The Life and Career of I. Mower Martin

Born in London, United Kingdom, in 1838, I. Mower Martin began his life far from the vast landscapes that would eventually define his legacy. He was an English-born Canadian landscape painter whose influence on the North American art scene was so profound that he was dubbed "the father of Canadian art." His life spanned nearly a century, a period of immense change and growth for the country he would eventually call home.

His career was marked by a deep connection to the natural world. He moved through different stages of life, eventually settling in Canada, where his work helped shape the visual identity of a developing nation. He was a man of many interests, extending his creative reach beyond the canvas to include writing and various other pursuits. His presence in the art community was constant, leaving a mark on the institutions and societies that helped establish a formal art culture in Canada.

By the time he passed away in 1934, I. Mower Martin had seen the landscape of Canadian art transform from its earliest stages into a structured professional field. His long life allowed him to witness the very evolution of the art he helped to foster. Through his paintings and his various contributions to society, he remained a central figure in the development of a national aesthetic.

Early Life and Family in Canada

In 1862, the artist and his wife, Emma Nichols, left London, United Kingdom, to begin a new chapter in Toronto, Ontario. This move marked the beginning of a long life spent within the Canadian landscape. Their household grew steadily over the following decades, eventually including nine children. Life in Toronto was centered around this expanding family, as they navigated the realities of establishing themselves in a growing colonial society.

The family was large and faced the inevitable joys and sorrows that come with raising many children. Among those born to the couple were Edward Thomas, who passed away in 1891, and Emma May, who lived until 1957. Other children included William Anderson, Ethel Kezia, Edith Eleanor, Barbara Mower, Winifred Grace, Arthur Maxfield, and Claude Woodward. The family's presence in Ontario was deeply rooted, with many of the children living through the significant changes the country underwent during the late nineteenth and early twentieth centuries.

The domestic life of the Martin family was shaped by the passage of time and the loss of several young members. While Edward Thomas and Winifred Grace died relatively young, the rest of the family grew into adulthood, carrying the family name through the decades. This domestic foundation provided the stability necessary as the artist's professional life began to take shape in the years following their arrival in Toronto.

Artistic Achievements and Professional Roles

Martin’s influence on the Canadian art scene was felt through his active involvement in the institutions that shaped it. In 1872, he became a founding member of the Ontario Society of Artists, helping to establish a formal community for creators in the region. His leadership extended into the educational sphere when he served as the director of the Ontario Government Art school from 1877 to 1879. These roles allowed him to help define the standards for artistic training and professional practice during a formative period for the country's cultural landscape.

His commitment to the professionalization of art continued as he became a founder of the Royal Canadian Academy in 1880. This was a significant step in organizing the nation's artistic identity. Later in his life, his reputation reached beyond local borders, and in 1909, he was welcomed as a member of the Royal British Colonial Society of Artists. Through these various positions and memberships, he helped build the structures that would support generations of artists to come.

Travels and Commissions in Western Canada

The vast landscapes of Western Canada became a recurring presence in the life of I. Mower Martin. His connection to the region deepened significantly in 1887, when he made his first trip to the West under the sponsorship of the Canadian Pacific Railway. This initial excursion opened up a landscape that would call him back many times; in total, he returned to Western Canada approximately ten times throughout his life.

These travels were not merely for personal interest but were deeply tied to his role as an observer of the expanding country. In 1895, he shared his experiences through a collection of articles titled "Canada from an Artist's Point of View." His ability to translate the physical reality of the land into written and visual form led to further significant projects. In 1907, he produced the book "Canada," which featured text by Wilfred Campbell.

His skill in illustration also extended to other publications during this period. He provided the illustrations for A. R. Moncrieff's book "Kew Gardens" in 1908 and contributed to J. T. Bealby's book "Canada" in 1909. Through these various books and articles, his perspective on the Canadian landscape reached a much wider audience than through his paintings alone.

Artistic Subjects and Religious Works

The canvas was a place where Martin explored the physical world through a wide variety of lenses. He found inspiration in the quiet stillness of still lifes and the movement of animals in action. His brush also captured the expansive reach of landscapes and the individual character of various portraits. This breadth of subject matter allowed him to observe the natural world from many different angles, moving between the small details of a tabletop and the vastness of the outdoors.

Beyond his visual work, his inner life was deeply shaped by his membership in the Swedenborgian church. This spiritual foundation led him to write several religious pamphlets that sought to explore the deeper meaning of existence. He wrote about the doctrine of the human form and its practical use to mankind on all the planes of human life, reflecting a mind preoccupied with how the spiritual and the physical intersect. His writings also touched on the fundamental differences between men and animals, the formative principle of education, and the broader view of war.