I am forever indebted to John Brooker, Bertram Brooker’s grandson, for the valuable encouragement and advice he provided during the writing of this book. I wish to thank Carol Eddy, Shelley Sweeney, Gregory Betts, and Nico Barrett for much-appreciated assistance. Sara Angel, Anna Hudson, and the anonymous readers made countless useful suggestions. Rick Archbold and Kendra Ward were kind, exemplary editors. I also wish to thank image researcher Stephanie Burdzy and copy editor Alicia Peres for their excellent assistance.
This book is dedicated to John Brooker, who has worked tirelessly to keep the memory of his grandfather alive.
From the Art Canada Institute
The Art Canada Institute gratefully acknowledges the generosity of Kiki and Ian Delaney, the Title Sponsor of this book.
The Art Canada Institute gratefully acknowledges the other sponsors of the 2018–2019 Canadian Online Art Book Project: Alexandra Bennett in memory of Jalynn Bennett, Consignor Canadian Fine Art, Maxine Granovsky Gluskin and Ira Gluskin, Gershon Iskowitz Foundation, The Sabourin Family Foundation, Karen Schreiber and Marnie Schreiber, and Sandra L. Simpson.
We also sincerely thank the Founding Sponsor for the Art Canada Institute: BMO Financial Group; and the Art Canada Institute Patrons: Butterfield Family Foundation,* David and Vivian Campbell,* Connor, Clark & Lunn Foundation, Albert E. Cummings,* the Fleck family,* Roger and Kevin Garland,* Glorious & Free Foundation,* Charlotte Gray and George Anderson, The Scott Griffin Foundation,* Jane Huh,* Lawson Hunter, Gershon Iskowitz Foundation,* Alan and Patricia Koval Foundation, Phil Lind,* Nancy McCain and Bill Morneau,* John O’Brian, Gerald Sheff and Shanitha Kachan,* Stephen Smart,* Nalini and Tim Stewart,* and Robin and David Young.*
We thank our Lead Benefactors: Alexandra Baillie, Alexandra Bennett and the Jalynn Bennett Family Foundation,* Grant and Alice Burton, Kiki and Ian Delaney,* Jon S. and Lyne Dellandrea,* Michelle Koerner and Kevin Doyle,* Sarah and Tom Milroy,* Partners in Art,* Sandra L. Simpson,* Pam and Michael Stein,* and Sara and Michael Angel.*
*Indicates a Founding Patron of the Art Canada Institute
The ACI gratefully acknowledges the support and assistance of Kambiz Aghassi; the Alan Klinkhoff Gallery (Alan Klinkhoff, Craig Klinkhoff, Anna Orton-Hatzis); Archives of Ontario, Art Gallery of Alberta (Kerrie Sanderson, Danielle Siemens); Art Gallery of Hamilton (Christine Braun, Tobi Bruce, Lela Radisevic); Art Gallery of Ontario (Eva Athanasiu, Amy Furness, Tracy Mallon-Jensen, Marilyn Nazar, Liana Radvak); Art Gallery of Windsor (Nicole McCabe); Arts and Letters Club (Scott James); Boston Museum of Fine Art Publications (Hope Stockton); The Brechin Group Inc. (Danyel); Bridgeman Images (Nancy Glowinski); British Museum (Elizabeth); John Brooker; Rick Brooker; Confederation Centre of the Arts (Kathleen Mackinnon); Consignor Canadian Fine Art (Lydia Abbott, Robert Cowley); Cranbrook Art Museum (Corey Gross); Estate of Lawren Harris; Estate of Edwin Holgate; Estate of Wyndham Lewis; Estate of Arthur Lismer; Estate of Kathleen Munn; Gallery Gevik (Phillip Gevik); Toni Hafkenscheid; Harvard Art Museums (Isabella Donadio); Heffel Fine Art Auction House (Molly Tonken); Jonkers Rare Books (Tom Ayling, Christiaan Jonkers); Library and Archives Canada; MacLaren Art Centre (Noor Ale, Andre Beneteau, Emily McKibbon); Lynn and Ken Martens; McMichael Canadian Art Collection (Alexandra Cousins); Robert McNair; Montreal Museum of Fine Arts (Marie-Claude Saia); Museum London (Janette Cousins Ewan, Krista Hamlin); National Gallery of Canada (Emily Antler); Philip Pearlstein; John Shearer; Sotheby’s Canada (Mary-Jo Paquet); Tate (Fintan Ryan); Rachel Topham; The Robert McLaughlin Art Gallery (Sonya Jones); Tom Thomson Art Gallery (David Huff, Heather McCorquodale); Toronto Public Library; University Club of Toronto (Sarah Freeman); University of Lethbridge Art Gallery (Juliet Graham, Andrea Kremenik); University of Manitoba Archives and Special Collections (Linda Eddy, Brian Hubner); Waddington’s Auctioneers and Appraisers (Anna Holmes); William Roberts Society (Margherita Barbagallo); and the Winnipeg Art Gallery (Nicole Fletcher, Ellen Plouffe).
Image Sources
Every effort has been made to secure permissions for all copyrighted material. The Art Canada Institute will gladly correct any errors or omissions.
Credits for Banner Images
Biography: Bertram Brooker, 1936. Photograph by Ronald Hooper. Bertram Brooker fonds, University of Manitoba Archives and Special Collections, Winnipeg (PC 16:2). Photo credit: University of Manitoba Archives and Special Collections.
Key Works: Still Life with Lemons, c.1936. (See below for details.)
Significance & Critical Issues: Machine World, 1950. (See below for details.)
Style & Technique: Ascending Forms, c.1929. (See below for details.)
Where to See: Installation view of the exhibition 100 Masters: Only in Canada at the Winnipeg Art Gallery, 2013. Photo credit: Ernest Mayer, courtesy of the Winnipeg Art Gallery.
Sources & Resources: Symphonic Forms, 1947. (See below for details.)
Credits for Works by Bertram Brooker
Abstraction, Music, 1927. Collection of Museum London, F.B. Housser Memorial Collection, 1945 (45.A.47). Photo credit: Museum London.
Advertisement for T. Eaton Company Limited, “V (for Variety),” published in Brooker, Layout Technique in Advertising (1929).
Advertisement for The Globe, “The Conductor,” published in Brooker, Layout Technique in Advertising (1929).
Ahab’s Death(Elijah Series), 1929. MacLaren Art Centre, Barrie (1997.21.43). Photo credit: Andre Beneteau, courtesy of the MacLaren Art Centre.
Ahab Worshipped Idols (Elijah Series), 1929. Collection of the British Museum, London, donated by Christopher Varley Inc. on behalf of the Estate of Bertram Brooker (19910511.30). Photo credit: The British Museum.
Alleluiah, 1929. Collection of the National Gallery of Canada, Ottawa (15812). Photo credit: National Gallery of Canada.
All the World’s a Stage, 1929. Collection of the Estate of Bertram Brooker. Courtesy of Gallery Gevik, Toronto.
The Ancient Mariner, c.1930. Collection of the Art Gallery of Hamilton, on permanent loan from The Ontario Heritage Foundation, gift of Mr. Fred Schaeffer (71.795). Photo credit: Art Gallery of Hamilton.
The Angel (Elijah Series), 1927. Private collection. Courtesy of Heffel Fine Art Auction House, Vancouver.
Art is Long, 1934. Collection of the University of Lethbridge Art Gallery, purchase, 1988 (1988.155). Photo credit: University of Lethbridge Art Gallery.
Artist’s Wife # 1, 1934. Collection of the MacLaren Art Centre, Barrie (1997.21.4). Photo credit: Andre Beneteau, courtesy of the MacLaren Art Centre.
Ascending Forms, c.1929. Collection of the National Gallery of Canada, Ottawa (15814). Photo credit: National Gallery of Canada.
Benday, 1928. Bertram Brooker fonds, The Robert McLaughlin Gallery Archives, Oshawa (42c). Photo credit: The Robert McLaughlin Gallery.
Blue Nude, c.1936. Collection of the Art Gallery of Windsor, purchase, 1979 (1979.074). Photo credit: Art Gallery of Windsor.
Book jacket design for Crime and Punishment by Fyodor Dostoevsky, 1937. Collection of the National Gallery of Canada, Ottawa, gift of Norman Brooke Bell, Patricia Brooke Bell, and Douglas Ambridge Brooke Bell, 2007, in memory of Cicely Barlow Bell (42122). Photo credit: National Gallery of Canada.
Cabbage and Pepper, c.1937. Collection of Confederation Centre Art Gallery, Charlottetown, purchased, 1973 (CAG 73.5). Photo credit: Confederation Centre Art Gallery.
“Chorale” (Bach), c.1927. Collection of the Art Gallery of Ontario, Toronto, purchase, 1927 (87/175). Photo credit: Art Gallery of Ontario.
The Cloud, c.1942. Collection of the National Gallery of Canada, Ottawa (15815). Photo credit: National Gallery of Canada.
Cover design for “A Candle in Sunshine,” date unknown. Collection of the Estate of Bertram Brooker. Courtesy of the Estate of Bertram Brooker.
Cover design for Layout Technique in Advertising, 1929. Bertram Brooker fonds, The Robert McLaughlin Gallery Archives, Oshawa (43). Photo credit: The Robert McLaughlin Gallery.
Cover design for The Peg: A Magazine of Merry Mien Devoted to the Stage and Screen, c.1915–21. Bertram Brooker fonds, The Robert McLaughlin Gallery Archives, Oshawa (39a). Photo credit: The Robert McLaughlin Gallery.
Cover illustration for “First Fruits: A Volume of Short Plays by Bertram R. Brooker,” c.1913–15. Bertram Brooker fonds, The Robert McLaughlin Gallery Archives, Oshawa (18a). Photo credit: The Robert McLaughlin Gallery.
Cover of Elijah (1929).
Cover of The Wrong World: Selected Stories and Essays by Bertram Brooker, edited by Gregory Betts (Ottawa: University of Ottawa Press, 2009), featuring Bertram Brooker’s oil painting Kneeling Figure, 1940. Photo credit: Rachel Topham.
Cover of Yearbook of the Arts in Canada 1928–1929, edited by Bertram Brooker.
Cover of Yearbook of the Arts in Canada1936, edited by Bertram Brooker. Photo credit: David Mason Books, Toronto.
Creation, 1925. Private collection. Photo credit: John Shearer.
Crucifixion, 1927–28. Collection of the Estate of Bertram Brooker. Courtesy of the Estate of Bertram Brooker.
The Dawn of Man, 1927. Collection of the National Gallery of Canada, Ottawa, gift of Walter, Freeman, Harold, and Vincent Tovell, 1971, in memory of Harold and Ruth Tovell (16984). Photo credit: National Gallery of Canada.
Dentonia Park, 1931. Private collection, Toronto. Photo credit: Ian Lefebvre, courtesy of the Art Gallery of Ontario, Toronto.
The Earthquake (Elijah Series), 1926. Collection of the Art Gallery of Ontario, Toronto, gift of Bernard and Sylvia Ostry, 2007 (2007/703). Photo credit: Art Gallery of Ontario.
Egyptian Woman, 1940. Collection of the Art Gallery of Alberta, Edmonton, purchased with funds donated by the Women’s Society of The Edmonton Art Gallery (81.2). Photo credit: Art Gallery of Alberta.
Endless Dawn, 1927. Collection of the Tom Thomson Art Gallery, Owen Sound, Gallery purchase with Wintario Matching Funds Grant, 1980 (980.016). Photo credit: Tom Thomson Art Gallery.
Entombment, 1937. Private collection. Courtesy of the Estate of Bertram Brooker.
Evolution, 1929. Collection of the National Gallery of Canada, Ottawa (15813). Photo credit: National Gallery of Canada.
Face and Breasts (Crime and Punishment Series), 1930–34. Collection of the University Club of Toronto. Photo credit: University Club of Toronto.
Fawn Bay, 1936. Private collection. Courtesy of Heffel Fine Art Auction House, Vancouver. Photo credit: Heffel Fine Art Auction House.
Fed by the Ravens (Elijah Series), 1923. Collection of the MacLaren Art Centre, Barrie (1997.21.43). Photo credit: Andre Beneteau, courtesy of the MacLaren Art Centre.
Figures in a Landscape, 1931. Unlocated. Courtesy of the Estate of Bertram Brooker.
The Finite Wrestling with the Infinite, 1925. Collection of Gallery Gevik, Toronto. Courtesy of Gallery Gevik.
The Fire (Elijah Series), 1929. Collection of the Winnipeg Art Gallery, acquired with funds from the Estate of Zenon (Larry) Skyba and with funds from Lynne Petrie (G-97-19). Photo credit: Leif Norman, courtesy of the Winnipeg Art Gallery.
First Snow, date unknown. Private collection. Courtesy of the Estate of Bertram Brooker. Photo credit: Sotheby’s Canada.
Fugue, c.1928–29. Collection of the Art Gallery of Ontario, Toronto, gift of Dr. Walter M. Tovell, Toronto, 1983 (83/288). Photo credit: Ian Lefebvre, courtesy of the Art Gallery of Ontario.
Green Movement, c.1927. Collection of the Art Gallery of Ontario, Toronto, purchase with assistance from Wintario, 1978 (78/14). Photo credit: Art Gallery of Ontario.
Illustration for the line “Simply to Thy cross I cling” (from the 1763 hymn “Rock of Ages”), 1899. Private collection. Courtesy of the Estate of Bertram Brooker.
The Insulted and Injured, 1934–35. Collection of the National Gallery of Canada, Ottawa (41420). Photo credit: National Gallery of Canada.
Interiors Within Interiors (Whitman Series), 1931. Collection of the Art Gallery of Ontario, Toronto, purchase with assistance from Wintario, 1978 (78/17). Photo: Ian Lefebvre, Art Gallery of Ontario.
Kneeling Figure, 1940. Collection of the Montreal Museum of Fine Arts, purchase, Horsley and Annie Townsend Bequest (1973.17). Photo credit: Christine Guest, courtesy of the Montreal Museum of Fine Arts.
Lone Tree, n.d. Collection of Gallery Gevik, Toronto. Courtesy of Gallery Gevik.
Machine World, 1950. Private collection. Courtesy of the Estate of Bertram Brooker.
Manitoba Willows, c.1929–31. Private collection. Courtesy of Gallery Gevik, Toronto.
The Miners, 1922. Collection of the Estate of Bertram Brooker. Photo credit: Toni Hafkenscheid.
Les Misérables #2 (Wagon Wheel), 1936. Private collection. Courtesy of the Estate of Bertram Brooker.
Morley Callaghan, 1932. Bertram Brooker fonds, Library and Archives Canada, Ottawa (e008299803). Courtesy of Library and Archives Canada / The Brechin Group Inc.
Muskoka Lake, c.1936. Collection of the University of Lethbridge Art Gallery, purchased 1988, with funds provided by the Alberta Advanced Education Endowment and Incentive Fund (1988.122). Photo credit: University of Lethbridge Art Gallery.
Noise of a Fish, c.1922–24. Collection of The Robert McLaughlin Gallery Archives, Oshawa, purchase, 1994 (1994BB103). Photo credit: The Robert McLaughlin Gallery.
North Shore, c.1942. Private collection. Photo credit: John Shearer.
Oozles, c.1922–24. Collection of The Robert McLaughlin Gallery, Oshawa, purchase, 1994 (1994BB104). Photo credit: The Robert McLaughlin Gallery.
Ovalescence, c.1954. Collection of the Art Gallery of Windsor, purchase, 1985 (1985.052). Courtesy of the Art Gallery of Windsor.
Page from “Biography of a Mind” (1930). Bertram Brooker fonds, University of Manitoba Archives and Special Collections, Winnipeg (MSS 16, box 7, folder 1). Photo credit: University of Manitoba Archives and Special Collections.
Pharaoh’s Daughter, 1950. Private collection. Photo credit: Robert McNair.
Phyllis (Piano! Piano!), 1934. Collection of the Art Gallery of Ontario, Toronto, purchase with assistance from Wintario, 1979 (79/59). Photo credit: Art Gallery of Ontario.
Progression, 1948. Collection of the Art Gallery of Ontario, Toronto, gift from the Albert H. Robson Memorial Subscription Fund, 1948 (47/56). Photo credit: Art Gallery of Ontario.
Pygmalion’s Miracle, c.1941. Collection of Lynn and Ken Martens. Photo credit: John Dean, courtesy of Ken Martens.
Quebec Impression, 1942. Collection of the McMichael Canadian Art Collection, Kleinburg, purchase, 1985 (1985.55). Photo credit: McMichael Canadian Art Collection.
The Rain (Elijah Series), 1927. Art Gallery of Ontario, Toronto, gift of Bernard and Sylvia Ostry, 2007 (2007/702). Photo credit: Art Gallery of Ontario.
Realization (Crime and Punishment Series), 1930–34. Collection of the Art Gallery of Ontario, Toronto, purchase, 1943 (2717). Photo credit: Art Gallery of Ontario.
The Recluse, 1939. Collection of the Montreal Museum of Fine Arts, gift of Walter Klinkhoff, 1978 (1978.3). Photo credit: Montreal Museum of Fine Arts.
Resolution, c.1929. Collection of the Art Gallery of Hamilton, gift of the Volunteer Committee, 1983 (83.15). Photo credit: Art Gallery of Hamilton.
The Robber: A Tale of the Time of the Herods by Bertram Brooker (Toronto: Collins, 1949). Collection of the Estate of Bertram Brooker. Photo credit: Toni Hafkenscheid.
Seated Figure, 1935. Collection of the Art Gallery of Hamilton, gift from the Marie Louise Stock Fund, 1996 (1996.15). Photo credit: Art Gallery of Hamilton.
Ski Poles (Ski Boots), 1936. Private collection. Courtesy of Alan Klinkhoff Gallery.
Snow Fugue, 1930. Private collection. Courtesy of the Estate of Bertram Brooker.
Sounds Assembling, 1928. Collection of the Winnipeg Art Gallery (L-80). Photo credit: Ernest Mayer, courtesy of the Winnipeg Art Gallery.
Sounds Assembling: The Poetry of Bertram Brooker, edited by Birk Sproxton (Winnipeg: Turnstone, 1980), featuring Brooker’s oil painting Sounds Assembling, 1928. Photo credit: Rachel Topham.
The St. Lawrence, 1931. Collection of the National Gallery of Canada, Ottawa, gift from the Douglas M. Duncan Collection, 1970 (16556). Photo credit: National Gallery of Canada.
Still Life Variation IV, c.1929. Private collection. Courtesy of the Estate of Bertram Brooker. Photo credit: Kambiz Aghassi.
Still Life with Bag #3, c.1933. Private collection. Courtesy of the Estate of Bertram Brooker. Photo credit: Kambiz Aghassi.
Still Life with Lemons, c.1936. Collection of the Art Gallery of Ontario, Toronto, gift from the J.S. McLean Collection, by Canada Packers Inc., 1990 (89/772). Photo credit: Art Gallery of Ontario.
The Still Small Voice (Elijah Series), 1929. Private collection. Courtesy of the Estate of Bertram Brooker.
Striving, c.1930. Private collection. Courtesy of the Estate of Bertram Brooker.
Swing of Time, 1954. Collection of the Estate of Bertram Brooker. Courtesy of the Estate of Bertram Brooker.
Symphonic Forms, 1947. Collection of the Art Gallery of Hamilton, gift of the Volunteer Committee in memory of Kate Steiner, 1991 (1991.1). Photo credit: Art Gallery of Hamilton.
Symphonic Movement No. 1, c.1928–29. Collection of The Robert McLaughlin Gallery, Oshawa, gift of the estate of Doris Huestis Speirs (2001BB2). Photo credit: The Robert McLaughlin Gallery.
The Tangled Miracle: A Mortimer Hood Mystery by Bertram Brooker, under the name of Huxley Herne (United Kingdom: Thomas Nelson & Sons, 1936). Courtesy of Jonkers Rare Books, Henley-on-Thames, England. Photo credit: Jonkers Rare Books.
Think of the Earth by Bertram Brooker (Toronto: Thomas Nelson & Sons, 1936).
Three Figures, 1937. Collection of Museum London, Art Fund, 1971 (71.A.35). Photo credit: Museum London.
The Three Powers, 1929. Collection of the Art Gallery of Ontario, Toronto, purchase, 1982 (82/33). Photo credit: Art Gallery of Ontario.
Torso, 1937. Collection of the National Gallery of Canada, Ottawa (16877). Photo credit: National Gallery of Canada.
Triptych, c.1935. Collection of the National Gallery of Canada, Ottawa (29228). Photo credit: National Gallery of Canada.
Ultrahomo, c.1912–13. Bertram Brooker fonds, The Robert McLaughlin Gallery Archives, Oshawa (6a). Photo credit: The Robert McLaughlin Gallery.
Untitled, n.d. Private collection. Courtesy of the Art Gallery of Windsor.
The Way, 1927. Collection of the Vancouver Art Gallery, donated by the Estate of Anna K. Jetter (VAG 2004.12.12). Photo credit: Maegan Hill-Carroll, Vancouver Art Gallery.
The Whirlwind (Eljiah Series), 1929. Private collection. Courtesy of the Estate of Bertram Brooker.
Credits for Photographs and Works by Other Artists
Abstract Speed + Sound, 1913–14, by Giacomo Balla. The Solomon R. Guggenheim Foundation Peggy Guggenheim Collection, Venice, 1976 (76.2553.31). Photo credit: Wikimedia Commons.
Afternoon Sun, North Shore, Lake Superior, 1924, by Lawren Harris. Collection of the National Gallery of Canada, Ottawa (3351). Photo credit: National Gallery of Canada.
Altarpiece, No. 1, Group X, Altarpieces, 1907, by Hilma af Klint. Collection of the Hilma af Klint Foundation, Stockholm. Photo credit: Wikimedia Commons.
Bertram Brooker, age twenty-five, Portage la Prairie, 1913. Photograph by Bender & Lewis, Croydon. Bertram Brooker fonds, University of Manitoba Archives and Special Collections, Winnipeg (PC 16:2:4). Photo credit: University of Manitoba Archives and Special Collections.
Bertram Brooker and actors in an early theatrical production, Arts and Letters Club, Toronto, date unknown. Original photographer unknown. Courtesy of the Arts and Letters Club. Photo credit: Scott James.
Bertram Brooker and colleagues in his office at J.J. Gibbons advertising agency in Toronto, January 1934. Photograph by J.J. Gibbons. Bertram Brooker fonds, The Robert McLaughlin Gallery Archives, Oshawa (49). Photo credit: The Robert McLaughlin Gallery.
Bertram Brooker and members of the Group of Seven at the Arts and Letters Club in Toronto, 1929. Photograph by John Vanderpant. Courtesy of the Arts and Letters Club. Photo credit: Scott James.
Bertram Brooker on a trip to England, c.1910–12. Photographer unknown. Courtesy of James King.
Bertram Brooker painting Machine World in his studio, c.1950. Photographer unknown. Ontario Society of Artists fonds, Archives of Ontario, North York (F 1140-7-0-1). Photo credit: Archives of Ontario.
Bertram Brooker painting outdoors, Valpoy, Manitoba, 1927. Photographer unknown. Bertram Brooker fonds, University of Manitoba Archives and Special Collections, Winnipeg (MSS 16, A.80-53 / box 1, folder 4, item 76). Photo credit: University of Manitoba Archives and Special Collections.
Bertram Brooker with his parents and siblings in England, 1890s. Photographer unknown. Collection of the Estate of Bertram Brooker. Photo credit: Toni Hafkenscheid.
The Brookers’ three children in front of the family home, 107 Glenview Avenue, Toronto, 1930s. Photographer unknown. Bertram Brooker fonds, University of Manitoba Archives and Special Collections, Winnipeg. Photo credit: University of Manitoba Archives and Special Collections.
Cover of Wassily Kandinsky, Concerning the Spiritual in Art (first published in English in 1914; originally published in Russian in 1911). Courtesy of the Museum of Fine Arts, Boston. Photo credit: MFA Publications.
Doc Snyder’s House, 1931, by Lionel LeMoine FitzGerald. Collection of the National Gallery of Canada, Ottawa, gift of P.D. Ross, Ottawa, 1932 (3993). Photo credit: National Gallery of Canada.
Early twentieth-century postcard picturing St. James Anglican Church, Croydon, where the Brooker family worshipped. Bertram Brooker fonds, University of Manitoba Archives and Special Collections, Winnipeg (PC 16:5:155). Photo credit: University of Manitoba Archives and Special Collections.
From an Upstairs Window, Winter, c.1950–51, by Lionel LeMoine FitzGerald. Collection of the National Gallery of Canada, Ottawa (5800). Photo credit: National Gallery of Canada.
Girl on a Hill, 1928, by Prudence Heward, reproduced in black and white in Yearbook of the Arts in Canada 1928–1929, edited by Bertram Brooker.
Head of Baudelaire, 1911, by Raymond Duchamp-Villon. Collection of the Art Gallery of Ontario, Toronto, gift in memory of Harold Murchison Tovell (1887–1947) and Ruth Massey Tovell (1889–1961) from their sons, 1962 (62/1). Photo credit: Art Gallery of Ontario.
Improvisation 27 (Garden of Love II), 1912, by Wassily Kandinsky. Collection of the Metropolitan Museum of Art, New York, Alfred Stieglitz Collection, 1949 (49.70.1). Photo credit: Wikimedia Commons.
Installation view of Bertram Brooker Abstractions at Hart House, University of Toronto, March 14–30, 1931, photographer unknown.
Installation view of It’s Alive!Bertram Brooker and Vitalism, Art Gallery of Windsor, January 10–March 8, 2009. Courtesy of the Art Gallery of Windsor. Photo credit: Art Gallery of Windsor.
Installation view of the Cubist room of the International Exhibition of Modern Art (the Armory Show), Gallery 53, Art Institute of Chicago, March 24–April 16, 1913. Photographer unknown. Courtesy of the Art Institute of Chicago.
Interior page of The Marriage of Heaven and Hell (1790), by William Blake. Various collections. Photo credit: Wikimedia Commons.
Mercury Passing Before the Sun, 1914, by Giacomo Balla. Gianni Mattioli Collection, long-term loan to the Peggy Guggenheim Collection, Venice. Photo credit: Wikimedia Commons.
Mountain Form IV (Rocky Mountain Painting XIV), by Lawren Harris. Private collection. Courtesy of Alan Klinkhoff Gallery, Toronto.
Nude Descending a Staircase (No. 2), 1912, by Marcel Duchamp. The Louise and Walter Arensberg Collection, Philadelphia Museum of Art, 1950 (1950-134-59). Photo credit: Wikimedia Commons.
The Peacock Skirt, 1893, by Aubrey Beardsley. Collection of the Harvard Art Museums / Fogg Museum, Cambridge, Massachusetts, bequest of Grenville L. Winthrop, 1943 (1943/649). Photo credit: Fogg Museum.
Photograph of Bertram Brooker taken in England just prior to his family’s departure for Canada in 1905. Photograph by Proctor & Co., Croydon. Bertram Brooker fonds, University of Manitoba Archives and Special Collections, Winnipeg (PC 16:2:6). Photo credit: University of Manitoba Archives and Special Collections.
Photograph of Rill Porter and Bertram Brooker on their wedding day, July 3, 1913. Photographer unknown. Bertram Brooker fonds, University of Manitoba Archives and Special Collections, Winnipeg (PC 16:5:157). Photo credit: University of Manitoba Archives and Special Collections.
Poplar Woods (Poplars), 1929, by Lionel LeMoine FitzGerald. Collection of the Winnipeg Art Gallery, acquired in memory of Mr. and Mrs. Arnold O. Brigden (G-75-66). Photo credit: Ernest Mayer, courtesy of the Winnipeg Art Gallery.
Portrait of Bertram Brooker, c. 1928. Photographer unknown. Bertram Brooker fonds, University of Manitoba Archives and Special Collections, Winnipeg (PC 16:1:13). Photo credit: University of Manitoba Archives and Special Collections.
The Procession, Seville, 1912, by Francis Picabia. Collection of the National Gallery of Art, Washington, D.C., Chester Dale Fund and gift of Barbara Rothschild Michaels from the Collection of Herbert and Nannette Rothschild, 1997 (1997.43.1). Photo credit: Wikimedia Commons.
Sleeping Woman, c.1929, by Randolph Hewton. Collection of the National Gallery of Canada, Ottawa (3738). Photo credit: National Gallery of Canada.
A stage design by theatre designer Gordon Craig.
Thomas Wilfred seated at the Clavilux during a public performance, c.1920s. Photographer unknown. Photo source: “Music is Turned Into a Glowing Color,” in Popular Mechanics (April 1924).
Window on the City, No. 3, 1911–12, by Robert Delaunay. Collection of the Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection (47.878.R). Photo credit: Wikimedia Commons.
Library and Archives Canada Cataloguing in Publication.
King, James, 1942-, author
Bertram Brooker : life & work / James King.
Includes bibliographical references.
ISBN 978-1-4871-0177-0 (PDF).—ISBN 978-1-4871-0176-3 (HTML)
1. Brooker, Bertram, 1888-1955. 2. Brooker, Bertram, 1888-1955—
Criticism and interpretation. 3. Artists—Canada—Biography. 4. Biographies.
I. Art Canada Institute, issuing body II. Title.
About the Author
More Online Art Books
Read from Beginning