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Jock Macdonald Life & Work by Joyce Zemans
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Photo Credits

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Credit for Cover Image

Jock Macdonald, Departing Day, 1939. (See below for details.)


Credits for Banner Images

Biography: Photograph of Jock Macdonald. (See below for details.)
Key Works: Jock Macdonald, Fall (Modality 16), 1937. (See below for details.)
Significance & Critical Issues: Jock Macdonald, Growing Serenity, 1960. (See below for details.)
Style & Technique: Jock Macdonald, Phoenix, c. 1949. (See below for details.)
Sources & Resources: Jock Macdonald, Fugitive Articulation, 1959. (See below for details.) 
Where to See: Installation view of Jock Macdonald at Hart House Gallery, University of Toronto, 1957. (See below for details.)


Credits for Works by Jock Macdonald

Airy Journey, 1957. Hart House Collection, University of Toronto. Purchased by the Hart House Art Committee, 1961/1962 (1962.02).
All Things Prevail, 1960. National Gallery of Canada, Ottawa, purchased 1966 (no. 14898). Photo credit: National Gallery of Canada.
B.C. Indian Village, 1943. Vancouver Art Gallery, Acquisition Fund (91.36). Photo credit: Tomas Svab, Vancouver Art Gallery.
Batik, 1951. National Gallery of Canada, Ottawa, gift of Joyce and Fred Zemans, Toronto, 2008 (no. 42514). Photo credit: National Gallery of Canada.
Bird and Environment, 1948. Private collection. Courtesy of the Vancouver Art Gallery. Photo credit: Cheryl O’Brien, courtesy of the Vancouver Art Gallery.
Birth of Spring, 1939. Private collection. Courtesy of the Vancouver Art Gallery. Photo credit: Jeff Duns, Ingram Gallery.
Black Evolving Forms, 1953. Private collection. Photo credit: Kayla Rocca. 
Burnaby Lake from the Burnaby Lake Interurban, poster for the B.C. Electric Railway, c. 1929. Current location unknown. Courtesy of Joyce Zemans. 
Chrysanthemum, 1938. McMichael Canadian Art Collection, Kleinburg, purchased 1993 (1993.26.2).
Contemplation, 1958. Art Gallery of Greater Victoria, Friends of the Gallery (1964.149.001).
Cover of the British Columbia College of Arts Limited’s Illustrated Prospectus for 1934-1935. Courtesy of the Vancouver Art Gallery Library and Archives.
Cover of The Neighing North, by Annie Dalton Charlotte. Toronto: Ryerson Press, 1931.
Day Break (May Morning), c. 1937. Private collection. Courtesy of the Vancouver Art Gallery. Photo credit: Trevor Mills, Vancouver Art Gallery.
Departing Day, 1936 (dated 1935) (verso of Indian Church, Friendly Cove). Art Gallery of Ontario, Toronto, purchased with assistance from Wintario, 1979 (79/60.2).
Departing Day, 1939. Art Gallery of Hamilton, gift of the Volunteer Committee, 1985 (85.21).
Desert Rim, 1957. Museum London, purchased with a Canada Council Matching Grant and Acquisitions Funds, 1960 (60.A.67).
Design for catalogue cover for the 34th Annual Exhibition of the British Columbia Society of Fine Arts, 1944. Courtesy of the Vancouver Art Gallery Library and Archives.
Design for Jock Macdonald exhibition pamphlet, Park Gallery, April 21–May 3, 1958. Edward P. Taylor Library and Archives, Art Gallery of Ontario, Toronto.
Drying Herring Roe, 1938. Private collection. Courtesy of the Vancouver Art Gallery. Photo credit: Frank Tancredi.
Etheric Form, 1936 (dated 1934). Vancouver Art Gallery, gift from an anonymous donor (2012.52.4). Photo credit: Rachel Topham, Vancouver Art Gallery.
Fabric of Dreams, 1952. Art Gallery of Ontario, Toronto, purchased by the Peter Larkin Foundation, 1962 (61/44). 
Fall (Modality 16), 1937. Vancouver Art Gallery, Acquisition Fund (93.71). Photo credit: Trevor Mills, Vancouver Art Gallery.
Far Off Drums, 1960. National Gallery of Canada, Ottawa, purchased 1960 (no. 9061). Photo credit: National Gallery of Canada.
Fish Playground, 1946. Collection of the Alberta Foundation for the Arts (1973.013.002).
Fleeting Breath, 1959. Art Gallery of Ontario, Toronto, purchased with the Canada Council Joint Purchase Award, 1959 (58/65).
Flight, 1939. Private collection. Courtesy of the Vancouver Art Gallery. Photo credit: John Taylor.
Flower Study, 1934. National Gallery of Canada, Ottawa, gift of Joyce and Fred Zemans, Toronto, 2008 (no. 42513). Photo credit: National Gallery of Canada.
Formative Colour Activity, 1934. National Gallery of Canada, Ottawa, purchased 1966 (no. 14979). Photo credit: National Gallery of Canada.
Fugitive Articulation, 1959. MacKenzie Art Gallery, University of Regina Collection (1961-2). Photo credit: Don Hall.
Flood Tide, 1957. The Robert McLaughlin Gallery, Oshawa, purchased 1970 (1970MJ3). 
Friendly Cove, Nootka Sound, B.C., 1935. Current location unknown. Courtesy of the Art Gallery of Ontario, Toronto. Photo credit: Robert Keziere.
From a Riviera Window, 1955. Art Gallery of Ontario, Toronto, purchased by Peter Larkin Foundation, 1962 (61/43). 
Graveyard of the Pacific, 1935. Vancouver Art Gallery, Acquisition Fund (89.14 a). Photo credit: Vancouver Art Gallery. 
Growing Serenity, 1960. Art Gallery of York University, Toronto, (71.155). Photo credit: Cheryl O'Brien.
Heroic Mould, 1959. Art Gallery of Ontario, Toronto, bequest of Charles S. Band, Toronto, 1970 (69/54). 
I Know a White Kingdom, 1931. Illustration for The Neighing North by Annie Charlotte Dalton, Toronto: Ryerson Press, 1931.
In the White Forest, 1932. Art Gallery of Ontario, Toronto, purchased 1975 (75/38). 
Indian Burial, Nootka, 1937. Vancouver Art Gallery, Founders’ Fund (38.1). Photo credit: Trevor Mills, Vancouver Art Gallery. 
Indian Burial at Nootka, 1935. Vancouver Art Gallery Acquisition Fund (86.9). Photo credit: Trevor Mills.
Indian Church, Friendly Cove (recto of Departing Day), 1935. Art Gallery of Ontario, purchased with assistance from Wintario, 1979 (79/60.1). 
Iridescent Monarch, 1957. Art Gallery of Hamilton, gift of the Canada Council, 1960 (60.87.T). 
Legend of the Orient, 1958. Private collection. Photo credit: Michael Cullen, TPG Digital Art Services, Toronto.
Lytton Church, B.C., 1930. National Gallery of Canada, Ottawa, purchased 1931 (no. 3953). Photo credit: National Gallery of Canada.
Memory of Music, 1959. Vancouver Art Gallery, purchased with the assistance of a Movable Cultural Property grant accorded by the Minister of Canadian Heritage under the terms of the Cultural Property Export and Import Act (2005.1.2). Photo credit: Trevor Mills, Vancouver Art Gallery.

Nature Evolving, 1960. Art Gallery of Ontario, Toronto, purchased by Peter Larkin Foundation, 1962 (61/41). 
Nootka Lighthouse, Nootka, B.C., 1936. Vancouver Art Gallery, Acquisition Fund with the financial support of the Department of Canadian Heritage under the terms of the Cultural Property Export and Import Act (98.8). Photo credit: Trevor Mills, Vancouver Art Gallery.
Obelisk, 1956. National Gallery of Canada, Ottawa, purchased 1984 (no. 28503). Photo credit: National Gallery of Canada.
Ocean Legend, 1957. Private collection.
Orange Bird, 1946. The Robert McLaughlin Gallery, Oshawa, gift of M. Sharf, 1983 (1983MJ38). 
Pacific Ocean Experience, c. 1935. Collection of Dr. Oona Eisenstadt. Courtesy of the Vancouver Art Gallery. 
Phoenix, c. 1949. The Robert McLaughlin Gallery, Oshawa, gift of Alexandra Luke, 1967 (1967MJ26).
Pilgrimage, 1937. National Gallery of Canada, Ottawa, purchased 1976 (no. 18627). Photo credit: National Gallery of Canada.
Rain, 1938. National Gallery of Canada, Ottawa, purchased 2007 (no. 42049). Photo credit: National Gallery of Canada.
Russian Fantasy, 1946. Art Gallery of Ontario, Toronto, purchased by Peter Larkin Foundation, 1962 (61/45).
Rust of Antiquity, 1958. The Robert McLaughlin Gallery, Oshawa, gift of Alexandra Luke, 1967 (1967MJ25). 
Scent of a Summer Garden, 1952. Agnes Etherington Art Centre, Kingston, gift of Ayala and Samuel Zacks, 1962 (05-056) photo credit: Larry Ostrom. 
Slumber Deep, 1957. Art Gallery of Ontario, Toronto, gift from the McLean Foundation, 1958 (57/43). 
Spring Awakening, c. 1938. Private collection. Courtesy of the Vancouver Art Gallery. Photo credit: Ernest Mayer.
The Argument, 1952. Art Gallery of Greater Victoria, General Art Purchase Fund (1983.056.001). 
The Black Tusk, Garibaldi Park, 1934. British Columbia Archives, Royal British Columbia Museum Corporation, Victoria (PDP02138). 
The Black Tusk, Garibaldi Park, B.C., 1932. Vancouver Art Gallery, gift of Michael Audain and Yoshiko Karasawa (2004.24.1). Photo credit: Rachel Topham, Vancouver Art Gallery.
The Wave, 1939. Montreal Museum of Fine Arts, purchased by the Horsley and Annie Townsend Bequest (2002.112). Photo credit: The Montreal Museum of Fine Arts, Christine Guest.
Thunder Clouds Over Okanagan Lake, 1944–45. National Gallery of Canada, Ottawa, purchased 1969 (no. 15866). Photo credit: National Gallery of Canada.
Twilight Forms, 1955. Art Gallery of Ontario, Toronto, gift of Miriam Fox Squires, Toronto, 1981 (80/197).
Trademark for the Canadian Handicraft Guild of B.C., date unknown. Collection unknown. Courtesy of Joyce Zemans.
Untitled [10.20 p.m., September 16, 1945], 1945. Scottish National Gallery of Modern Art, Edinburgh (GMA A62/2/3/02).
Untitled [October 26, 1945 - 1], 1945. Scottish National Gallery of Modern Art, Edinburgh (GMA A62/2/3/48). 
Untitled [October 26, 1945 - 2], 1945. Scottish National Gallery of Modern Art, Edinburgh (GMA A62/2/3/49). 
Untitled [October 26, 1945 - 3], 1945. Scottish National Gallery of Modern Art, Edinburgh, (GMA A62/2/3/50).
Untitled (Automatic), 1948. Art Gallery of Ontario, Toronto, purchased with assistance from Wintario, 1977 (77/61). 
White Bark, 1954. Collection of Glenbow Museum, Calgary (2005.041.001)
Winter, 1938. Art Gallery of Ontario, Toronto, gift of Miss Jessie A.B. Staunton in memory of her parents, Mr. and Mrs. V.C. Staunton, 1961 (60/18).
Yale Valley, B.C., c. 1932. Courtesy of John A. Libby Fine Art.
Young Summer, 1959. Private collection. Photo credit: Kayla Rocca.


Credits for Photographs and Works by Other Artists

“Art In Relation to Nature,” notes for a lecture first delivered by Macdonald in February 1940. Collection of Marilyn Westlake Kuczer. Courtesy of the Art Gallery of Ontario, Toronto. Photo credit: Robert Keziere.
September 25, 1936, No. 1, 1936, by Reuben Mednikoff. Scottish National Gallery of Modern Art, Edinburgh (GMA 4203).
Batik, c. 1950, by Marion Nicoll. National Gallery of Canada, Ottawa, gift of Joyce and Fred Zemans, Toronto, 2008 (no. 42515). © Glenbow Museum, Calgary. Photo credit: National Gallery of Canada.
“Canadians Abroad,” Time magazine, May 7, 1956.
Church and grounds at Friendly Cove (Yuquot). British Columbia Archives Collection, Royal BC Museum Corporation, Victoria (A-06087).
Circus, 1948, by Alexandra Luke. The Robert McLaughlin Gallery, Oshawa, gift of Mr. and Mrs. E. R. S. McLaughlin, 1971 (1971LA190). 
Dharana, c. 1932, by F.H. Varley. Art Gallery of Ontario, Toronto, gift from the Albert H. Robson Memorial Subscription Fund, 1942 (2593). © Varley Art Gallery / City of Markham.
Dubuffet and friends in Vence, France, 1955. Photograph by Jock Macdonald.
F.H. Varley, John Varley, and Jock Macdonald camping by Pacific Gas and Electric Company railroad tracks near Cheakamus Canyon, 1929. Photograph by Ross Lort. Courtesy of the National Gallery of Canada Library and Archives, Ottawa.
First Conference of Canadian Artists at Queen’s University, Kingston, 1941. Photograph by Hazen Edward Sise. Library and Archives Canada, Ottawa (PA-151359).
Graduation ceremony at the British Columbia College of Arts, c. 1934–35. Photograph by John Vanderpant. Courtesy of the National Gallery of Canada Library and Archives, Ottawa. 
Hans Hofmann and Jock Macdonald, Provincetown, c. 1949. Photograph by Barbara Macdonald.
Heart of the Cabbage, 1929–30, by John Vanderpant. Vancouver Art Gallery, Acquisition Fund (90.68.26). 
Hotel Vancouver dining room, showing mural by Jock MacDonald, c. 1939. Photograph by Canadian National Railways. Library and Archives Canada, Ottawa (PA-198561).
Installation view of Jock Macdonald at Hart House Gallery, University of Toronto, 1957. Courtesy of Joyce Zemans.
Jock and Barbara Macdonald. Photographer unknown. Collection unknown. Courtesy of Joyce Zemans.
Jock Macdonald and others at the opening of the 20th Annual Exhibition of American Abstract Artists, with Painters Eleven of Canada, Riverside Museum, New York, 1956. Photograph by TDF, Toronto. Courtesy of The Robert McLaughlin Gallery Archives, Oshawa.
Jock Macdonald: Evolving Form, edited by Michelle Jacques, Linda Jansma, Ian M. Thom. London: Black Dog Publishing, 2014.
“Jock Macdonald: Painter-Explorer,” by Maxwell Bates. Canadian Art volume 14, 4 (Summer 1957). 
Jock Macdonald, Retrospective Exhibition, by R. Ann Pollock and Dennis R. Reid. Ottawa: National Gallery of Canada, Ottawa, 1969.
Jock Macdonald: The Inner Landscape, by Joyce Zemans, Toronto: Art Gallery of Ontario, Toronto, 1981.
Jock Macdonald and Dr. Grace W. Pailthorpe, 22 Redington Road, London, August, 1949. Scottish National Gallery of Modern Art Archive, Edinburgh (GMA A62/3/17).
Jock Macdonald and students at the Banff School of Fine Arts, 1951. Photographer unknown. Courtesy of Joyce Zemans. 
Jock Macdonald near Lytton on the Thompson River, B.C., c. 1932. Photo credit: Williams Bros. Courtesy of the National Gallery of Canada Library and Archives, Ottawa.
Jock Macdonald, probably at Garibaldi, B.C., c. 1932. Photograph by Ron Vickers. Courtesy of the National Gallery of Canada Library and Archives, Ottawa.
Lawren Harris, Jock Macdonald and A.Y. Jackson at Nan Cheney’s house, North Shore, Vancouver, September 1944. Courtesy of the National Gallery of Canada Library and Archives, Ottawa.
Macdonald’s diploma from Edinburgh College of Art, 1922. Collection unknown. Courtesy of Joyce Zemans. 
Mt. Lefroy, 1930, by Lawren Harris, McMichael Canadian Art Collection, Kleinburg, purchased 1975 (1975.7). © Estate of Lawren S. Harris.
On the Spiritual in Art: And Painting in Particular (Über das Geistige in der Kunst. Insbesondere in der Malerei), by Wassily Kandinsky, 1911 (dated 1912). Solomon R. Guggenheim Museum, New York Gift, Fritz Bultman, 1981 (81.2880) © 2016 Artists Rights Society (ARS), New York/ADAGP, Paris.
Painters Eleven in 1957. Photograph by Peter Croydon. © 2011 Lynda M. Shearer. All rights reserved. 
Photograph of Jock Macdonald. Collection unknown. Courtesy of Joyce Zemans. 
Portrait of Jock Macdonald, 1938, by Nan Cheney. British Columbia Archives, Royal British Columbia Museum Corporation, Victoria (PDF05729) © Estate of Nan Cheney.
Portrait of John Vanderpant, c. 1930, by F.H. Varley, Vancouver Art Gallery, Vancouver, purchased with funds from the Anne Eliza Winn Trust (2010.8.1). © Varley Art Gallery / City of Markham. Photo credit: Rachel Topham, Vancouver Art Gallery.
Self-portrait, 1919, by F.H. Varley. National Gallery of Canada, Ottawa, purchased 1936 (no. 4272). © Varley Art Gallery / Town of Markham. Photo credit: National Gallery of Canada, Ottawa.
“Symbolism in Decoration,” from a page in Jock Macdonald’s notes, c. 1930. Collection of Marilyn Westlake Kuczer. Courtesy of the Art Gallery of Ontario, Toronto. Photo credit: Robert Keziere.
The Road to St. Fidele, 1929–30, by A.Y. Jackson. Vancouver Art Gallery, Vancouver Art Gallery, Founders’ Fund (32.5). © Carleton University Art Gallery, Ottawa. Photo credit: Rachel Topham, Vancouver Art Gallery.
The Spotted Ousel, 1942, by Grace Pailthorpe, The Vera and Arturo Schwarz Collection of Dada and Surrealist Art in the Israel Museum (B98.0557) Photo credit: © The Israel Museum, Jerusalem.
To Young Weavers; being some practical dreams on the future of textiles, by James Morton, illustration by Charles Paine. London: S. Phillips & co. ltd., 1927.
Tom Hodgson (left) and Jock Macdonald at the opening of Jock Macdonald, Park Gallery, 1958. Photograph by The New Studio Photography. Courtesy of The Robert McLaughlin Gallery Archives, Oshawa, gift of the Feheley Family, 2013.
Untitled (Automatic), 1960, by Marion Nicoll. Art Gallery of Alberta, Edmonton, purchased in 1982 with funds from the Miss Bowman Endowment (82.7) © Glenbow Museum, Calgary.
Varley, Täuber, Macdonald, c. 1934, by Vera Weatherbie. Art Gallery of Greater Victoria, gift of Harold Mortimer Lamb (1997.036.001). © Estate of Vera Weatherbie.
Young Pines in Light, c. 1935, by Emily Carr. Collection of the Toronto District School Board, Acquired by the Prueter Collection (AGO.95534). Courtesy of the Art Gallery of Ontario, Toronto.


Acknowledgements

From the author
I was fortunate that, in my early research, I was able to meet with Jock Macdonald’s wife, Barbara, his daughter, Fiona, and his family in Scotland, as well as many of the artists who had been Jock’s students and colleagues in Vancouver, Calgary, Banff, and Toronto. I also benefited from his copious letters to his friends.

          In recent years, I have had the opportunity to meet another generation of the Macdonald family and I am indebted to Alasdair, Iain, and Alan Macdonald, who over the past few years, have graciously shared their memories of “Jock stories” with me.

          The research of Ian Thom and Linda Jansma and the discoveries of Macdonald’s Nootka diary and correspondence with Grace Pailthorpe and Reuben Mednikoff have all provided important new insights into Macdonald’s understanding of his path to abstraction. The wonderful 2014 exhibition Jock Macdonald: Evolving Form and its publication, with contributions by Ian Thom, Linda Jansma, Michelle Jacques, and Anna Hudson, have allowed me once again to experience the arc of Macdonald’s evolution through his paintings. Together, they have had a significant impact on this book for the Art Canada Institute.

          There are many people who made this book a reality: image researcher Julia Lum, image research director Cliodna Cussen, design layout director Simone Wharton, and executive editor Kendra Ward formed the capable team whose support and encouragement assisted in the process of creating this book.

          Writing for the ACI format was a challenging task, and I was extremely fortunate to have a talented and experienced editor. Working with Rosemary Shipton was a true pleasure, and I am indebted to her for her wise counsel and sound judgment.

          I was thrilled when I learn that Delaney Capital would be the sponsor for the monograph on Jock Macdonald. Kiki Delaney’s knowledge and leadership in the cultural sector is legendary. In my other life, I work in the field of cultural policy, and I understand, more than most, the importance of the commitment of those individuals, like Kiki, whose dedication has enriched the cultural life of our country.

          And, finally, there is the remarkable Sara Angel! Her vision, passion, commitment, and tenacity are at the heart of ACI. Her knowledge of art history, combined with her experience in publishing and her powers of persuasion, have created a new model for writing and disseminating the history of Canadian art, making our art accessible nationally and internationally. We are all indebted to her.


From the Art Canada Institute
This online art book was made possible thanks to its Lead Sponsor: Kiki and Ian Delaney. Much gratitude goes to the Canadian Online Art Book Project Founding Sponsor: BMO Financial Group.

The Art Canada Institute gratefully acknowledges its other sponsors for the 2016–17 Season: Aimia, Rosamond Ivey, The Scott Griffin Foundation, The McLean Foundation, and TD Bank.

Thanks also to the Art Canada Institute Founding Patrons: Jalynn H. Bennett, Butterfield Family Foundation, David and Vivian Campbell, Albert E. Cummings, Kiki and Ian Delaney, the Fleck Family, Roger and Kevin Garland, Gershon Iskowitz Foundation, The Scott Griffin Foundation, Michelle Koerner and Kevin Doyle, Phil Lind, Sarah and Tom Milroy, Nancy McCain and Bill Morneau, Gerald Sheff and Shanitha Kachan, Sandra L. Simpson, Pam and Mike Stein, Robin and David Young, and Sara and Michael Angel; as well as its Founding Partner Patrons: The Pierre Elliott Trudeau Foundation and Partners in Art.

The ACI gratefully acknowledges the support and assistance of the Alberta Foundation for the Arts (Erin Macdonald; Kristin Stoesz); Agnes Etherington Art Centre (Jennifer Nicoll); Art Gallery of Alberta (Rochelle Ball); Art Gallery of Greater Victoria (Lesley Golding; Stephen Topfer); Art Gallery of Hamilton (Christine Braun); Art Gallery of Ontario (Tracy Mallon-Jensen, Amy Furness); Art Gallery of York University (Allyson Adley; Michael Maranda); Art Museum at the University of Toronto (Justine Kicek; Heather Pigat); British Columbia Archives and the Royal BC Museum (Kelly-Ann Turkington); Carleton University Art Gallery (Sandra Dyck); Glenbow Museum (Lia Melemenis; Kellie Moynihan); Israel Museum (Nili Luria); John A. Libby Fine Art (Maria S. Hazel); MacKenzie Art Gallery (Marie Olinik); Library and Archives Canada; McMichael Canadian Art Collection (Alexandra Cousins; Linda Morita); Montreal Museum of Fine Arts (Marie-Claude Saia); Museum London (Janette Cousins Ewan); National Galleries of Scotland (Fintan Ryan); National Gallery of Canada (Raven Amiro; Emily Antler; Cyndie Campbell, Philip Dombowsky); The Robert McLaughlin Gallery (Linda Jansma; Sonya Jones); Toronto District School Board (Greg McKinnon); Vancouver Art Gallery (Danielle Currie; Joanna Spurling; Ian Thom); Varley Art Gallery of Markham (Rachel Brodie); Winnipeg Art Gallery (Nicole Fletcher); and Patricia Crawford, Michael Cullen, Tom Gooden, Charles C. Hill, Anna Jedrzejowski, Wendy Nichols, Marie Jo Paquet, Kayla Rocca, Evelyn Salvarinas, Chelsea Shriver, Nancy Townshend, Christopher Varley, Andrew Wilson, and Chak Yung.



Publisher: Sara Angel
Executive Editor: Kendra Ward
French Editorial Director: Dominique Denis
Image Research Manager: Cliodna Cussen and Corin De Sousa
Web & Layout Director: Simone Wharton
Editor: Rosemary Shipton
Copy Editor: Alicia Peres
Proofreader: Heather Sangster
Translator: Nathalie de Blois
Image Research Associate: Julia Lum
Layout Designer: Rondie Li
English Layout Associate: Emily Derr
French Layout Associate: Iskender Piyale-Sheard
Design Template: Concrete Design Communications



Copyright

© 2016 Art Canada Institute. All rights reserved. 
ISBN 978-1-4871-0107-7

Art Canada Institute
Massey College, University of Toronto
4 Devonshire Place
Toronto, ON M5S 2E1

Library and Archives Canada Cataloguing in Publication

Zemans, Joyce, author 1940- [Jock Macdonald (2016)]
Jock Macdonald : life & work / Joyce Zemans.

Includes bibliographical references.
Contents: Biography — Key works — Significance & critical issues — Style &
technique — Sources & resources — Where to see.

Electronic monograph in HTML, PDF and mobile formats. 
ISBN 978-1-4871-0107-7 (HTML).–ISBN 978-1-4871-0108-4 (PDF).
–ISBN 978-1-4871-0109-1 (MOBILE)

1. Macdonald, Jock, 1897-1960.  2. Macdonald, Jock, 1897-1960–Criticism and
interpretation.  3. Painters–Canada–Biography. I. Macdonald, Jock, 1897-1960. 
Paintings.  Selections. II. Art Canada Institute, issuing body  III. Title.  IV. Title:
Jock Macdonald (2016).

ND249.M253Z46 2016                        759.11                        C2016-903949-8