What follows is an imagined conversation with Canadian painter Alex Colville. While fictitious in form, the interview draws from real events. Recorded statements, biographical details and the chronology of Colville’s life and career. The intention is not to imitate the artist perfectly, but to explore his world through a conversational lens.
SL: “You grew up in Nova Scotia but were born in Toronto in 1920. Can you tell me about what growing up was like and how you were introduced to the wonderful world of art?”
Colville: “Yes, I was born in Toronto, but we moved to Nova scotia when I was two because of my father’s work. He was an engineer and worked in the construction of bridges and buildings. He was offered a position as a plant supervisor at Robb engineering. So, we moved. Well, I didn’t start seriously drawing until I developed pneumonia and spent a lot of time in solitude. I had no choice but to read a lot and I began to draw also. Naturally, I suppose the things I drew were of machines mostly. You know, such as boats, cars, airplanes, anything.”
SL: “Was it the technical aspect of these machines that caught your attention?”
Colville: “Yes, I think more than likely my father’s technical aptitude and interests rubbed off on me.”
SL: “So, when you got better. Where did you go for artistic training? Was there an institution for the arts nearby?”
Colville: “Yes, after this I enrolled Mt Allison university in Sackville, New Brunswick. One of my teachers was Sarah Hart. She introduced me to post-impressionist style of painting. Which resonated with me quite well.”
SL: “Did you know you would be successful as an artist back then?”
Colville: “No. In fact I can remember asking one of my instructors, Stanley Royle of Sheffield, England. If he thought that I would have a hard time as an artist. He assured me that that wouldn’t happen and encouraged me to continue. From that day on I was fully committed. This is kind of ironic because I was already in two large exhibitions: One in Montreal, and the other in the Royal academy of the arts, but I was still feeling uneasy. His confidence in me cleared that up.”
SL: “So, you enrolled in classes in 1938 and graduated in 1942?”
Colville: “Yes, I also met my wife that year also. In 1938. She’s often the woman I use for reference in my paintings. We were married in 1942 which was also the same year I enlisted in the Canadian Military.”
SL: “Yes, of course because of the war. Can you tell me about that?”
Colville: “Well originally, I wanted to be a war artist. I admired A.Y. Jackson’s work and wanted to be a part of something like that. At first there was no war art program when I signed up. I didn’t get to do that right away. However, I was given non-combatant roles and was commissioned as a lieutenant.”
SL: “Fascinating. Do you think that seeing the war firsthand had influenced your work?”
Colville: “I would say so, yes. For a brief period, I was stationed in Yorkshire, England where I sketched a lot of the soldiers lives. Then I was sent off to the Navy. In 1944 I joined the infantry and witnessed some pretty horrendous things. We liberated Bergen-Belsen concentration camp. However, some of the critics point out that it had a profound effect on my work. I don’t think it did. I was quite matter of fact when it came to my war time paintings. The sort of the way a journalist is when writing non-fiction. I once told Peter Goddard of the Toronto star that ‘the war had a profound effect on me. But it was all about the action of war. All of my instincts as a kid were toward action and war is to the nth degree. It’s amazing in a sense how tough people are. I wasn’t sickened or horrified or anything.’”
SL: “Super! Well, what did you do after the war?”
Colville: “After the war. I demobilized and was offered a position as faculty at the institution that I graduated from. Which was?!”
SL: “Mt Allison! I’m paying attention.”
Colville: “Just testing you! Well, at this point I wanted to settle down with my family and focus on my teaching career as well as family life. The only paintings I did were of landscapes. I painted windmill and farm in 1947. I tried to teach my students the beauty and simplicity that landscapes had to offer. I had considered leaving teaching to be a full time architect at this stage in my life.”
SL: “You know, Alex. I had wondered if you were trained in architecture or engineering. I say this because you seem to have a meticulous approach to your work. With no room for error when it comes to composition. The way you measure your references. You know I have a professor who actually took part in hanging one of your exhibits Nova Scotia circa 1976 at the AGNS. He had mentioned something about you climbing a tree.”
Colville: “Yes, you must be speaking of the young Sean Mcquay! That old son of a gun. Well, he wasn’t wrong. He must have been talking about my painting called Elm tree at Horton Landing. Yes, I climbed the tree and measured the branches. I omitted nothing when it came to measurements. I’m glad you picked up on that”.
SL: “So, what happened? Why didn’t you pursue a career in architecture?
Colville: “I was commissioned to paint a large egg-tempera on linen mural in 1948. This was a large endeavor and staunched any aspirations of architecture.”
SL: “Is that so?”
Colville: “I discovered that I could provide a dual income to my family by teaching and also by painting. Shortly after this I had my first public solo exhibition at the New Brunswick Museum.”
SL: “This was in 1951?”
Colville: “Yes, now quit interrupting!”
SL: “Oh, sorry Well I was just going to say.”
Colville: “Oh , you were just going to say is it? How about I give you the recorder and you just sit here an interview yourself. How about that?! “
SL: “No, continue! Please.”
Colville: “Wow, great. I don’t recall asking. Just remember it was you who summoned me. Anyway, where was I? Ah yes, I just had my first solo exhibition. This was a huge success for me because I received quite a lot of press and sold my first painting to a gallery. Pretty goodhuh?”
SL: “So, this was turning point for you?”
Colville: “Yes, I would say that Nude and Dummy was my first mature work. And I continued on with that in mind. During the 1950’s I exhibited regularly. My work became synonymous with magic-realism and less post-impressionism at this point.
SL: “What made you paint this way? What struck you? You know, stood out.”
Colville: “I have always loved landscapes. I use my family mostly in my paintings because of fascination with my immediate surroundings. I don’t think there is anything mundane. I think the relationships men, woman, children and animals have with eachother are worthwhilesubjects to paint. In 1952 I painted child and Dog and in 1953 painted Solider and Girl at station. These show relationships and this is the style I pursued for the next six decades of my life.
SL: “With all this success How long did you remain teaching at Sackville?”
Colville: “I resigned in 1963. Remained in Sackville until 1973. I travelled around the world during these years having solo exhibitions. I had several residencies also.”
SL: “What would you say your greatest achievement as an artist would be?”
Colville: “Designing Canada’s centennial Coin was probably biggest achievement. With this I was able to reach a greater audience. I mean everyone in Canada would see my design. In 1967 I was inducted to the Order of Canada.”
SL: “Show off.”
Colville: “What was that, now?”
SL: “Nothing!”
Colville: “I thought as much. Anyway, from there on I moved to Wolfville, Nova Scotia. My commercial and public shows still continued.
SL: “How many paintings would you try to create per year? Generally?”
Colville: “I would spend so much time getting things exact that I would have time for only on average three paintings a year. Most of which were sold before I finished them or even started them. They were in high demand and people wanted the next no matter what it was going to be. My paintings continued to sell but I was met with some harsh criticism. Critics began to think my paintings were mundane. And that I relied on my meticulous nature too much. They were quite dismissive.”
SL: You’ve received many accolades in your lifetime. You were chancellor of Acadia university. Held several honorary degrees. You were board of director of the National Gallery of Canada. You even were on Privy Council for the Prime minister. And given the Governor Generals award. I mean the hits just kept coming for you.”
SL: “So far you story has been quite inspirational. Any final thoughts?”
Colville: “Yes, let me leave you with something I said during my first solo exhibition “We can only conclude that our audience, that our public, must consist of those people from all classes who are capable of experiencing painting. We must acknowledge the worthiness of this small public and hope, as I believe, that it is steadily growing, not only in numbers, but in understanding and appetite. These are the people we paint for.”
SL: Thank you, Mr. Colville!
References:
Cronin, Ray. “Alex Colville.” Art Canada Institute – Institut de l’Art Canadien, www.aci-iac.ca/art-books/alex-colville/biography/.
Smart, Tom, et al. Alex Colville. Douglas & McIntyre, 2003.
Hunter, Andrew. Colville. Goose Lane Editions, 2014.
Images courtesy of Art Canada Institute and AGO, Google Images.
Alex Colville, Horse and Train, 1954. Glazed oil on hardboard. Art Gallery of Hamilton, Gift of Dominion Foundries and Steel Limited (Dofasco), 1957. © A.C. Fine Art Inc.