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Robert Nelson Markle (Hamilton, Ontario, 1936-Holstein, Ontario, 1990) was a Canadian artist, writer, educator and musician. He began his studies at the Ontario College of Art (OCA) in 1954, but was expelled before graduation. While at OCA, he met Marlene Shuster, a fellow student, whom he married in 1958. The focus of Markle’s work from his early days was the female nude, particularly burlesque dancers, and Marlene became his primary model and muse. In 1962 Markle had his first group exhibition at The Isaacs Gallery in Toronto, becoming one of the “Isaacs Group” of artists. In 1965, Markle paintings shown in the exhibition Eros ’65 at the Dorothy Cameron Gallery were seized on a charge of obscenity, drawing considerable media attention. In the mid-1960s Markle began to write for magazines such as the Toronto Telegram Showcase, Maclean’s, and Toronto Life, publishing widely on topics as diverse as striptease, hockey, childhood Christmases, and Gordon Lightfoot. Markle also worked extensively as an illustrator, contributing images to magazines and literary journals. His work as an educator included terms at The New School of Art (1966-1977) and Arts’ Sake (1977-1982) as well as OCA and the University of Guelph. From the early 1960s, Markle played tenor saxophone and piano in the Artists’ Jazz Band. In 1970 the Markles moved to a farmhouse outside of Holstein, Ontario, although Robert re-established a studio in Toronto from 1979 to 1982. In 1979, he won a commission to decorate a Toronto hamburger restaurant, which was named Markleangelo’s in his honour. His other large-scale commissions include wall-sculptures for the Ellen Fairclough Building in Hamilton, Ontario, and the Metro Toronto Convention Centre. He executed painted outdoor murals in Owen Sound and Mount Forest, Ontario. Markle was killed in a traffic accident in 1990. Of Mohawk ancestry, Markle used his mother’s spelling of his surname, although it was spelled “Maracle” on his birth certificate. Markle worked primarily in painting and ink drawing, and also explored photography, collage, printmaking, wooden sculpture and neon. He collected folk art, which inspired a number of whirligig works later in his career. His work is in numerous public and private collections, including the Art Gallery of Ontario and the National Gallery of Canada.

A Canadian painter, Jackson was a founding member of the Group of Seven (1919) and the Canadian Group of Painters (1933). He taught at the Ontario College of Art (now OCADU) (1925) and the Banff School of Fine Arts (1943-1949) . He also serviced as a war artist during World War I.He was appointed a Companion to the Order of Canada 1967) and received the Royal Canadian Academy of Arts medal for lifetime achievement (1970).

John Hamilton Bush (1909–1977), primarily known as Jack Bush, was a Canadian painter best known for his Abstract Expressionist style. Born in Toronto, he lived in London, Ont. and Montreal during his early years. Jack Bush began his career in advertising, working in his father’s firm, Rapid Electro Type Company in Montreal. During this time, he studied at the Art Association of Montreal with Edmund Dyonnet and Adam Sherriff Scott. In 1928, he transferred to the company’s office in Toronto, where he took evening classes under Frederick Challener, John Alfsen and Charles Comfort at the Ontario College of Art. Bush’s early work as a painter was influenced by Comfort and the Group of Seven, and throughout the 1930s and ‘40s he produced largely landscape and figurative paintings. His first exhibition was with the Ontario Society of Artists in Toronto in 1936.
In 1934, Jack Bush married Mabel Mills Teakle, a family friend from Montreal, and together they had three sons, Jack Jr (b. 1936), Robert (b. 1938) and Terry (b. 1942). In 1953, dissatisfied with Canada’s place in the international contemporary art scene, Bush and several other Toronto abstract artists founded the group Painters Eleven. William Ronald, another member of Painters Eleven, and an artist who had worked in New York, introduced U.S. art critic Clement Greenberg to the group, which led to a lasting friendship between Bush and Greenberg. The contact with Greenberg in 1957 led to Bush’s international breakthrough in the early 1960s, beginning with his 1962 exhibition at the Robert Elkon Gallery in New York. Between the late 1950s and mid ‘60s, Bush painted in loose brushstrokes with diluted oils, staining paint onto unprimed canvas. In 1966, concerned by the health hazards associated with oil-based paints, he switched to water-based acrylics, less textured than oils but more brightly coloured.
In 1964, Jack Bush’s work was included in Greenberg’s Post-Painterly Abstraction at the Los Angeles County Museum, an exhibition that travelled to Minneapolis and Toronto. Along with Jacques Hurtubise, Bush represented Canada at the Bienal de São Paulo (Brazil) in 1967. In the year preceding his death in 1977 (from a heart attack), he received the Order of Canada. That same year, the Art Gallery of Ontario mounted a retrospective exhibition of his abstract works that travelled to several Canadian galleries. Jack Bush’s work is in the collections of the Art Gallery of Ontario, the National Gallery of Canada, the Montreal Museum of Fine Arts, Boston’s Museum of Fine Arts, London’s Tate Gallery and others.

Lucius Richard O’Brien (1832–1899) was a Canadian painter best known for his landscape paintings in oil and watercolour. Born near Barrie in Upper Canada, he attended Upper Canada College in Toronto 1844–1846, where he studied art under artist and architect John G. Howard. In 1856 he moved to Orillia, Ont. and then to Toronto in 1870. After a career in business, O’Brien began landscape painting in 1872. Lucius O’Brien was vice-president of the Ontario Society of Artists 1874–1880 and soon after became the first president of the Royal Canadian Academy of Arts. His contribution to the first annual exhibition of the Academy was Sunrise on the Saguenay, Cape Trinity (1880), among his most famous works. O’Brien was instrumental in 1876 in founding the Ontario School of Art (now the Ontario College of Art and Design University) and was the editor of the successful publication Picturesque Canada (1882–1884), which featured his own work along with that of other artists. His artistic travels took him from the Atlantic coast of Canada to the Pacific; he was one of the first artists invited to travel to and paint the Rocky Mountains on the newly completed Canadian Pacific Railway in 1886. The varied landscapes of the country are rendered in his paintings in a poetic realist style. His works are in the collections of the Art Gallery of Ontario, the National Gallery of Canada and other public art museums. Lucius O’Brien married Margaret St John (d. 1866) in 1860 and Katherine Jane (Brough) Parker in 1888. No children were born of either marriage. He died in Toronto at the age of 67 and was buried in Shanty Bay, Ont near where he was born.

Edmund Montague Morris (1871-1913) was a Canadian portraitist, landscape painter and author. Born in Perth, Ontario, he studied in Toronto privately as well as at Toronto Art Students’ League 1889-91, and in New York at the Art Students’ League, 1891-92. Between 1893 and 1896 Morris was a student at the Académie Julian and the École des Beaux-Arts in Paris. He returned to Toronto in 1896 to set up a studio and became involved in art societies, including the Royal Canadian Academy (ARCA [associate] 1898), the Ontario Society of Artists, and the Arts and Letters Club of Toronto. A founding member of the Canadian Art Club in 1907, he was its secretary for several years. He was on the council of the Art Museum of Toronto—now the Art Gallery of Ontario—from 1909. Beginning in 1906 Morris produced the works for which he is chiefly known, portraits in pastels of Canadian aboriginal leaders. Many of these, executed during extensive travel in the Canadian West, were done on commission from the governments of Ontario, Alberta and Saskatchewan to be hung in provincial legislature buildings. Morris also painted landscapes, especially of scenes along the St Lawrence River in Quebec. It was while working at Portneuf near Quebec City that he drowned in August 1913. He is buried in Toronto. His work is in the collections of the National Gallery of Canada (Ottawa) the Art Gallery of Ontario (Toronto) and other galleries, especially in Western Canada.

Sybille Christiane Pflug (née Schütt) (1936-1972), German-Canadian realist painter, was born in Berlin, Germany and died of an intentional overdose at Hanlan’s Point, Toronto Islands. Upon the outbreak of the Second World War, Pflug was sent alone to live with family friends in the Austrian Tyrol town of Kitzbühl where she remained until her early teens. In 1953, Pflug left Germany for Paris to study fashion design. On a train to Paris in 1954, she met Michael Pflug (1929-,) a German medical student and aspiring artist. At his urging, and with the encouragement of artist friends Vieira da Silva and Arpad Szenès, Christiane, who had no formal art training, began to paint. The Pflugs married in 1956 and moved shortly afterwards to Tunis, Africa where Michael had accepted a medical internship. In early 1958, Christiane and Michael held the first joint exhibition of their work at l’Alliance Française in Tunis. Christiane and the couple’s two young daughters, Esther and Ursula, joined her mother in Toronto in 1959 while Michael remained in Africa. In 1960, after completing his medical studies in France, Michael joined his family in Canada and soon began medical practice. The Pflugs settled in North Toronto, where Christiane painted her immediate surroundings including several series of city landscapes from her window, a series of interiors with dolls, and larger portraits of her daughters and her art dealer, Avrom Isaacs. In late 1962 Christiane held her first solo exhibition at the Isaacs Gallery in Toronto and was represented there until 1967, at which point Michael assumed all management of her work. She was the recipient of Canada Council grants and participated in several major national shows, winning the purchase prize at the 1964 Winnipeg Biennial. Despite her lack of formal training, she taught briefly at the Ontario College of Art in 1969. Christiane Pflug’s work is represented in several Canadian public collections including the National Gallery of Canada, the Art Gallery of Ontario and the Winnipeg Art Gallery, as well as in
Canadian corporate collections and private collections in Europe and North America. She died, committing suicide, on the Toronto Islands in April 1972.

Rolph Scarlett was a pioneering non-objective painter, jewellery designer, stage designer and educator known for his association with the Guggenheim Museum and Hilla Rebay. Born in Guelph, Ontario, Scarlett had early training in jewellery design through apprenticeship in a family business, and briefly attended the Art Students' League in New York. He returned to Canada for periods of time in the 1910s and 1930s, in between efforts to establish his career as a designer in the United States and internationally. On business travel to Switzerland in 1923, he encountered Paul Klee and became a proponent of pure abstraction in art. Scarlett moved to New York in 1937, becoming acquainted with Hilla Rebay and Rudolf Bauer, and winning a Guggenheim Foundation fellowship. Rebay purchased sixty of Scarlett's works for the collection of the Museum of Non-Objective Painting, affirming his significance to the founding collection of what would become the Guggenheim Museum. Scarlett joined the staff as the museum's chief lecturer from 1940 to 1946. Scarlett's work is held in major collections including the Guggenheim Museum, the Smithsonian Institution, the Los Angeles County Museum of Art, the Montreal Museum of Fine Arts, and the de Young Museum.

Frederick Sproston Challener, painter, was born in Whetstone, England in 1869 and came to Canada in 1870. He studied at the Ontario School of Art, was first exhibited in 1900 at the Royal Canadian Academy and subsequently worked as a newspaper artist. After a tour of Europe and the Middle East in 1898-99, he began working as a muralist and participated in the decoration of the recently completed Toronto City Hall. At the end of the First World War, Challener worked as a painter for the Canadian War Records Department. He made his career chiefly by creating murals for passenger boats, restaurants, hotels—such as Fort Rouillé in the King Edward Hotel,Toronto—office buildings and theatres, including the Royal Alexandra Theatre in Toronto. He also produced easel paintings, watercolours and drawings in a realistic, romantic style. From 1927-1952 he taught at the Ontario College of Art, during which period he made notes and assembled material on Canadian artists. He died in Toronto in 1959. Challener was a member of numerous arts organizations including the Toronto Art Students’ League, Ontario Society of Artists, Royal Canadian Academy, Society of Mural Decorators of Toronto and the Arts and Letters Club of Toronto (founding member, 1908). His work is in the National Gallery of Canada, the Civic Art Gallery, Winnipeg, the Art Gallery of Ontario and numerous public buildings.

Charles Wyatt Eaton (1849-1896) was a Canadian painter, illustrator, author and teacher who spent much of his life in the United States. Born in Philipsburg, Canada East (now Quebec), he left to study in New York at the National Academy of Design around 1867 and subsequently (1872) in France at the École des beaux-arts in Paris. There, he was influenced by Jean-François Millet and the Barbizon painters. Returning to Philipsburg in 1876, Eaton began painting portraits locally and in Montreal. From 1877 to 1882 he taught drawing and portraiture at the Cooper Union in New York and helped found the Society of American Artists, of which he was president in 1883. He married Charlotte Collins of New York in 1887. During and after this period he produced portraits of American authors and poets (notably pen-and-ink drawings for Century Magazine) and prominent Canadians along with well-received genre pictures of the Quebec countryside in the manner of Millet. In 1895 he went to Italy to recover from illness and surgery. He returned to the United States the following year and died in Newport or Middletown, Rhode Island. He is buried in Philipsburg.

Kathleen Jean Munn (1887-1974) was a modernist Canadian painter active in Toronto between the World Wars. She was the youngest of six children born to a Toronto jeweler who died when she was four (of an infection caused by the impact from a champagne cork) leaving her mother to manage the family business. Her talent for drawing was encouraged by her maternal grandmother, an accomplished amateur painter, and she was sent to study at the Westbourne School with F. McGillivray Knowles from 1904 to 1907. Knowles encouraged personal expression and an understanding of the principles of art and Munn thrived in this environment. In 1909 she began to exhibit Barbizon inspired landscapes at the OSA, RCA and CNE exhibitions, moving through periods influenced by Whistler, Corot, Puvis de Chavannes and the post-impressionists. About 1912 Munn first traveled to New York to study at the Art Student’s League and in 1914 she was awarded first prize at the Summer School in Woodstock NY. In 1915-16 she began a series of landscapes in which she showed a mastery of modernist techniques. Her association with the Art Student’s League, whose teachers were early proponents of modernism, was an important influence. Her notebooks show that she was reading extensively and broadly in the areas of literature, philosophy and aesthetics. She studied Jay Hambridge’s mathematical principles, the concept of ‘dynamic symmetry’ and Denman Ross’s colour theory. She seems to have been drawn to writers who proposed an underlying system of order and logic as a basis for individual expression. She also toured Britain and the major art centres of continental Europe in 1920, accompanied by her sister, and this trip seems to have encouraged her quest for a means to express religious and spiritual themes in a contemporary fashion. She was ultimately uncomfortable with complete abstraction and believed that art should express a larger purpose, influenced by readings of Blavatsky, Blake, Whitman, and others. The Group of Seven shared her interest in the spiritual content of painting but she was intolerant of their nationalism; of her contemporaries she formed the closest bonds with Bertram Brooker and Lemoine Fitzgerald. Her studio, in a large room overlooking the ravine at the family home at 320 Spadina Avenue, was visited often by Brooker. The household consisted of three unmarried siblings: Will (Jr.), who ran the family business, May, a teacher who ran the household, and Kathleen. During the 1920’s she began to work on a series of paintings that explored Christian themes and she devoted the 1930’s to the subject of the Passion. Two major drawings from this series were purchased by the Art Gallery of Ontario in 1945. She exhibited a number of these drawings with Fitzgerald and Brooker at the Malloney Galleries in Toronto in 1935 but there as little critical response. Discouragement at her lack of critical success, combined with the death of her brother in 1935 and her sister’s increasing disability, led to the end of her artistic output around 1939. Most of her work remained in family hands. The Art Gallery of Toronto exhibited her Passion drawings in several group shows in the 1940’s and the Willistead Art Gallery in Windsor included her Ascension in a 1954 show of drawings. She died twenty years later, in October 1974.