A life shaped by the water and the coast

Rowley Murphy lived his life within the borders of Toronto, Ontario, though his eyes often drifted toward the sea. Born in 1891, he spent his early years studying at the Toronto Technical School and the Central Ontario School of Art and Industrial Design. His training later took him to the Pennsylvania Academy of Fine Arts in Philadelphia, where he studied under J. Alden Weir. During these formative years, he found himself drawn to the waterfront, painting the schooners that moved through the city's docks.

The years following his studies in Philadelphia and a period of travel in Europe during the 1920s brought a focus on the movement of ships and the textures of maritime life. He held positions at the Ontario College of Art, first as a part-time instructor and later as a full-time staff member for over three decades. His hands were busy with many forms of creation, from the delicate work of stained glass design to the practical application of camouflage patterns on warships like the HMCS Hamilton and HMCS Annapolis.

The records of the Royal Canadian Navy

In 1940, Murphy joined the Royal Canadian Naval Volunteer Reserve. This period marked a significant shift in his output, as he began to document the realities of naval activity. He became the first Official Canadian war artist for the Royal Canadian Navy, serving in this capacity from June 1943 until May 1944 with the rank of lieutenant. His work during these years was not merely about aesthetics; it was a record of vessels and movements at sea.

He often went to sea at his own expense to ensure his drawings and paintings were accurate. His subjects included:

• Warships and warplanes
• Merchant docks and drydocks
• Troopship convoys, such as those from the HMCS Saguenay
• The movement of cargo, like sugar being unloaded in Philadelphia
• Coastal views and maritime shorelines

Technique and subject matter

His approach to the canvas was grounded in naturalism and realism. He worked with a wide range of mediums, often choosing the tool that best suited the specific light or texture he observed. He used oils, watercolors, gouache, and tempera, but also applied graphite, charcoal, and pen and ink to his sketches. This versatility allowed him to capture everything from the heavy presence of an oil tanker to the soft light of a cloudy day.

The subjects of his work were as varied as his materials. While maritime scenes remained a core interest, he also turned his attention to:

• Landscapes and urban street scenes
• Figures and nudes
• Botanical painting and still life
• Religious imagery in stained glass

His work remains held in several permanent collections, including the National Gallery of Canada, the Canadian War Museum, and the Royal Ontario Museum. Through these pieces, the details of Toronto's skyline in the 1930s and the activity of the Great Lakes are preserved.