PROVENANCE
N.D. Young, Toronto
Private Collection, New York

A.Y. Jackson’s first exposure to the North Shore of Lake Superior came at the end of a 1921 Algoma trip. Arthur Lismer, who had accompanied Jackson and Lawren Harris there, had to return to Toronto to resume his teaching duties at the Ontario College of Art, so Jackson and Harris continued on to Schrieber and Rossport, on the shores of Lake Superior. The toughness of the land, its vast, unpopulated expanses and wide skies held endless material. Harris and Jackson returned in the fall of 1922, specifically to the Coldwell region. Here, the conditions were even rougher and the poor weather gave them endlessly overcast skies, cold and rain. This seems, however, to have provided fodder for their experience, and this seminal trip seeded their sketches with the ideas that became many Group of Seven period masterworks; Port Monroe, Lake Superior is one of these. The sombre palette depicts cold, steely skies and a barren, glacially scrubbed land that fully evokes the character of this region.

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