By Angela N. Grigor
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Extra resources for Arthur Lismer, Visionary Art Educator
Up to the outbreak of the war, they were a group of friends who had similar ideas on painting. Lismer said of this time: "We owed little to our former training ... "62 In 1914 MacCallum commissioned Lismer, MacDonald and Thomson to paint a series of murals for his cottage at Go Home Bay. Lismer contributed seven panels, which were completed at different times over a period of two years. The Georgian Bay area provided the subject mat- T O R O N T O , 1 9 1 1 - 1 9 1 6 / 31 ter and reflected Lismer's sense of the grandeur and rugged nature of the Canadian Shield.
The year that Lismer arrived in Toronto, the last of the old carbon street lights were being replaced by electric standard lamps. As one observer noted: "The numerous poles ... "6 The city was already struggling with overcrowding, rapid urban growth, new transportation technology, and a public reluctant to pay higher taxes. The path of least resistance resulted in modest short term projects including a generous scattering of green spaces in and around the city, but no overall centralized plan to give Toronto a focus.
34 Wyly Grier, an Australian educated in London and Paris, also spent long summers with his wife and children painting in the Adirondacks. Both men were members of the Arts and Letters Club and applauded the new direction that MacDonald's work had taken. At the time, Grier, also felt that Canada needed a national art form: "Stirred by big emotions born of our landscape; braced to big courageous effort by our landscape ... "35 It was a new, if tentative, beginning for Canadian painting, given enthusiastic approval by some members of the Arts and Letters Club.
Arthur Lismer, Visionary Art Educator by Angela N. Grigor