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The Little Plant, 1947

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.

Lionel LeMoine FitzGerald, The Little Plant, 1947, oil on canvas, 60.5 x 45.7 cm, McMichael Canadian Art Collection, Kleinburg, Ontario.

In The Little Plant, the exuberant growth of the flowering plant indoors is counterpoint to the animated energy of the thick screen of trees outside. FitzGerald’s greatest concern was to express a unity in all the elements of the picture so that indoors and outdoors were joined together as one living entity. By wresting a rhythmic geometry from the tangle of nature, FitzGerald creates a world at once more animated and more tranquil than what appeared before his eyes.

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

The Little Plant - Art Canada