Subseries

This subseries documents the professional relationship between Clarence A. Gagnon and Frederick Cleveland Morgan. It is composed of five typewritten letters (probably copies of letters sent) written by the artist from January 28, 1906, to February 23, 1908, when he was living in Paris.

The correspondence notably recounts an ongoing discussion of the terms of the 1905 agreement between Gagnon and James Morgan, Frederick Cleveland Morgan's father, who provided financial assistance to enable the artist to live in Europe in exchange for a set number of paintings. It appears that sending Morgan a series of etchings opened the door to a review of the agreement. According to Gagnon, the engravings in question were not part of the twelve paintings he was supposed to send them every year. Consequently, when they were sold, he wanted to receive the same percentage of the profits that he received from the dealers in Berlin, Munich, Dresden, London and Paris with whom he also did business. The sale of his etchings, argued Gagnon, barely generated enough money to cover his participation in the Salon [of the Société des artistes français]. He cites the cost of living in Paris and lists the expenses involved in producing a major painting, such as model salaries, costume rental, lighting, heating and accessories. The young artist demonstrates his ambition in a letter dated February 27, 1907, in which he emphasizes that talent alone is not enough, as one must also be able to spend time in influential circles. He asserts that he does not seek to make money, but that his "efforts all converge to the making of a sound reputation in the Art world."

In addition, the correspondence documents the fact that Cleveland Morgan acted as an intermediary for the artist in Canada, as evidenced in a letter dated January 28, 1906, that discusses Gagnon's participation in exhibitions organized by the Society of Ontario Artists and the Royal Canadian Academy of Arts. The young painter also sent Morgan news of his activities in Paris and the evolution of his work. For example, Gagnon reports the success of a January 1906 exhibition of etchings he participated in and the fact that one of his etchings was going to be published in the Gazette des Beaux-Arts. In a letter dated February 13, 1907, he recounts an unfortunate accident that occurred when he was hanging some draperies in his studio. He fell and injured two fingers on his right hand, making it difficult to work on his painting for the upcoming Salon. In addition, he shares his great appreciation for Japanese art and some news of the Paris art scene, such as the Louvre's acquisition of the Moreau-Nélaton collection and preparations for an upcoming exhibition of the work of painter Anders Zorn.