The Life and Career of Clare Bice

Clare Bice, also known as Albert Clare Bice, occupied a central position in the Canadian cultural landscape through a multifaceted career that spanned painting, curation, and authorship. Born on January 24, 1909, in Durham, Ontario, his professional life was defined by a rare ability to navigate both the creative and administrative sides of the art world. He was not merely a practitioner of visual arts but a significant figure in the institutional management of Canadian art, eventually earning a Member of the Order of Canada in 1973 for his diverse contributions.

His influence extended from the studio to the gallery floor. As a painter, he engaged with landscape, portrait, and figure painting, while his administrative work saw him serving as the curator and director of what is now Museum London from 1940 to 1972. This dual identity as an artist and a high-level administrator allowed him to shape the professional standards of his era. His leadership was recognized by his peers when he served as the president of the Royal Canadian Academy of Arts from 1967 to 1970.

Beyond the canvas and the museum, Bice was a prolific author and illustrator of children's literature. His literary output included five books and several illustrations for other authors, proving his versatility across different mediums. He remained active in his craft until his death on May 18, 1976, in Newfoundland, where he was on a sketching trip at the time. His legacy is anchored in this intersection of visual, literary, and institutional service.

Early Life and Artistic Training

Born in Durham, Ontario, Clare Bice spent his formative years in London, Ontario. His academic foundation was built on a Bachelor of Arts degree in History and English, which he earned from the University of Western Ontario in 1928. This literary and historical grounding provided a structural depth to his later multidisciplinary career, though his primary focus shifted toward the visual arts shortly thereafter.

The years between 1930 and 1932 marked a decisive period of technical development in New York. He studied at the Art Students League of New York and the Grand Central School of Art, absorbing the rigorous formal training characteristic of these institutions. This period of study refined his ability to handle diverse subjects, moving beyond simple observation into the disciplined execution of landscape painting, portrait painting, and figure painting.

His technical versatility allowed him to navigate various genres with ease. He did not limit himself to a single subject, instead applying his training to the complexities of the human form and the expansive qualities of the natural landscape. This breadth of skill ensured he was prepared for the administrative and creative demands that would define his professional life in Canada.

Curatorship and Professional Leadership

Bice’s influence extended far beyond the canvas through a long-term commitment to institutional management. From 1940 to 1972, he held the position of curator and director at what is now known as Museum London. This thirty-two-year tenure provided a stable foundation for the institution's development during a significant era of Canadian art history. His administrative presence was as consistent as his creative output.

His standing within the professional community was solidified through leadership roles in Canada's most established art organizations. He was a member of the Ontario Society of Artists and later ascended to the presidency of the Royal Canadian Academy of Arts, serving from 1967 to 1970. These positions were not merely honorary; they placed him at the center of the country's formal art structures. In 1973, his contributions to the fine arts as a painter, author-illustrator, and gallery director were recognized with his appointment as a Member of the Order of Canada.

Literary Works and Illustrations

Bice’s contribution to Canadian literature extends beyond the canvas, merging his visual eye with narrative structure. He functioned as both author and illustrator for five children's books, a dual role that required a precise command of both text and image. His published titles include Jory's Cove (1941) and Across Canada: Stories of Canadian Children (1949). He continued this output with The Great Island (1954), A Dog for Davie's Hill (1956), and Hurricane Treasure (1965).

His influence also appeared through his collaborative work with other writers. He provided the illustrations for six books authored by Catherine Anthony Clark. This work required him to translate another person's prose into a visual language, a task that demands technical discipline and a clear understanding of pacing. His ability to navigate both original storytelling and commissioned illustration demonstrates a versatility that defined his professional output.

Key Works and Artistic Mediums

Bice’s technical range extended across landscape, portrait, and figure painting. His practice was not limited to traditional oils; he experimented with mixed media to achieve specific textures. A notable example of this technical versatility is On the Terrace (1969), a work executed in oil and lucite on canvas. Measuring 101.6 x 127 cm, this piece demonstrates a command over materials that moved beyond standard academic approaches.

His commitment to the physical act of painting remained constant until his death. He was actively engaged in the field during his final days, passing away while on a sketching trip in Newfoundland. This dedication to direct observation defined much of his output, whether through large-scale canvases or the smaller illustrations found in his published books.

Where to See the Works Today

To encounter the physical reality of Clare Bice's painting, one must look to the National Gallery of Canada in Ottawa. The institution holds On the Terrace, a work that remains a significant part of the Royal Canadian Academy of Arts diploma work collection. This specific piece was deposited by the artist in 1970 and is cataloged under accession number 15909.

The presence of this work in a national collection ensures that her technical approach to oil and lucite on canvas is preserved for study. It is not a matter of mere sentiment but of historical record. The painting exists as a concrete artifact of her career, held within the permanent holdings of the gallery in Ottawa.