Study for the White Tree

Herbert and Margot Ariss, London Michael Gibson Gallery, London Private Collection, Ontario

Christine Boyanoski, Towards a Lyrical Abstraction: The Art of L.A.C. Panton, Art Gallery of Ontario, Toronto, 1990, pages 10-14

Working alongside members of the Group of Seven, Panton was influenced by the impressionistic stylings of the Canadian landscape, but moved to develop a distinctly moodier atmospheric styling. Concerned with translating a lyrical quality of the landscape with harmonious compositions reflecting the rhythm of nature, Panton straddled between landscape tradition and modern abstraction. Employing dramatic backlighting, monochromatic tones and strategic highlights to contour the landscape, the artist delivers a unique dark and dramatic romanticism. As the tree forms, branches and leaves have been simplified to long stylized strokes of paint, the environment seems to move together in harmony; one can imagine the wind causing the trees to sway in tandem with one another. Moreover, the strong contrast created by the strategic use of light and shadow energize the work and give homage to the artist's work and technique in modern printmaking. Rather than a serene landscape, there is a decidedly darker, more dramatic tone to Panton's work – perhaps even agitated or ominous. An accomplished artist in a multitude of media, Herbert Arlss was a member of several Canadian societies, including the Ontario Society of Artists, the Royal Canadian Academy and the Canadian Society of Painters in Water Colour. However, it would be as an art instructor that Ariss’ impact would perhaps be most greatly recognized. As a teacher and, eventually, the head of the art department at London’s Beal Secondary School, Ariss’ three decades with the school would impact the study of many of the region’s renowned artists, including Jack Chambers and Greg Curnoe.