Agnes Jamieson Gallery

Curator: Laurie Carmount
174-176 Bobcaygeon Road, Box 648
Minden ON, K0M 2K0
Tel: 705-286-3763
email: gallery@mindenhills.ca

The Agnes Jamieson Gallery will bring an awareness and appreciation for the arts to its community through education, exhibition, participation, preservation and collection.

Exhibition Application (*.rtf/10 KB) - will open in most word processing programs (e.g.: MSWord, WordPerfect, etc.).
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Photography Entry Form (*.pdf/49 KB) - requires Adobe Acrobat Reader (Slow internet connection? Try Foxit Reader)

Dr. Agnes Jamieson

Graduating from the University of Toronto Medical School, in 1935, Dr. Jamieson took over the practice of Dr. W. R. Crowe, who left for overseas war duty. During the war years she and her assistant served patients of Minden, Haliburton, and surrounding communities, working long hours to serve the medical needs of the people. Dr. Jamieson could truly be called a pioneer doctor. In 1942 she was named the first woman coroner in the Province of Ontario. She left her Minden practice in 1956 to work in Orillia and Smith¹s Falls, returning to live in Minden when she retired in 1972.

Outside of medicine, one of the main interests in Dr. Jamieson's life was art. She was an accomplished artist herself and took a prominent role in encouraging this interest in others. She too had a dream of establishing a gallery in Minden, and she was one of a number of dedicated individuals, who worked untiringly to establish the present Agnes Jamieson Gallery at the Minden Hills Cultural Centre

André Lapine

André Lapine was born Andreas Christian Gottfried Lapine in Skujene, Riga, (Russia) Latvia in 1866. The most complete account of his early life can be gained from his handwritten letter to Mr. Eric Brown, Esq. of the National Art Gallery of Canada in 1916:

Mr. Eric Brown, Esq.,
National Gallery,
Ottawa, Canada.

Dear Sir

I am forwarding my information form and would ask to add this additional note -:

At one very early age I showed tendencies to art; when 17 years of age came in contact with M. Rose (of the Imperial Acadamie of Petrograd Russia) in Riga under whose guidance I worked for about one year and six months. At the age of eighteen and a half made a trip from Riga Russia over, Hamburg (Germany) to London (England). After having stayed in London for a month and after having visited the foremost art galleries, continued to Paris (France) where after 6 months separated from Mr. Rose and took up a studio with an old Russian friend, Jose Weiss. Being deprived from any monetary help from Mr. Rose we experienced very hard times-at first we did some copying work at the Louvre and Luxembourg Art Museums-later a few portraits-after about two greedily accepted-in London we stayed for two weeks which time was mostly taken up with visits to the National Gallery and other museums-via New Hauwen and Dieppe we went to Paris. There I pretty soon separated from my master and started the battle of life on my own wings, associated later with another Russian artist Jose Weiss-experienced most trying hardships-painted 3 portraits in oil, but lived principally from copying in the Louvre and Luxembourg Museums. At times our position was very hopeless. In fact, Jose Weiss became so discouraged, he gave up painting forever, and after a short celebration, he left for America to do any kind of labor rather than continue the thorny life of an artist. I left Paris also, but stuck to painting-travelled from Paris to across to Verdun. Had many thrilling experiences on my wanderings - my first halt was at a place in the Comton de la Meuse (?) in les Islettes where I successfully painted several portraits - in fact I left in France more than 50 portraits all from life and two full figure - went to Alsace Lorraine where I stayed about one year, then over Belgium and Luxembourg to Holland (through France, part of Belgium and Holland) following a two years evening classes at the Royal Academie of Fine Arts in Amsterdam, became a member of St. Lucas Art Society in 1905 , left Holland and resided since in Canada. Became member of the Ontario Society of Artists for about two years then left the O.S.A. - became member of the Graphic Art Club in 1914. Since in Canada, signing his work 'André Lapine'.

Hoping not to be too long with my additional note I remain yours truly

André Lapine

An exceptional artist, André Lapine had the ability to capture an image with simple, strong strokes- as is clearly illustrated in his sketches-indicating a skilled artist who had mastered the basic techniques of drawing. Lapine's technical instructions, in the academic sense of art, during his training in Europe, are the fundamental basis for his success as an artist. A profile, which accompanied an exhibition of his work held at Malloney's Art Gallery in Toronto, stated: Lapine perfected his skill as a draftsman. He recalls lessons with an early master when he drew and re-drew a single subject for three consecutive months. "What's the use," he reportedly said, "of a painter offering his 'impression' to anyone unless he can really paint?" This attention to detail and perfection established Lapine as the best illustrator of horses in North America. He went so far as to create a formula, which gives step-by-step instructions of how to draw a horse in proportion.

Throughout his work, Lapine integrated his academic training in the traditional style with subtle influences gained through his experiences as he travelled the art world. One need only realize what an incredible impression visits to the galleries in London, Paris and Holland made on this young painter in the late 1800s. The Malloney profile continued:

"André Lapine is eighty today. His vigorous old age is the key to his unique position, not only in Canadian art, but in the whole field of Modern Painting. His sixty years of active painting have been divided equally between the Old World and the New. Sixty years ago he began to paint in Paris in the hey-day of the great Impressionists, (Manet, Monet, Sisley, Pissaro, Raffaelli, Renoir). He came to Canada just as the Group of Seven were transplanting Impressionism to the Canadian scene. He saw Impressionism rise and wane in Europe and then rise and wane again in Canada. He had close personal contacts with the great masters of both movements, knew what they were doing and why they were doing it. There is probably no painter in the world today who has had the unique opportunity to live in the very midst of two such vital and important artistic revolutions."

Lapine took his experiences and created a unique and identifiable style, which added to the definition of Canadian art. He did not entirely embrace the Impressionistic style-although he was greatly impressed with what the Group of Seven was doing. Lapine explained with the following quote:

"Revolutions, both in art and elsewhere, are often necessary, and often do a great deal of good. But they always mean violence, chaos, excesses. Nobody in his right mind would choose to live in a country that was always in a state of revolution, and for the same reason very few people like to live with revolutionary paintings."

André Lapine had come to Canada from Holland in 1905 shortly after marrying Gertrudia Columbine. Taking land in Manitoba he attempted to farm, which was either not to his liking or perhaps his passion for painting drove him to the city-it's not clear. He moved to Toronto in 1907 where he began working for Fred Brigden at [Brigden Company]. Brigden's was one of the largest commercial art studios in Toronto, creating illustrations for Simpson's and Eaton's catalogues. Lapine became very well-known for his realistic illustrations of lace and fur. His popularity quickly grew in the arts community. Lapine's work was frequently seen on the covers of the Toronto Star Weekly and in colour sections within that publication. He became a Member of the Ontario Society of Artists in 1909. He resigned in 1910, was re-elected in 1922, and remained until 1938. He was also a member of the Graphic Arts Club, the Toronto Arts and Letters Club and a founding member of the Canadian Society of Painters in Water Colour. By 1919, Lapine was elected to the Royal Canadian Academy. His work was selected and purchased by the National Gallery of Canada as well as the Art Gallery of Ontario.

Lapine was not only a brilliant artist, he also had a witty personality as revealed in an excerpt from an article by Augustus Bridle entitled 'Romance in a Silo as Seen by Artist: André Lapine Demonstrates Joy of Creating Variations on a Theme'; as it appeared in the Toronto Star, December 24, 1936:

André Lapine, in his new exhibition of pictures at the Simpson's gallery, points to a silo and a barn, and before he finishes about that silo he is ages and a thousand miles from the Ontario farmscape where he first saw it.

"Here it is again," he said to The Star, "only not so much like a coloured camera print. I was being enchanted by the lines of that cement cylinder...till next day came a sweeping swish of a snowstorm, and here's the ghostly way that silo and barn looked; mystic, brooding, spectral-you know-so, I made two more on the same theme, these times I made the silo into romantic scenes for heroes, and here it is in the brave days of old." pointing to a pair of legendary scenes. "Oh, if Schumann and Brahms could write such brilliant variations on a simple theme by Haydn or somebody, why can't a Russian-born painter in Ontario improvise solo on a silo?"

Perhaps the true evidence of his success was his stately home on Old Mill Road and studio in downtown Toronto. The home was custom built by Jocelyn Davidson. Photos of the home were exhibited September 5, 1930 at the Canadian National Exhibition display which included fine office buildings, schools, churches and private residences.

Tragedy occurred in 1934. Lapine was struck by a car in Toronto. His injuries were severe and it appeared unlikely he would survive. Medical bills began piling up. The situation was grim. The Mail & Empire carried the following account of the accident:

"The rather small painter, who excels in the delineation of horses, was crossing the highway near his home two weeks ago. He saw an auto coming from one direction, stepped backward and was knocked down by another car travelling in the opposite direction."

The article also mentioned that his friends were appealing for money to aid the artist in meeting his medical expenses. The Star Weekly, almost a month later, announced that a committee had been formed; headed by Sir Wyly Grier, who was then President of the Royal Canadian Academy, to organize a sale of paintings, contributed by artists in Ontario, to help pay for Lapine's medical bills. In fact, L.A.C. Panton, President of the Ontario Society of Artists, was a co-organizer of the benefit exhibition. The showing took place at the T. Eaton Fine Art Galleries and the Robert Simpson Co. under the patronage of His Honour, the Lieutenant-Governor and Mrs. Bruce and forty-one distinguished families including: Lady Baillie; Lady Eaton; Hon. Vincent and Mrs. Massey; Mrs. Lawren Harris; Col. and Mrs. J. B. MacLean; Mr. & Mrs. A. H. Robson; Dr. and Mrs. Sigmund Samuel. Lapine eventually recovered and returned to his easel. (As taken from the information given in A Dictionary of Canadian Artists, Volume 3, Compiled by Colin S. Macdonald.)

Thinking back on this event, one can only imagine the pieces of art put forward for Lapine's benefit. Artists such as: F.S. Challener, A.Y. Jackson, Franz Johnston, Arthur Lismer, Lawren Harris donated works. Over fifty artists' paintings were contributed-most, however, were priced at only $50. In total the affair raised over $7,000, more than enough to pay for the medical bills.

If nothing else, this fundraising event, and the efforts of his friends, shows how respected Lapine was in the Toronto arts community. It is interesting to note that during his time at St. Joseph's Hospital, he was treated by a young intern-Dr. Agnes Jamieson.

Later Years

Lapine was a quiet, friendly man, who was always polite and enjoyed debating politics. He was generous and often gave his paintings as gifts. Although small for a man, at 5' 6", Lapine had a style and flare. Always seen wearing a black tie, beret and sporting a mustache and goatee, Lapine was the epitome of 'an artist'.

The Lapines came to Minden in the 1940s, staying at Billy Hamilton's farm on South Lake. The Haliburton area was known to many artists as a beautiful place to visit and paint. Lapine would have been aware of this and, since his wife was ailing and he was recovering from a serious accident, it made sense to get out of the city-to enjoy the tranquility of nature.

There are some residents in Minden who remember him walking the roads with his paint box or riding with Dr. Agnes Jamieson during her calls. She would drop him off to sketch and meet him later, on her way home. Lapine died in 1952 and is buried with his wife in the Minden Cemetery. Lapine's death was noted in many Ontario newspapers. It was Pearl McCarthy, however, who wrote much about Lapine during his time in the Toronto art scene and nicknamed the 'gentle cavalier', who best described Lapine in her article in the Globe & Mail Toronto, Ontario February 27, 1952, "Gentle Cavalier: Toronto Art Circles Lose Unique Link with Past".

André Lapine, the artist, died yesterday. As this smiling but gentle cavalier from an earlier era passed from the scene, Toronto art circles lost one of their most picturesque links with past ways.