Barbara Howard (artist)

Writing about Howard’s wood engravings in her 2006 essay Drawing Attention: Barbara Howard’s Ecologies, the artist, curator and academic Martha Fleming states:

In 2002, Howard and Outram moved to Port Hope, Ontario, but soon after their arrival Howard fell and broke her hip. While undergoing surgery on 7 December in Peterborough, Ontario, she suffered a pulmonary embolism and died on the operating table.

In the late 1990s until her death in 2002, Howard returned to her lifelong fascination with light, night skies, the reflective surface of water. In these last paintings, there is a recurrence of circular elements, an abstraction of natural forms and a balancing of darkness and light. Howard has stated: “In my painting (as in all my work) I am deeply involved with light as the movement and inter-action of colours; the integrity of colour and form, hence with the integrity of the total work which has to do with spirit and abstract essence, not representation. I am preoccupied with life’s ambiguities and dualities and in my later work I am reaching more and more from the dark toward light, freedom, and a transcending exuberance.”

With the exception of the very large whale canvases, Howard’s paintings sold steadily throughout her lifetime. However, while she had her champions, she was never a part of the mainstream of Canadian art and so did not attract the kind of public critical attention that attends most successful careers. In her introduction to the catalogue for Howard’s 1980 solo exhibition The Event in the Mind, sculptor Rebecca Sisler wrote:

Howard was elected to the Royal Canadian Academy of Arts in 1975 and served on the RCA Council from 1980 to 1982.

Howard and her husband were part of a circle of artists, writers and designers who were interested in visual images, in language and in the book arts. One close associate was the graphic designer Allan Fleming, whose Martlet Press published Twenty-Eight Drawings by Barbara Howard in 1970, a period when she was drawing the figure. The Canadian wood engraver Rosemary Kilbourn, a close friend since art college, taught Howard to carve images that could be printed in conjunction with text.

In 1960 Howard and Outram launched the Gauntlet Press, a small private press which produced hand-bound letterpress volumes of Outram’s poetry and Howard’s wood engravings. These limited editions, prized by collectors, can also be found in such public collections as Library and Archives Canada, the Library of Congress, the British Library and the University of Toronto Thomas Fisher Rare Book Library. Throughout the 1970s and 1980s the Gauntlet Press also issued a series of letterpress broadsheets of Outram’s poems, all of them designed (and many illustrated) by Howard. Digital facsimiles of the books and broadsheets of the Gauntlet Press in the collection of the Memorial University of Newfoundland can be viewed at the website dedicated to The Gauntlet Press of Richard Outram and Barbara Howard, together with extensive background material and an exhaustive bibliography.

The first solo exhibition of Howard’s paintings was at Toronto’s Picture Loan Society in 1957. Pearl McCarthy, then art critic for The Globe and Mail, wrote that Howard was “far ahead of most landscapists in depth” and described her work as “first class … the answer to a permanent sensuous desire”. The last solo exhibition of Howard’s paintings and drawings took place posthumously at the Art Gallery of Northumberland, Cobourg, Ontario, in 2006.

Howard taught art classes in Toronto until 1953, when she moved to London in the UK, where she studied at Saint Martin’s School of Art, immersing herself in the English landscape and the cultural life of postwar London. She also travelled to Europe to visit the art museums of Rome, Venice, Florence, Paris and Madrid, and saw the Paleolithic cave paintings at Lascaux in southwestern France, an experience which influenced many of her later illustrations. In London she met her future husband, the Canadian poet, Richard Outram. Returning to Canada in 1956, Howard and Outram made their home in Toronto for the next 46 years.

In the late 1950s and early sixties Howard showed regularly at the Picture Loan Society, a Toronto gallery established by Douglas Duncan in 1936 to present the work of contemporary Canadian artists such as Emily Carr, Fred Varley, David Milne, Lawren Harris and A.Y. Jackson. Several Canadian public collections possess Howard drawings and paintings acquired through the Douglas Duncan estate, as Duncan was also a collector of her work.

Helen Barbara Howard RCA (March 10, 1926 – December 7, 2002) was a Canadian painter, wood-engraver, draughtsperson, bookbinder and designer who produced work consistently throughout her life, from her graduation in 1951 from the Ontario College of Art until her unexpected death in 2002.

Howard was born in Long Branch, Ontario, in 1926, the younger of two children. Her father, Thomas Howard, a secondary school teacher, was an English immigrant. Her mother, Helen Mackintosh, who was born in Winnipeg, was of Scottish ancestry. Having decided early to become an artist, Howard studied at the Ontario College of Art in Toronto from 1948 to 1951, where she was a pupil of Will Ogilvie, who taught her figure drawing, and Jock Macdonald, who taught her painting and composition. In her final year she won the silver medal in drawing and painting.