, while I was up North, Dr. MacCallum entered ‘Moonlight’ into the Canadian National Exhibition. I also heard that Dr MacCallum convinced Newton McTavish, the editor of The Canadian Magazine, to get someone to come down to take a picture so they could publish it. The Dr. has always been keen to showcase my work wherever the opportunity and I didn’t think any further of it, until today, when he brought me the December issue.
“At least they spelled my name right.” Dr. MacCallum smiled. He knew I was constantly annoyed by the insistence of people spelling my name with a silent “p”.
“Unlike the English, we Scots don’t need to have a silent ‘p’ in our name.”
The Dr. laughed.
After flipping through the other pages, I set the magazine aside and moved over to my easel to show the Dr. what I was working on. A decorative canvas of autumn. By quickly changing the topic, I didn’t want to let on that I was pleased by the magazine.
“Top notch, Tom. Keep it up!” His attention wasn’t fully on this particular canvas, he was looking at the other ones leaning against the wall. “Mind your stove at night, I don’t want to see these treasures go up in flames.” A reminder of the nightly occurrence of house fires in Toronto. The fires were mostly in shanties similar to the Shack. Unregulated housing was cropping up everywhere throughout the City and burning down just as fast. The City Board of Control, not wanting another Great Fire, was considering a crackdown and serving eviction notices to the shanty-tenants. I’m not sure where they would go, other than a boarding house with jacked-up prices. Either way, the landlords win with the rent.
“I can’t stay long, I’ve got to go to my portrait sitting.” The members’ portrait for the Arts & Letters Club – that’s what the Dr. was referring to. Joseph-Ernest Sampson, a fine portraitist, had been hard at work, making the club painting. “Sampson’s got us scheduled in like doctor’s patients. He’s doing individual sittings in his Studio on King Street and he wants to get the thing done in time for the members’ dinner in January.”
I had heard the portrait was turning into a veritable School of Athens. At last count twenty-eight members would be in the painting. I can’t even being to comprehend the jockeying for position. Dr. MacCallum, being the current president, would be the most prominent in the painting, but the concession he made for this prominence was that his portrait would be in profile. The others would be suitably placed standing around the fireplace or sitting at the table.
As the Dr. was leaving, he handed me an invitation, “January 17th, Tom. That’s the unveiling. Members only, but I got you an invitation as a friend of the club. Mark that in your calendar. It’ll be quite the time.”
Later in the evening, before going to bed, I studied the picture while having a good draw on my pipe. I secretly relished the fact that people across the Dominion, the Commonwealth and the USA would be looking at my canvas, Moonlight. But I knew they were missing the real spirit of the canvas. It doesn’t come through in the picture. To me, paintings looked dead in books and magazines, and I wondered how many dead Van Goghs, Monets, and Renoirs I studied in the books and magazines at the library. I never made it to Europe to see the real things, to see if they were alive. Maybe these paintings were really dead. Jackson said to me once, “It’s good to have knowledge of the masters, but don’t let them influence you too much. Put your own life into your paintings. Do your own thing. Don’t worry about the Masters.”