“ART IS CAUGHT, NOT

TAUGHT.”
TED HARRISON: ARTIST AND EDUCATOR
C. L. BROWN
BEGINNINGS
 Born Edward Hardy Harrison on August 28th, 1926 in the
village of Wingate, County Durham, England.
 Son of a coal miner and seamstress

 His parents were determined he would not be a miner,

valued education and they ensured Ted and his twin
sister Algar went to school.
 Charlie Harrison, Ted’s father, relaxed by sketching and
gave Ted pencils and paper so they could draw together
(Gibson, 2009)
EDUCATION
 In primary school he looked forward to art class and he
won a prize for drawing.
 In 1938, he was accepted on scholarship, along with his
sister to A.J. Dawson School.
 A.J. Dawson School was Wingate’s grammar school, two
of only 90 places open per year.
 Frederick Grice, the Latin and English instructor,
influenced Ted by giving him an art book and by
encouraging him to sketch his surroundings.
 Built his first studio at age 14 and was the secretary to
the School Art Society.
EDUCATION
 Enrolled at the West Hartlepool College of Art in 1943
 Goal of the school according to Ted was to “provide
systematic instruction for the Artist and the Teacher of Art”
and to “give students training on practical lines in
whatever branch of art they may desire to study” (Gibson,
2009, p. 40)
 Extremely formal education (personal communication)

 Copying the masters and rigid rules for academic drawing

and painting stifled Ted’s creativity.

“Every artist needs academic training but it left me

all buttoned up.” Harrison as quoted in Gibson, 2009, p.40
EDUCATION
“I didn’t know how to express anything, I just did as I
was told.” Harrison as quoted in Gibson, 2009, p.40
 Over two years, the methods and teachers of the west Hartlepool College of
Art “sabotaged his artistic instincts and his interest in painting” (Gibson,
2009, p. 42)
 When he met Eric Atkinson and Norman Cornish, some of what had been
stifled was rekindled as they studied art, sketched and painted outside of
classes.

“Although his experience at college was disappointing, Ted’s informal

education in Hartlepool’s art galleries, his friendships with Atkinson and
Cornish, and his introduction to the work of Lowry began to shape his
notion of how art could illuminate the very human moments that connect us
all.” (Gibson, 2009, p. 45)
MILITARY SERVICE AND TRAVEL
 Was called-up to join the British military in August of 1945
 Trained in intelligence and sent to India

 Studied and sketched Indian culture and began to learn Urdu

 Sent to Egypt, Kenya, Uganda and what is now Somalia

 Wrote to his sister of completing his studies and becoming the art
master at A.J. Dawson School
 Began showing his work and worked with the Kenya Art Society as
a drawing and art history instructor
 Sketched scenes of domestic life in Uganda for a regimental
magazine
 Travels in India and Africa helped rekindle his passion for art.

“India’s people and Africa’s transcendent beauty had aroused his

artistic passion. This passion lost during the regimens of art school,
now infiltrated his career plans.” (Gibson, 2009, p. 65)
EDUCATION
 Discharged from the military in 1948 and returned to the
West Hartlepool College of Art
 Harry Thubron (who later became Head of Fine Art at
Leeds College of Fine Art) was now an instructor at West
Hartlepool
 Thubron “championed visual literacy” (Gibson, 2009 p.
77) and challenged the traditional art education of West
Hartlepool by “challenging students to explore, expand
and create”
“Thubron rekindled my love for painting and
taught us good technique.” (Ted Harrison as quoted in
Gibson, 2009, p. 78)
THE EDUCATOR
 Taught at Middlesbrough Technical School for Boys
 Duties included organising the arts and crafts program
(1951- 1958)

“Ted cherished his students, arranging

weekend walks and cycling trips,
accompanying them on field trips and
along with another teacher, organizing the
annual Tented Camp.” (Gibson, 2009, p.
80)
THE EDUCATOR
 January of 1958- December of 1962 taught art to the children of
Commonwealth military personnel at the General Slim School in
Malaya (Malaysia)
 Was invited to paint a Buddha while sketching at Perak Tong (Known
for the 40 golden Buddhas)
 Designed a paper sculpture that his art students created for the King
and Queen of Thailand

“Ted was the kindest teacher at Slim School, very much a

father figure to us away from home. He always made time
to chat and had lots of patience with those of us who
struggled with art. I think I am a better person having
attended Slim School and have very fond memories of Ted
Harrison.” (Sue Worthington Cooper as quoted in Gibson, 2009, p. 92)
THE EDUCATOR
 1963- 1965 Harrison taught in New Zealand but also
studied traditional Maori art forms
“The trusting relationship that Ted developed with
his students introduced him to another
significant artistic influence – that of Maori
motifs.” (Gibson, 2009, p. 97)

 Returned to England with his wife and son in 1965 and

taught at the school in Wingate
 1966 took position of art master at Dene House
Secondary (in Peterlee a village near Wingate)
THE EDUCATOR
As an art educator he wanted to encourage creation and
creative modes of thought in his students so they could
visualize new ways of doing things and to make art the
highlight of his students’ educational life. Also, he
wanted students to use their creative talents and be keen
on finding out new things and for them to be excited
about education. (personal communication)
“The art teacher is more of a guide at sea- through stormy
and still waters but still has to have their eyes on the
route.”
(Ted Harrison, personal communication)
THE EDUCATOR
 In August of 1967 arrived in Canada to teach at St. Theresa
School in Wabasca, Alberta
 Was struck by the disconnect between the prescribed resources
and First Nations culture
 Developed the Northland Alphabet with Dr. W. D. Knill, an
education professor from the University of Alberta
 Left Alberta in 1968 to take a grade 2 position in Carcross,
Yukon

“I never thought I’d be an artist. I thought I’d be an art

teacher, painting for my own amusement and getting
fulfillment from watching my students go on and be
successful.”
(Ted Harrison as quoted in Gibson, 2009, p. 117)
THE YUKON EDUCATOR
 1968- 1971 taught in the village of Carcross becoming
involved in the community as well
 1971 he took a position at the Vocational and Technical
Training Centre in Whitehorse and worked as a political
cartoonist for the Whitehorse Star
 Initiated a “full complement of art classes in painting,
drawing, pottery, silk-screening, batik, carving and
metalwork.” (Gibson, 2009, p. 144)
THE YUKON EDUCATOR
 Deep respect for his students and their cultures which
stemmed from his travels and reverence for art and ideas
outside of Europe. Wanted students (and administration) to
see art as a serious subject- creating discipline where some
people felt there should be none. Taught students to respect
and love art for its own sake through the experience of art
and what artists can do. (personal communication)
“If you don’t respect the students, the subject
doesn’t get any and you might as well go
and feed wild pigs acorns.”
(Ted Harrison, personal communication)
THE YUKON EDUCATOR
 He used local materials- clay and wood and encouraged
students “to take inspiration from their cultural background”
(Gibson, 2009, p. 145)
 Budgets for supplies were only just barely enough but it
taught him to make do and create materials out of nothing.
When they didn’t have enough, they created them. For
example they used the unused sides of paper from technical
drawing and other classes for painting (personal
communication)
 As the students learned to use local materials, Ted learned too.

“But I didn’t tell them I was learning!”

(Ted Harrison, personal communication)
THE YUKON EDUCATOR
“Mr. Harrison let us draw, paint, or carve what we
liked... Sure, he taught us technique, but he didn’t
control what we did.” (A former student as quoted in Gibson,
2009, p. 145)

 From 1976 to 1981 he taught art at F. H. Collins Senior

Secondary in Whitehorse
 In his art programs he started from scratch and was generally
left free to teach what he wanted (personal communication)

“It’s best to tear the curriculum open.”

(Ted Harrison, personal communication)
THE YUKON EDUCATOR
 Taught the facts and history of art but encouraged
students to be creative and think independently
“I discussed and told them about perspective and that stuff
for knowledge, but I didn’t want to burden or tie them
down with it.”
“The teacher should be called the inspirer.”

“Art has to be creative,

not derivative.”
(Ted Harrison, personal communication)
THROUGH THE EYES OF A STUDENT
“I was Ted’s student in 1977 and 1978. The class, and this may have
been because of his teaching style, was fairly relaxed. There were
assignments that were expected to be done for grading, but he also
encouraged us to explore projects of our own. Art education in the
Yukon at that time was not really seen as a serious pursuit. Many
students treated the class as an easy credit and didn’t really engage
on the same level as those who were serious.
There was considerable freedom in the class, and for me that created
an atmosphere that fostered artistic exploration. One student in
particular, who treated the class as an easy credit and who later went
on to become a heavy duty mechanic, actually became so engaged
in the class that he began to draw scenes from his farm life. I have
never forgotten that. Ted showed amazing patience with this
student.”
(Wyatt Tremblay, personal communication)
THROUGH THE EYES OF A STUDENT
“I believe Ted Harrison’s personality was his greatest asset in
those classes. He was engaging, loved telling stories, was
infinitely patient and did not discourage anyone from trying
anything in any medium.

I was very fortunate to have Ted Harrison as an art teacher.

Drawing was always something that I did from very early on.
Ted was the very first non family member to critique my art, and
he did it in a gentle, patient way that left me wanting to learn
more, to explore more, and to become more then I was. He was
very fair but also very honest. He would tell you what worked,
what didn’t, and what could be done without making you feel
inadequate.”
(Wyatt Tremblay, personal communication)
THROUGH THE EYES OF A STUDENT
“My motivation in studying art came out of an early realization
that I loved telling stories through drawing. My goals in taking
art, something I was unable to do until grade eleven, was to
improve my natural skills. Ted Harrison was a tremendous
influence on me. I had him for grade eleven and twelve at F. H.
Collins. When I came to his class, my focus had been mainly on
comic art, i.e. superheroes. Ted commented positively on my
work, but encouraged me to broaden my horizons. Through him
I learned to appreciate the process of painting in various
mediums, to learn the tricks of drawing landscapes, and also to
have a greater sense of the weight of history behind all art. Ted
loves talking and sharing from his life experiences, so as my
first art teacher it was a truly positive experience.”
(Wyatt Tremblay, personal communication)
LEGACY
 Former students of Harrison have gone on to contribute to the
arts and culture in the Yukon
He certainly believed in the freedom to express ourselves. In 1978,
he certainly managed to talk the school administration into
allowing those of us who wanted to, to paint large murals on
various locations around the school. Many of these remained up
for several years.
I did not continue any formal education after high school. It was
too expensive to leave the territory to attend Emily Carr or
elsewhere. His influence, however, continued well into my adult
life. When I became an editorial cartoonist in 1991, it was partly
from his influence during those two years that I felt confident
that I could follow this course.
(Wyatt Tremblay, personal communication)
LEGACY
 He was instrumental in the creating a greater awareness of the
arts in the Yukon and the north
 Participated in the opening of the Yukon Arts Centre in 1991
and donated several original works to the Centre which is a hub
of artistic activity in Whitehorse (Gibson, 2009)
 The Ted Harrison Artist Retreat Society was created to provide
a residency program that “is intended to give visual artists
across the country an opportunity to concentrate on the
research, development, and production of a project or body of
work in a remote and inspirational setting” http://www.thars.ca/
 The ubiquity of Harrison’s work and his involvement in the arts
community helped young artists like myself, Elaine Lee and
Emma Barr find support and success in our community
LEGACY
As a recent graduate of Emily Carr University, my
preferred medium has always been drawing and
painting long before I even attended Emily Carr.
Inspired by my personal friend and world
renowned Canadian painter, Mr. Ted Harrison, my
own work has been heavily influenced by his
paintings.

I grew up in Whitehorse, Yukon where much of Mr. Harrison’s career evolved,

developed and became a very distinct style that is currently taught in schools
all over Canada. Known for his bold colors and northern sunset themes, my
own paintings and handmade cards take on a similar theme. Mr. Harrison uses
a lot of fluid lines that display a lot of movement in his northern skies, while
my work works in much the same way. Outside of university, my own practice
of art always incorporated a lot of flowing wavy lines and colourful sunsets. I
love and still use a lot of color in my own work.
(Elaine Lee, personal communication)
LEGACY

While Mr. Harrison never taught me, I remember always going over to
his home when I was just 8 years old and every time I visited, he gave
me books that had his paintings in them. I was also fortunate to inherit
a few of his paintings that have always inspired me.
Another quality to Mr. Harrison’s subjectivity include people without
faces, that offer the chance for viewers to interpret whatever emotion
he or she feels. Perhaps, unconsciously, I would incorporate women in
trees without faces, but it’s the famous skies that are most comparative.
Thanks to Mr. Harrison, I am happy and proud to have taken my passion
and inspiration to new levels that allowed me to attain my Bachelors of
Fine Arts, as a person with a physical disability. It’s not often that
someone of my nature will take charge to fulfill one’s dreams and my
dream was simply to be a real artist as I once told my mom when I was
only 3 years old… so thank you to Mr. Ted Harrison for everything!
(Elaine Lee, personal communication)
LEGACY
Early in my career I was fortunate enough to stay and work in
the Ted Harrison artist residency.
Here I explored a variety of mediums namely looking into
how I create and how I am inspired. I painted a piece directly
inspired by Ted's style, "Whale Mountain". 
http://www.emmabarrfineart.com/Emma/Landscape_Paintings.ht
ml

It helped me to realize why I love color, namely the intense hues

and tonal ones and how I organize them within line shape and
form in the painting frame.

Harrison is just one of the many artists that inspire me to

create images with laced with memories of place and to share
with others by exhibition and art instruction. I am grateful to http://www.thars.ca/artists/
him for helping pave the way for all of us from the Yukon and
helping us become known beyond our northern borders to
share with others who may have no clue as to what life is
really like up here.
(Emma Barr, personal communication)
 LEGACY
“Ted Harrison has been a great inspiration to me to follow through with
my dreams and goals of living and working as a committed professional in
the arts field: producing, exhibiting and teaching art. When I first read his
bio about how he answered a call in the paper for teachers in the north,
"the faint of heart need not apply", that just pumps me up, it helps me to be
brave and take risks. He was from Europe and wasn't afraid of the task at
hand, he came taught and explored his art form to the point that it took on
a life of it's own and brought him great success. He painted what he was
living and believing in.

I am addicted to showing off the beauty, majesty, and even solitude and
unforgiving natures of the Yukon landscape. I realize now that I have
become known for my own style too. After ten years of painting a variety
of subject matter I’m still the "color girl". Just as Harrison is a colorist,
we've been referenced together as having similarities in our work.”
(Emma Barr, personal communication)
LEGACY
 I worked at the Yukon Arts Centre through my high school years and
was strongly influenced by the variety of art displayed there in
addition to Harrison’s work
 My high school art class painted windows in a local bank in Harrison’s
style in order to supplement the limited budget of our art program
 In 1999, I represented the Yukon as part of the cultural contingent at
the Canada Games in Corner Brook, Newfoundland where I expressed
and shared my love of the Yukon landscape
 Harrison’s work has inspired me as both an artist and as an art educator

As art educators, we can gain fulfillment from the

successes of our students and also from our own
art making.
REFERENCES
Gibson, K. (2009). Ted Harrison: Painting paradise. Crown
Publications, Victoria.
Ted Harrison Retreat Society. [website]. Retrieved from:
http://www.thars.ca/

Sources not explicitly referenced in the text:

Harrison, E. & Knill, Wm. D. (1968). Northland alphabet. Unknown publisher. (also
available from http://www.eric.ed.gov/PDFS/ED032971.pdf)
Harrison, T. (1977). Children of the Yukon. Tundra Books: Montreal.
Harrison, T. (1992). O Canada. Kids Can Press: Toronto.
Service, R. & Harrison, T. (1986). The cremation of Sam McGee. Kids Can Press: Toronto
Ted Harrison. [website]. Retrieved from: https://tedharrison.com/

Special thanks to Ted Harrison for letting me interview him over the
phone, his studio manager, Louise Major and gallery assistant Tara
Tyreman for their assistance, Wyatt Tremblay, Emma Barr and Elaine
Lee for their wonderful email contributions to my research and to
Lionel Colaci for his time in the Yukon Archives.