Lionel LeMoine (L.L) Fitzgerald - Untitled Landscape

  • Untitled Landscape
  • Oil on Canvas
  • 4.38 x 6.25 in
  • Sold
  • Private Collection



Lionel LeMoine FitzGerald, also known as L.L. FitzGerald (March 17, 1890 – August 5, 1956), was a renowned Canadian artist and art educator, notable for being the only member of the Group of Seven based in western Canada. Born in Winnipeg, FitzGerald’s artistic journey was deeply rooted in Manitoba, where he explored the natural surroundings and translated his observations into captivating artworks.

FitzGerald was born in Winnipeg to Lionel Henry FitzGerald and Belle (Hicks) FitzGerald. Growing up, he spent summers on his grandmother's farm in the Pembina Hills, where he developed a profound connection with nature. His early exposure to masterworks through Perry Picture reproductions and drawing exercises fueled his passion for art. Leaving school at 14, FitzGerald worked various jobs before dedicating himself to art.

L.L. FitzGerald’s artistic style evolved significantly over his career, marked by a transition from detailed landscapes and still lifes to more abstract and spare compositions. His works include paintings in oil and watercolor, drawings, printmaking, and sculpture. He drew inspiration from his immediate surroundings, capturing scenes like the view from his house or a potted plant on the windowsill.

In 1912, FitzGerald married Felicia Wright, and they had two children. He juggled various jobs, such as window display arrangement and theatre backdrop painting, while pursuing his artistic endeavours. His work gained recognition, leading to exhibitions at the Royal Canadian Academy and the Winnipeg Art Gallery.

In 1932, FitzGerald was invited to join the Group of Seven, a testament to his artistic significance. He served as the principal of the Winnipeg School of Art, where he influenced many emerging artists.  FitzGerald's contribution to Canadian art is celebrated for its unique perspective and deep connection to the western Canadian landscape. His exploration of nature’s forces and dedication to making “the picture a living thing” left a lasting impact on Canadian art history.

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