Artwork by Harold Barling Town,  Fore

Harold Town

oil and collage on canvas
signed and dated 1966 lower right; signed and dated 1960 and 1966 on the reverse
52 x 52 ins ( 132.1 x 132.1 cms )

Auction Estimate: $20,000.00$15,000.00 - $20,000.00

Price Realized $12,000.00
Sale date: November 28th 2014

Mazelow Gallery, Toronto
Private Collection, Toronto
Iris Nowell, “Painters Eleven: The Wild Ones of Canadian Art”, Vancouver/Toronto, 2010, page 166
Gerta Moray, “Harold Town, Life & Work” (online publication), Art Canada Institute, Toronto, 2014, page 64
By the mid-1960s, Town was an incredibly popular artist with multiple solo and group exhibitions within Canada and abroad. Iris Nowell writes: “In 1966 alone Town appeared in seventy-two articles in the three Toronto daily newspapers, was mentioned and/or profiled in twelve articles in Canadian Art, in addition to appearing on countless radio and television shows.” The artist's grandiose personality was echoed in his art practice which diligently explored a great variety of media and motifs. “Fore” points to the extraordinary plurality of this practice.

Gerta Moray describes how Town used masking tape as a tool to “set up a counterpoint between straight lines and organic, irregular components. With contrasts of light and dark, and with variations in the size of pattern units, he created shifting illusory spaces that exist in tension with a respect for the flatness of the canvas.” His title “Fore” is a clever play on the homophone four, a number which can be deciphered in the thick white lines of the composition. Also when considering Town's title, the viewer may perceive that he has scrupulously outlined the various paths of a golf ball, curving at high speeds with a shouted warning, “Fore!”

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Harold Barling Town
(1924 - 1990) Painters Eleven, OSA, RCA

A lifelong Torontonian, Harold Town was one of Canada’s foremost abstract expressionists. After graduating from the Ontario College of Arts (now, OCAD University), he worked as a commercial illustrator for many years. In 1954, he became a founding member of the experimental painter’s group, Painters Eleven, a name he coined, himself, along with Jack Bush and Jock MacDonald.

Town’s work went beyond paint, though: he experimented with all kinds of different methods and materials. He often employed a lithography machine to ink his paper in different ways (his single autographic prints). A propane blow torch was occasionally used to burn his paper or canvas. And he particularly loved collage, stating, “it’s marvelous to think of the garbage of our age becoming the art of our time.” According to Gerta Moray, these collages are closely connected to his abstract expressionist painting: “the compositional modes of his collages share the aesthetic of his paintings: they spread out to fill the surface yet are given focus as configurations by areas of drawing in ink or paint.”

Two of Town’s single autographic prints were the first works by the artist to be acquired by the National Gallery of Canada. The NGC then selected him to represent Canada at the 1956 Venice Biennale, along with Jack Shadbolt and Louis Archambault.

By the end of the 1960s, Town had exhibited his work internationally and represented Canada at the Venice Biennale twice. He garnered covers of Maclean’s and Time magazines and became a hero of Canadian art. At one point his name was “synonymous with art in Toronto.” He received an honourary doctorate from York University and the Order of Canada.

In the 1970s, Town faced criticism for remaining in Toronto instead of going to New York to pursue Pop Art and minimalism. Town asserted that these claims by art critics suggested a subservience to the New York trends. He remained true to his roots in Toronto.

In the 1980s, Town returned to figurative painting. His bright colours and simple lines were playful, ironic, and influenced by folk art. In his series, Musclemen, he painted body builders in cartoonish proportions and colours, with giant muscles and tiny heads. Apparently, Town “came upon an international bodybuilding competition and was captivated by the human body performing its muscle-bulging poses as living sculpture.” Moray asserts that this series ironically comments on “the masculine ideal in popular culture.” This assertion is made more interesting when considering that he also painted a small number “Muscles Ladies.”

Four years before his death, Town was given a long overdue retrospective exhibition at the Art Gallery of Ontario. Town’s death in 1990 of cancer was felt profoundly by the artistic community. Pierre Burton wrote “Town was a great artist with an insatiable intellect.” David Burnett, the curator of his retrospective wrote: “Our response to his death must be to begin the process of understanding his achievement as a totality, of facing all of his work in the present” The enticing legacy of his work continues to captivate and intrigue audiences today.

Literature Sources
Iris Nowell, “Harold Town”, Vancouver, 2014, pages 175-78
Gerta Moray, “Harold Town: Life and Works”, Art Canada Institute, 2014 (

We extend our thanks to Scarlett Larry, York University graduate student in art history, for writing and contributing this artist biography.