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From an Upstairs Window, Winter, c.1950–51

Painting by Lionel LeMoine FitzGerald of a small white pitcher and pencil sitting on a windowsill. The window looks down into a snowy yard with bare trees and neighbouring homes beyond a wooden fence. A forest is seen in the distance.

Lionel LeMoine FitzGerald, From an Upstairs Window, Winter, c.1950–51, oil on canvas, 61 x 45.7 cm, National Gallery of Canada, Ottawa.

From an Upstairs Window, Winter is the crowning achievement of the interior/exterior views that characterized FitzGerald’s work to such an extent that art critic Robert Ayre referred to him as “the man who looks out of the window.” The two views are united by a limited palette and tonal modulations that animate both worlds. The painting is as complete a statement as FitzGerald ever made of how familiar surroundings acted as a reflection of his own quiet and contemplative spirit.

Gallery

Impressionist-style painting by Lionel LeMoine FitzGerald of a prairie field, rendered with dabs of yellow and green paint with blue shadows, leading to a low horizon under a large sky filled with clouds. The sky is a gradient from a light greenish blue near the horizon to a dark periwinkle near the top of the canvas.

Summer Afternoon, The Prairie, 1921

Painting by Lionel LeMoine FitzGerald of a rickety, leaning fence in front of a jumble of houses with colourful roofs.

Pritchard’s Fence, c.1928

Painting by Lionel LeMoine FitzGerald of a neighbourhood on a clear winter day. Bare trees line the walk up to a green house on the right side of the frame while other nearby homes are seen behind a low fence to the left of it. A thick layer of snow covers the buildings and the ground.

Doc Snyder’s House, 1931

Painting by Lionel LeMoine FitzGerald of a zoomed-in view of an outdoor pool or lake with the edges seen only at the very top and bottom of the frame. The sky and tall grasses are reflected in the water, giving it a mostly green and muted blue colour. A mirrored reflection of thin, curving reeds gives an abstract quality to the painting overall.

The Pool, 1934

Black and white pencil drawing by Lionel LeMoine FitzGerald of small farm buildings on flat land on a low horizon. Above, large fluffy clouds fill the sky. The piece is rendered lightly with soft texture in the shaded areas.

Prairie Landscape, June 27, 1935

Abstract illustration by Lionel LeMoine FitzGerald rendered lightly in grey and brown shades of chalk with crosshatched shading. Organic shapes similar to thick tree branches obscure jagged formations similar to stone or cliff edges.

Abstract Landscape, 1942

Pointillist-style painting by Lionel LeMoine FitzGerald of a small potted plant sitting on a windowsill, seen in the foreground. Its thin stalk and green leaves compare to the tall, bare trees outside. A path on the property leads into a wooded area.

The Little Plant, 1947

Still life illustration by Lionel LeMoine FitzGerald, rendered in black and white ink in a Pointillist style, of four apples sitting on a tablecloth. In the middleground, the soft horizontal folds of the cloth resemble drifting sand or waves in a seascape.

Four Apples on Tablecloth, December 17, 1947

Painting by Lionel LeMoine FitzGerald of a small white pitcher and pencil sitting on a windowsill. The window looks down into a snowy yard with bare trees and neighbouring homes beyond a wooden fence. A forest is seen in the distance.

From an Upstairs Window, Winter, c.1950–51

Impressionist-style painting by Lionel LeMoine FitzGerald of a prairie field, rendered with dabs of yellow and green paint with blue shadows, leading to a low horizon under a large sky filled with clouds. The sky is a gradient from a light greenish blue near the horizon to a dark periwinkle near the top of the canvas.

Summer Afternoon, The Prairie, 1921

Painting by Lionel LeMoine FitzGerald of a rickety, leaning fence in front of a jumble of houses with colourful roofs.

Pritchard’s Fence, c.1928

Painting by Lionel LeMoine FitzGerald of a neighbourhood on a clear winter day. Bare trees line the walk up to a green house on the right side of the frame while other nearby homes are seen behind a low fence to the left of it. A thick layer of snow covers the buildings and the ground.

Doc Snyder’s House, 1931

Painting by Lionel LeMoine FitzGerald of a zoomed-in view of an outdoor pool or lake with the edges seen only at the very top and bottom of the frame. The sky and tall grasses are reflected in the water, giving it a mostly green and muted blue colour. A mirrored reflection of thin, curving reeds gives an abstract quality to the painting overall.

The Pool, 1934

Black and white pencil drawing by Lionel LeMoine FitzGerald of small farm buildings on flat land on a low horizon. Above, large fluffy clouds fill the sky. The piece is rendered lightly with soft texture in the shaded areas.

Prairie Landscape, June 27, 1935

Abstract illustration by Lionel LeMoine FitzGerald rendered lightly in grey and brown shades of chalk with crosshatched shading. Organic shapes similar to thick tree branches obscure jagged formations similar to stone or cliff edges.

Abstract Landscape, 1942

Pointillist-style painting by Lionel LeMoine FitzGerald of a small potted plant sitting on a windowsill, seen in the foreground. Its thin stalk and green leaves compare to the tall, bare trees outside. A path on the property leads into a wooded area.

The Little Plant, 1947

Still life illustration by Lionel LeMoine FitzGerald, rendered in black and white ink in a Pointillist style, of four apples sitting on a tablecloth. In the middleground, the soft horizontal folds of the cloth resemble drifting sand or waves in a seascape.

Four Apples on Tablecloth, December 17, 1947

Painting by Lionel LeMoine FitzGerald of a small white pitcher and pencil sitting on a windowsill. The window looks down into a snowy yard with bare trees and neighbouring homes beyond a wooden fence. A forest is seen in the distance.

From an Upstairs Window, Winter, c.1950–51

From an Upstairs Window, Winter - Art Canada