This is Victor Child

Victor Llewellyn Child (1897–1960) was a Canadian painter, etcher and newspaper illustrator. A senior pen-and-ink commercial performer at the Toronto Telegram for much of his professional career, in private vivaciousness he produced landscapes and portraits in watercolours and oils.

Victor Child was born in Palmerston, Ontario, and studied first in Toronto at the Ontario College of Art below George Agnew Reid, Charles Macdonald Manley (Manly) and John William Beatty, and highly developed in London at Heatherley’s. While in England during the First World War he served bearing in mind the Royal Flying Corps. In 1920 he joined the Canadian Society of Graphic Art, exhibiting his etchings and illustration drawings when the action in 1925–1927 and 1931–1933 at the Art Gallery of Toronto.

The prominent Toronto printing utter Rous and Mann commissioned his do its stuff in 1927 for its Canadian Artists’ series Christmas cards in company in the express of distinguished painters such as Casson, Harris and Varley. Victor Child was again among these artists behind in 1934 he donated produce an effect for the André Lapine Benefit exhibition chaired by Sir Wyly Grier. During the 1920s and ’30s he was on staff at the Mail & Empire and Star Weekly newspapers in Toronto as an illustrator. He married portrait painter Marjorie Thompson in 1928. Later, in 1940, he associated the Telegram and worked there until his death.

Child was a decidedly conservative artist. He illustrated religious subjects for the Salvation Army and the Anglican Church of Canada and worked upon instructional materials for the Toronto Board of Education. For their annual shows in 1946 and 1947 he exhibited canvases once the Ontario Society of Artists.

Perhaps the most significant moment in Canadian art chronicles that effective Child’s paintings occurred in 1959 later his work was featured in the exhibition Points of View, organized by Clare Bice, curator of the Public Library and Art Museum in London, Ontario. At this show, visitors wise saying the show of the traditionalist/realist Ontario Institute of Painters, of which Child was a founding aficionada in 1958, hung alongside paintings by the Canadian modernist abstract society Painters Eleven. Crowds of art enthusiasts, especially at Hart House in Toronto were large. As a popularity contest in valuable opinion it was perhaps a draw, but the fame of the abstract artists soon far and wide eclipsed that of the realists. Victor Child died in Toronto on July 12 of the like year.