Pub date: March 8, 2016
Goose Lane Editions & Beaverbrook Art Gallery
Writing early in 1962, Lucy Jarvis said she felt “just at the threshold of beginning.” Jarvis had studied at the School of the Museum of Fine Arts in the 1920s, later becoming part of the social realist movement, committed to an art “of the people.”
In 1941 Jarvis co-founded the UNB Art Centre with Pegi Nicol MacLeod, and together they turned it into a place of creative effervescence. Passionate and single-minded, Jarvis threw herself into everything that she did and the results were nothing short of astounding. In a few short years, she and MacLeod had transformed their environment.
Yet it wasn’t until the early 1960s that the unstoppable Jarvis set out on her own. She left the art centre and headed for Paris. In four extended stays during the 1960s, she immersed herself completely, living in French, attending the open studios, and connecting with other artists.
Her retreats to Pembroke Dyke near Yarmouth, Nova Scotia, during the summer months allowed her to digest her experiences, and her art took on new life. The influences of both impressionism and post-impressionism emerged in her work, and her paintings became more boldly colourful, freer — more completely her own.
Lucy Jarvis: Even Stones Have Life is the first examination of Jarvis’s considerable body of work — what she painted, how she rendered it, and how her art permeated her life and her life permeated her art.
“There are those rare, impressive individuals who give both time and passion to encouraging society’s appreciation of the arts. Lucy Jarvis was one such person. Author Roslyn Rosenfeld’s smooth, readable prose perfectly accompanies Jarvis’ luminous art pieces, which imbue their subjects with intensity and a rugged, tangible presence.”— Scene