ATWOOD email@example.com_county.toronto.globe_and_mail 2003-09-16 published
Jerome Hamilton BUCKLEY
Husband, father, professor. Born August 30, 1917, in Toronto. Died January 28 in Cambridge, Massachusetts., of natural causes, aged 85.
By Margaret ATWOOD and David STAINES, Page A24
Every American Thanksgiving, Jerry and Elizabeth Buckley would invite at least one of Terry's graduate students to their home in Belmont, Massachusetts., for the customary turkey dinner. (In the 1960s, the graduate student was Margaret ATWOOD; in the '70s, David STAINES.) There, surrounded by their three children, Nicholas, Victoria, and Eleanor, and other guests, Jerry would regale everyone with tales of Puritan ancestors, though they were not "his" ancestors both Jerry and Elizabeth were born and raised in Toronto, and they were distinctly Canadian in their gracious manners, their widespread generosity, and their affections. At a large institution such as Harvard, Jerry stood out for his kindness and humanity.
Jerry attended Humberside Collegiate Institute and then Victoria College in the University of Toronto, where his courses included Elizabethan literature offered by Northrop FRYE and Shakespeare offered by E. J. PRATT. As a young poet and critic, he reviewed new works by Robinson Jeffers and Virginia Woolf, and won a prize for an essay titled New Techniques in Contemporary Fiction. Graduating with a B.A. in 1939, he chose Harvard Graduate School, obtaining his PhD in 1942. On June 19, 1943, in Toronto, he married Elizabeth ADAM/ADAMS, his confidante and soul mate.
University teaching posts were thin on the ground in Canada during the Second World War. Jerry used to describe his one job interview with a Canadian university: They were less interested in his a academic credentials, he said, than in whether he was a Christian and whether he drank. If he did the latter, they made it clear that he must do it with the curtains closed so as not to corrupt the students. He took a job in the United States.
His teaching career took him to the University of Wisconsin, where he rose from instructor in 1942 to full professor in 1954 to Columbia University from 1954 until 1961; and to Harvard University, where he taught for 26 years 1987. Named Gurney Professor of English Literature in 1975, in this distinguished chair he followed Douglas BUSH and B. J. Whiting; BUSH, another ex-Canadian, welcomed Jerry BUCKLEY to Harvard, as Jerry recollected, "with open arrns... filled with theses."
A Harvard seminar on Victorian critics led by Howard Mumford Jones prodded Buckley's interest in William Ernest Henley, and his dissertation on Henley became his first published book, William Ernest Henley: A Study in the Counter-Decadence of the Nineties (1945). In 1951 he secured his reputation as a major Victorianist with The Victorian Temper, and in 1960 he re-established Tennyson's stature in literary studies with his Tennyson: The Growth of a Poet. The rise of Victorian studies owes very much to his dedicated scholarship and his inspiring leadership.
He was passionately devoted to his subject, so much so that he often seemed to become the incarnation of it. Former students remember with affection riveting oral performances of his favourite authors, such as Dickens. Striding across the room, long arms waving, he would "become" Mr. Micawber or Ebenezer Scrooge. His performances would be interspersed with strange bits of gossip, which he would also act out, becoming Tennyson at an advanced age, creeping around behind an alarmed woman at a garden party to inform her that her stays were creaking, or reciting with verve and relish one of Edward Lear's parodies of his beloved Tennyson. Many of Terry's former graduate students were at his funeral to pay tribute to a superb humanist and an equally superb friend.
Margaret ATWOOD and David STAINES were among Jerry BUCKLEY's graduate students.
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ATWOOD firstname.lastname@example.org_county.toronto.globe_and_mail 2003-12-04 published
A painter of real people
Toronto artist sought to get beneath a subject's veneer to achieve a 'luminous presence'
By Allison LAWLOR, Special to The Globe and Mail Thursday, December 4, 2003 - Page R11
'She'll paint you the way she wants," David MIRVISH, patron and art collector, once said of the Canadian portrait painter Lynn DONOGHUE.
"She's sensitive to mood," Mr. MIRVISH, who sat for Ms. DONOGHUE on several occasions, told The Financial Post Magazine in 1984. "She may catch you at a different angle, and not every subject feels that's the way they want to be seen. The important thing is whether it's a successful picture or not. You shouldn't expect to like a portrait."
But what you could expect if you were having your portrait painted by Ms. DONOGHUE is that you would at the very least enjoy the process. Sitting for the Toronto-based painter was like having tea with a lively, old friend.
"You were always chatting about this and that with Lynn," said Father Daniel DONOVAN, an art collector and professor of theology at St. Michael's College in the University of Toronto, who also sat for Ms. DONOGHUE. " She was always vibrant and alive."
Always seeking to get beyond a person's veneer, Ms. DONOGHUE enjoyed the process of trying to draw out her subjects. "She wanted people to [be] open and communicate with her," Father DONOVAN said.
Mr. DONOGHUE, considered one of the pre-eminent portrait painters in Canada, died last month in Toronto. She was 50.
"She made a huge impact [in the Canadian art world] and did so at a very young age," said Christian Cardell CORBET, founder of the Canadian Portrait Academy.
"She was at a stage... where she was just about to take off," Mr. CORBET said. "What she could have contributed was just cut short."
Ms. DONOGHUE started showing her work in 1973. Her early work caused a stir when some galleries refused to show her giant portraits of naked males. Since then she has had countless group shows and solo exhibitions. Her work can be found in the Art Gallery of Ontario, the Ontario Legislature, the National Museum of Botswana, the Vancouver Art Gallery, and several other private and public collections.
Ms. DONOGHUE, who was elected a member of the Royal Canadian Academy of Arts in 1991, did both commissioned and non-commissioned portraits. One of her notable commissions was of John STOKES, the former speaker of the Legislative Assembly of Ontario.
Last year, Ms. DONOGHUE completed a portrait of Margaret ATWOOD that came was at once celebrated. After approaching the Canadian literary icon to paint her portrait, Ms. DONOGHUE set about to capture Ms. ATWOOD using bright oil colours. In the portrait, Ms. ATWOOD, sits with her legs crossed and looks out at the viewer wearing a vibrant, green shirt.
"She was not afraid of colour," Mr. CORBET said. "She would take it [paint] right from the tube."
Three years ago, Terrence HEATH, the former director of the Winnipeg Art Gallery, wrote in BorderCrossings following an exhibition of Ms. DONOGHUE's work at a Toronto gallery: "Each painting... is a statement in colour. The figures are set in colour fields that tell you as much about the figure as the likeness and body position do. Most remarkable about these paintings is their sheer luminous presence."
"She created honest portraits" and "didn't follow much of a systematic approach to portraiture," Mr. CORBET said. "She allowed her spontaneity and intuition to come through."
Ms. DONOGHUE once said that her historic mentors, such as Frans Hals, conveyed in their portraits the feeling of people who are very alive. "Why do people know, when they look at a painting of mine, that it is a real person?" she told The Financial Post Magazine in 1984. It was one of her perpetual queries into the nature of portrait painting.
Lynn DONOGHUE was born on April 20, 1953, in the small community of Red Lake in northern Ontario, more than 500 kilometres from Thunder Bay. Her father Graham DONOGHUE was a mining engineer who moved his family about, including a spell in Newfoundland. Ms. DONOGHUE finished high school at H.B. Beal Secondary School in London, Ontario She graduated in 1972 with a special art diploma.
Having lived in England and New York as an artist, Toronto was home to Ms. DONOGHUE. She lived with her 14-year-old son Luca in a loft in a converted industrial building in the city's west end. Her loft doubled as her studio. In the cluttered space, some of her paintings hung on the walls and canvases were stacked next to the essentials required for daily living. Living off the sale of her paintings, Ms. DONOGHUE financially scrapped by month to month, her Friends said.
Described as vivacious and gregarious, she was "the life of the party." An active member of the arts community, she could regularly be seen at gallery openings and art shows around Toronto. Outside the art world, she was an active community member. Most recently she helped to organize events for Toronto's new mayor David MILLER during the municipal election. She also attended the Anglican Church of Saint Mary Magdalene, where a painting she had done of her son's baptism hung on the wall.
An exhibit of Ms. DONOGHUE's most recent major work is scheduled to open at the MacLaren Art Centre in Barrie, Ontario, in March. Called the The Last Supper, the large group piece, which Ms. DONOGHUE started in 2001, consists of 13 portraits encircling a central table piece, which is itself a triptych. The installation requires a total wall space of about 5 metres by 10 metres (16 feet by 34 feet).
Father DONOVAN well remembers how he first learned of the project. One day, he received a call from Ms. DONOGHUE asking if he would have lunch with her. She had an idea she wanted to talk to him about. The idea turned out to be the The Last Supper and Ms. DONOGHUE said she needed his help. After their lunch, she invited Father DONOVAN, along with several others, to dinner. While they were eating and drinking, she photographed them, capturing their mannerisms and expressions. From the photographs, she made a series of sketches which she then used to develop the large group piece.
"She loved what she was doing," Mr. CORBET said. "There was this inner drive that said 'go on.' "
Ms. DONOGHUE, an insulin-dependent diabetic, died on November 22 in a Toronto hospital, after suffering from an insulin reaction that led to a coma.
She leaves her parents Marjorie and Graham DONOGHUE, her son Luca LANGIANO and his father, Domenico LANGIANO and sister Barbara VAVALIDIS.
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