Charles Comfort

Born near Edinburgh, Scotland, Comfort moved to Winnipeg in 1912 with his family. His father found work with the treasury department for the city of Winnipeg. Comfort, as the eldest child, had to work from a young age to help support his family.[1] In 1914, he began work as a commercial artist at the newly established Brigdens commercial art branch office in Winnipeg established by Frederick Henry (Fred) Brigden, and by 1916 Comfort started attending evening classes at the Winnipeg School of Art.

Comfort saved money to attend the Art Students League of New York under Robert Henri and Euphrasius Tucker. Still working part-time for Brigdens commercial studio, he was temporarily transferred to Toronto in 1919. While in Toronto, Comfort joined the Arts and Letters Club, taking life-study classes and meeting members of the Group of Seven. Comfort visited the Group's inaugural 1920 exhibition, which inspired Comfort to work on landscape paintings, a theme he continued throughout his lifetime.[2]

Comfort returned to Winnipeg in 1922 for his first exhibition of watercolours at the Winnipeg Art Gallery. During this time, he met Lionel LeMoine FitzGerald and Walter J. Phillips. It was not until 1925 that Comfort painted his first oil painting, when he returned to Toronto where he befriended Will Ogilvie, who may have influenced his switch to oil.[2] In 1928 he painted a striking watercolour portrait of violinist Alexander Chuhaldin with his Amati violin, with a copy of the Natalia Goncharova set design for Le Coq d'Or in the background (painting now in the Art Gallery of Hamilton).[3]

Comfort's Tadoussac of 1935.

In the 1930s, Comfort regularly worked as a commercial illustrator as well as a teacher at the Ontario College of Art and Design from 1935 to 1938. He subsequently held by a teaching position at the University of Toronto, a post he continued after the war until 1960.[4] He taught primarily painting techniques, including mural-painting, and other studio courses later in his career at the university.

He was commissioned to design a mural for Toronto's North American Life Building in 1932, the first in many he completed. The following year he met the American Precisionist Charles Sheeler. One of the artist's most celebrated works, Tadoussac of 1935, suggests the influence of Sheeler due to its clear crisp colours and shapes.[2]

Toronto Stock Exchange facade, with Comfort's frieze

In 1936, Comfort rented a studio next to a room occupied by A. Y. Jackson, in the Studio Building, a building made famous by the Group of Seven artists, and the following year he designed the exterior frieze and interior murals for the Toronto Stock Exchange. In 1937, he was commissioned by the International Nickel Company to produce a 2x6m centrepiece work entitled "The Romance of Nickel" for the Paris Exhibition; it now hangs in the National Gallery of Canada.[5]

Comfort was one of the organizers of the 1941 Kingston Conference, a meeting of Canadian artists to discuss the role of art in society as well as other issues facing the arts at the time. Comfort helped to initiate Canada's World War II War Art program, serving as an official war artist in World War II, travelling by sea in November 1943 to work alongside Canadian forces in Italy with the field historian Samuel Hughes. He left an important body of work that records Canada's war effort abroad. Furthermore, he was a founding member of the Federation of Canadian Artists and contributed to the 1951 Massey Report, which led to the founding of the Canada Council. an organization that Comfort helped establish.[2] In 1954 he was one of eighteen Canadian artists commissioned by the Canadian Pacific Railway to paint a mural for the interior of one of the new Park cars entering service on the new Canadian transcontinental train. Each of the murals depicted a different national or provincial park; Comfort's was Banff National Park.[6] He also created murals for the Canadian National Railway Montreal Central Station.[7]

After the war, Comfort served on the Board of Directors and various committees at the Art Gallery of Toronto, and was Director of the National Gallery of Canada from 1959 until 1965. During his time as the Director of the National Gallery of Canada, he helped the National Gallery of Canada move into the Lorne building in 1960.[8] He was also a member of the Canadian Society of Graphic Art, Canadian Society of Painters in Water Colour, and Canadian Group of Painters, and held executive positions in a number of art organizations. He received an honorary doctorate from Mount Allison University in 1958. He was a member of the Royal Canadian Academy of Arts.[9] His extensive involvement during his life with artists' organizations indicates his strong belief in the importance of art integrated with society.[2] In 1972, he was made an Officer of the Order of Canada.