Artwork by Harold Barling Town,  Still Life

Harold Town
Still Life

oil and lucite on canvas
signed and dated 1960 lower right
30 x 30 ins ( 76.2 x 76.2 cms )

Auction Estimate: $12,000.00$8,000.00 - $12,000.00

Price Realized $11,500.00
Sale date: May 31st 2016

Provenance:
Private Collection, Ontario
Literature:
Iris Nowell, “Painters Eleven: The Wild Ones of Canadian Art”, Toronto, 2010, pages 159-171
Gerta Moray, “Harold Town: Life and Work”, (online publication), Art Canada Institute, Toronto 2013, pages 17-33
A founding member of the Painters Eleven, Town was known for his larger-than-life personality and bravado. Studying at the Ontario College of Art during the day and attending night classes lead by Fred Challener, Town honed his technical skills in drawing, which helped translate to a successful career in printmaking (his works known as Single Autographic Prints - an ode to the artists ego). While working as a commercial illustrator, introduced to him by Oscar Cahén, the artist was known for constantly pushing boundaries in his work, a boldness witnessed in his signature canvases throughout his career.

With rich texture created with thickly applied paint, sometimes directly from the tube, Town creates a balanced composition with all four quadrants of the canvas occupied by forms. Rather than focus upon a central overall image, the artist instead gives equal weight and importance to the each corner of the composition. In this respect, a grid-like pattern emerges. Perspective lines and the division of the canvas by way of the forms gives nod to the modernist grid but adds a juxtaposition to this rigid formation with the spontaneity of abstracted explosive forms. There is an oscillation between technical precision and chance, a dialogue between two seemingly clashing abstract languages working in harmony with one another.

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Harold Barling Town
(1924 - 1990) Painters Eleven, OSA, RCA

A lifelong Torontonian, Harold Town was one of Canada’s foremost abstract expressionists. After graduating from the Ontario College of Arts (now, OCAD University), he worked as a commercial illustrator for many years. In 1954, he became a founding member of the experimental painter’s group, Painters Eleven, a name he coined, himself, along with Jack Bush and Jock MacDonald.

Town’s work went beyond paint, though: he experimented with all kinds of different methods and materials. He often employed a lithography machine to ink his paper in different ways (his single autographic prints). A propane blow torch was occasionally used to burn his paper or canvas. And he particularly loved collage, stating, “it’s marvelous to think of the garbage of our age becoming the art of our time.” According to Gerta Moray, these collages are closely connected to his abstract expressionist painting: “the compositional modes of his collages share the aesthetic of his paintings: they spread out to fill the surface yet are given focus as configurations by areas of drawing in ink or paint.”

Two of Town’s single autographic prints were the first works by the artist to be acquired by the National Gallery of Canada. The NGC then selected him to represent Canada at the 1956 Venice Biennale, along with Jack Shadbolt and Louis Archambault.

By the end of the 1960s, Town had exhibited his work internationally and represented Canada at the Venice Biennale twice. He garnered covers of Maclean’s and Time magazines and became a hero of Canadian art. At one point his name was “synonymous with art in Toronto.” He received an honourary doctorate from York University and the Order of Canada.

In the 1970s, Town faced criticism for remaining in Toronto instead of going to New York to pursue Pop Art and minimalism. Town asserted that these claims by art critics suggested a subservience to the New York trends. He remained true to his roots in Toronto.

In the 1980s, Town returned to figurative painting. His bright colours and simple lines were playful, ironic, and influenced by folk art. In his series, Musclemen, he painted body builders in cartoonish proportions and colours, with giant muscles and tiny heads. Apparently, Town “came upon an international bodybuilding competition and was captivated by the human body performing its muscle-bulging poses as living sculpture.” Moray asserts that this series ironically comments on “the masculine ideal in popular culture.” This assertion is made more interesting when considering that he also painted a small number “Muscles Ladies.”

Four years before his death, Town was given a long overdue retrospective exhibition at the Art Gallery of Ontario. Town’s death in 1990 of cancer was felt profoundly by the artistic community. Pierre Burton wrote “Town was a great artist with an insatiable intellect.” David Burnett, the curator of his retrospective wrote: “Our response to his death must be to begin the process of understanding his achievement as a totality, of facing all of his work in the present” The enticing legacy of his work continues to captivate and intrigue audiences today.

Literature Sources
Iris Nowell, “Harold Town”, Vancouver, 2014, pages 175-78
Gerta Moray, “Harold Town: Life and Works”, Art Canada Institute, 2014 (www.aci-iac.ca/art-books/harold-town)

We extend our thanks to Scarlett Larry, York University graduate student in art history, for writing and contributing this artist biography.