• Jackson, A.Y. (Canadian, 1882–1974)

    A founding member of the Group of Seven and an important voice in the formation of a distinctively Canadian artistic tradition. A Montreal native, Jackson studied painting in Paris before moving to Toronto in 1913; his northern landscapes are characterized by the bold brush strokes and vivid colours of his Impressionist and Post-Impressionist influences.

  • Jacobi, Otto (German/Canadian, 1812–1901)

    Primarily a landscape painter, Jacobi immigrated to Canada from Germany in 1860. He was associated with the Düsseldorf school of landscape painting, with its emphasis on visually detailed scenes, often with narrative content. Upon settling in Montreal he dedicated himself to the portrayal of Canada’s topography, his early Canadian work occasionally using photographs by William Notman as source material. He served as president of the Royal Canadian Academy of Arts from 1890 to 1893.

  • Jacobs, Flo (American, b. 1941)

    An actor and the long-time artistic collaborator of her husband of fifty years, the filmmaker Ken Jacobs. She appears in many of his films, as well as in movies by their son, Azazel Jacobs, and those of Jonas Mekas.

  • Jacobs, Ken (American, b. 1933)

    A filmmaker and professor of cinema, and a key figure in New York experimental cinema of the 1960s. Jacobs studied painting with Hans Hofmann before taking up film in 1955. In 1966 he founded New York’s Millennium Film Workshop, a co-operative that supported and encouraged underground filmmakers.

  • Janvier, Alex (Dene Suline/Saulteaux, b. 1935)

    Influenced by Expressionism and strongly by his First Nations heritage, Janvier was a founding member of the Professional Native Indian Artists Inc. and is a pioneering figure in Indigenous art in Canada. Often composed with bright, symbolic colours and curvilinear lines, his nonrepresentational paintings address themes of land, spirit, and the struggles and triumphs of Indigenous culture.

  • Jarvis, Alan (Canadian, 1915–1972)

    The director of the National Gallery of Canada, Ottawa, from 1955 to 1959, Jarvis was also a sculptor, writer, and editor. A charismatic figure, he was the host of the 1957 CBC television series The Things We See and used his position at the National Gallery to bring ideas about art to a wider audience. He oversaw the completion and opening of the Canadian Pavilion at the Venice Biennale from 1957 to 1958.

  • Jarvis, Donald (Canadian, 1923–2001)

    An abstract painter, Jarvis was part of a cohort of West Coast artists who studied under B.C. Binning and Jack Shadbolt at the Vancouver School of Art in the 1940s. Time spent as a student of Hans Hofmann in the late 1940s influenced his abstract expressionist style. Jarvis was a professor at the Emily Carr Institute of Art and Design from 1950 to 1986 and later taught at the University of Victoria.

  • Jauran (Canadian, 1928–1959)

    A painter, photographer, and art critic, Rodolphe de Repentigny, know as Jauran, was a founding member of the Plasticiens. He wrote the group’s 1955 manifesto and promoted a rigorous geometric abstraction over the Automatistes’ subjective expressionism.

  • Jérôme, Jean-Paul (Canadian, 1928–2004)

    A founding member of the Plasticiens and, in the 1950s, the most idiosyncratic artist of the group. He left Montreal for Paris in 1957 and worked more lyrically, until, toward the end of his career, he returned to a complex, highly colourful use of geometry.

  • Jesuits

    The Society of Jesus, whose members are known as Jesuits, is a Roman-Catholic order that was founded five hundred years ago by Ignatius Loyola. They played a major role in the Counter-Reformation of the sixteenth and seventeenth centuries and as missionaries throughout the world.

  • John, Augustus (Welsh, 1878–1961)

    Regarded as the first British Post-Impressionist artist, John was a painter and draftsman recognized for his skilled figure drawings and portraits. He studied at the Slade School of Fine Art in London from 1894 to 1899 and subsequently lived an itinerant artist’s life during which he depicted Romany encampments in Wales, Dorset, and Ireland. During the First World War, John worked for the Canadian government as a war artist. He is the younger brother of painter Gwen John.

  • John, Gwen (Welsh, 1876–1939)

    A painter recognized for her sensitive depictions of often-solitary women. From 1895 to 1898, she studied at the Slade School of Fine Art in London, then travelled to Paris to study under James McNeill Whistler. In 1904, John became a model and lover of Auguste Rodin. She was the older sister of painter Augustus John, though her reputation grew to match her brother’s only after her death.

  • Johns, Jasper (American, b. 1930)

    One of the most significant figures in twentieth-century American art, Johns—a painter, printmaker, and sculptor—is credited, with Robert Rauschenberg, with renewing interest in figurative painting following Abstract Expressionism’s dominance of the New York scene. Among his best-known works are those incorporating the motif of the American flag.

  • Johnson, Ray (American, 1927–1995)

    A collage and performance artist, early practitioner of mail art, and leading light among New York Pop and Conceptual artists. Studied at Black Mountain College under Josef Albers and Lyonel Feininger, formerly of the Bauhaus, as well as Robert Motherwell. Johnson was a feverishly creative artist, for whom the boundary between art and life was all but non-existent.

  • Johnston, Frances-Anne (Canadian, 1910–1987)

    Educated at the Ontario College of Art in the 1920s, Johnston painted primarily interior scenes including a large number of still lifes and florals. Her husband was the painter, illustrator, and commercial artist Franklin Arbuckle.

  • Johnston, Frank H. (Canadian, 1888–1949)

    A founding member of the Group of Seven. In 1921, he became principal of the Winnipeg School of Art and later taught at the Ontario College of Art (now OCAD University), Toronto. He formally severed his ties with the group in 1924, preferring to paint in a realistic style less controversial at the time than his earlier decorative work.

  • Jones, Lowell (American, 1935–2004)

    Trained at the Cranbrook Academy of Art in Michigan, Jones taught drawing, lithography, and sculpture at the University of Kentucky in Lexington. He took a leave of absence to teach lithography to Inuit artists in Cape Dorset. In 1978 he moved to Chico, California, and devoted himself to his art, focusing on kinetic sculpture.

  • Jorn, Asger (Danish, 1914–1973)

    Born Asger Oluf Jørgensen Vejrum, Asger Jorn was a painter, sculptor, graphic artist, ceramicist, lithographer, and theorist. He was one of the founders of the post–Second World War avant-garde group CoBrA, which sought to further free artistic expression through adopting an abstract, primitivist style. Later, he was a founding member of the groups Mouvement International pour un Bauhaus Imaginiste (International Movement for an Imaginist Bauhaus) and International Situationniste (Situationist International). Jorn’s art and philosophy were governed by a belief in the necessity of collective participation as a way of bringing society to art. 

  • Judd, Donald (American, 1928–1994)

    Sculptor, critic, and a leading Minimalist artist, though he renounced the term, Judd is known for creating “specific objects,” on which he wrote a manifesto in 1964, and rejection of what he saw as the illusionism of two-dimensional media. Judd’s objects, many of them taking the box form, embody rigorously repetitive structures enforced by industrial materials and processes. In them, the artist’s emotion is completely removed to consider the object’s influence on its environment.

  • Juneau, Denis (Canadian, 1925–2014)

    A member of the second generation of Montreal Plasticiens, Denis Juneau was a painter and sculptor. As a geometric abstractionist, he is best known for his bold colours and for paintings that experiment with the geometry of the circle and the line. Influenced by the techniques of the hard-edge painters, his work minimizes evidence of the artist and often includes optical illusions.

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