Henderson both sketched on site and used grided-off photographs as the basis for his portraits and landscapes; these sketches were developed into finished work in his studio on the banks of the Qu’Appelle River. Henderson’s poetic interpretation of the valley was profoundly influenced by nineteenth century aesthetics, reflecting the influences of the Glasgow School, Symbolism, and Impressionism. He was very interested in documenting the changing seasons and times of day and while he repeated compositions, such as this view of a coulee with a road and a stream in early spring, he was remarkably sensitive to the changing quality of light and geography of the Qu’Appelle. The End of the Winter (also known as The End of Winter) is typical of many of his winter scenes and was included in A Century of Canadian Art, mounted by London’s Tate Gallery in 1938. The studio sketch for this work is included in this exhibition as well, and while the composition is quite close to this one Henderson made significant changes to the colours and sky in the larger work.
-Dan Ring
James Henderson
The End of the Winter, c. 1930
Oil on canvas
61.1 x 76.5
Collection of National Gallery of Canada, Ottawa. Gift of P. D. Ross, Ottawa, 1932.
James Henderson
Untitled (studio study for the NGC, The End of Winter), c. 1930-31
oil on panel
23.0 x 28.8 cm
Collection of James Lanigan, Calgary, AB.
