Richard Karon Part 6

THE MYSTERIES YET TO SOLVE -

THE ONGOING BIOGRAPHY OF RICHARD KARON

"The calm, unruffled river quiet flows,

Save when some sudden breeze mars its repose,

Or when some sudden breeze mars its repose,

Or when some scale tenant of the flood

Darts forth his shiny length in quest of food;

Or o'er its smooth and placid surface glides

The fragile bark canoe the skillful Indian guides.

But see now, bursting through the narrow gorge -

Its' wildly rushing torrent seethe and surge,

One boiling mass of foam, from rock to rock,

It falls, it bounds, with quick successive shock,

The thundering noise the rocky banks resound,

And waken countless forest echoes far around."

(Thomas McMurray, 1871, "Muskoka and Parry Sound")

Dating back to the mid-1970's, I have been writing about Muskoka, its history, the settlers who carved out the first homesteads from the thick pine forest, and the resolve of its first resilient citizenry, to build those early hamlets, some that became towns and thriving villages; some that disappeared over time, and remain in name only today. In reality, my interest in representing Muskoka, then and now, has never diminished over time, and no matter how many specific and regional histories I might research, and write into feature stories, each year, I never find myself in a retiring mood. I am eager to find another area or aspect of local history, to delve into, that advances the knowledge of life and times, in our region of Ontario, from its pre-history onward. It is impossible that I might arrive at some unspecified conclusion, one day, and find myself with nothing left to write about. This region offers a bottomless well of opportunity, to those who have a sincere interest to know more, and experience it all…..as Richard Karon kept up his search for intriguing, powerful places to interpret, for our benefit. There are Karon paintings of waterfalls, and thunderous, foaming rapids, that parallel the poem penned by Muskoka's first confessed voyeur, Thomas McMurray, as if it was the author himself, who led the artist to that spot on the Muskoka River, to watch the writhing, tumbling water flow himself. Photographs of these original paintings are included on this blogsite and in the YouTube tribute to Mr. Karon's Muskoka paintings. 

I am not an artist. It is my one sincere regret, that I had not asked Richard Karon, if he would assist me in this regard, as he did for other aspiring painters he knew. For this reason, I have instead, spent most of my writing career, in a variety of pursuits, attempting to represent the region I adore, in the compositions, histories, and biographies I offer the public. I could only ever hope to be half as competent at this representation, as Richard Karon was at his easel, painting scenes like the one described above by pioneer author, Thomas McMurray. I was drawn to the biography of Mr. Karon, because I appreciated his own discovery of what McMurray found in Muskoka, as far back as the 1870's. It was what a legion of artists, writers, musicians and artisans have continually found in abundance within our district. Those sources of inspiration that generated poetry from writers such Charles G.D. Roberts, Bliss Carmen, and Wilson MacDonald, in the 1930's, are the same natural qualities and quantities that have helped create the large and thriving Muskoka Arts and Crafts community today, and the ongoing Muskoka Autumn Studio Tour, which began in 1979, with Richard Karon, as one of the member artists. Muskoka has long been an inspirational place in which to work and to create, and it was discovered by the young, aspiring Richard Karon, in 1962, after deciding his art career was suffocating in the city. He discovered what so many others had found in these healing, restorative woods. An escape. A spiritual rekindling with nature. The kind of alluring landscape that offers the creative ambition, virtually unlimited opportunities to explore and discover, to pursue adventure, to live life as art. Richard Karon loved Muskoka, and this biographer has no doubt, that if circumstances had been different, he would have spent his final days, doing what he was passionate about…….sketching at the base of some magnificent sun-bathed cataract, amongst the vibrant evergreens and venerable birches, he painted so well.

"Come to the land of rivers,

And groves of goodly pine,

A land to last forever,

To be both yours and mine."

"No artist worth the name can afford to stand still. The world is too wonderful, too surprising in its new potentials for revelation of new vistas in the visible world," wrote Group of Seven painter, Arthur Lismer. "The new function of art has little to do with conventional appearance, or even beauty. We should, indeed, think it a strange world if our scientists stopped discovering, or if in industry, science, and technology, there was nothing new. But everything is expanding, including the horizons of vision and art."

It may be perceived, at this point, in the biography of artist Richard Karon, that he was a man haunted by his past. Those who lived through similar circumstances, during the war years, might agree that it was impossible to survive unscathed by what had been witnessed, in occupied countries such as Poland. But it would be unfair to suggest Karon was unhappy or dissatisfied with his new life in Canada, and the successes he was experiencing each year, as a professional artist. The establishment of his home / studio was a milestone in his career, and at times, he made a substantial amount of money selling his landscape paintings to eager customers, who greatly admired his interpretations of the Muskoka they loved. I am reading these testimonials. Many of them. From people who purchased his art more than forty years ago, who still cherish them in their homes and cottages. In the past three months of research, I have been continually impressed, by the number of emails we've received from painting owners, eager to share their stories and images of their art, to benefit the resources contained in this biography. But like many artists, he died too young, and did not benefit from these glowing validations of his work. Fortunately, his son Richard, is the beneficiary of these opinions today, and this has been a pleasing reality of the biographical work thus far. There is more to come.

From all accounts so far, and with input from family, Richard Karon lived a generally contented life. He loved his polka music, light reading when opportunity prevailed, his whisky, talking, nice clothes, modest luxury when they could be afforded and traveling. His wife Irma, believed his desire to travel was a form of escapism, that came from those unfortunate years in Poland…..where he was confined. He was a resilient artist, who learned from others, and paid attention to critiques, and he was willing to put in long hours to perfect his panels. Before he had his studio, near Baysville, Karon would host exhibitions in motels, hotels, lobbies, and even from a trailer, in North Bay, to make a living. He had even set up a large "Karon" art sign, beside a large posted banner for a golf range, and had a photograph taken of this unique coupling of landscape painting and the art of golf. He wasn't shy about trying new ideas to sell his work, and although his successes were by no means enough to survive and support a family, in the early years, it was his initial positive foray into the art market. From what may have only been, at best, a marginal success, he found enough potential in those years of the late 1960's and early 70's, to push-on to purchase property, and construct a studio / gallery near Baysville. Now while he wasn't the only artist doing this, at the time, he was committing to the full time occupation of being a professional artist. In 1972, years before the Autumn Studio Tour, of which he was involved, his "back to the land" project was a big gamble. But he had taken bigger gambles. He evaded death in Poland. He staved off starvation, and freezing to death, escaping the communists. With pennies in his pocket, he was continually able to find work on the brink of his own collapse, and find lodging and afford provisions to help his traveling mates. He was generous in this way. He had a strong sense of humanity, and his kindness bestowed on others is well documented. Through these early years, he had the companionship of several German women, one who he had a common-law marriage, named Fredda Karon, who stayed at his side through the miserable time of trying to find safe refuge. It is known that Richard Karon was named as a benefactor on the last will and testament, left by Fredda Karon, of Toronto. The will notes that if Richard was to pass before his son, also named Richard, that his son would become the benefactor of what possessions remained once he reached the age of eighteen. In a box with the artist's copy of his wife's will, was a letter from one of his sisters, in Poland, dated October 1967, which she had sent her brother at the last known address of his common-law wife. For the purposes of this biography, we have made attempts to find Fredda Karon, but have been unsuccessful. He was a survivor. It can be said he helped others survive, especially in Occupied Poland, though he wouldn't admit this, as it wasn't extraordinary to him…..but rather, what he felt defined him in life. In later life he developed personal qualities and quirks, that made him seem indifferent or distant, arguably anti-social at times, when it came to his neighborliness. He found his confidants and used them to unburden himself of perceived problems in his life. Eva Scheel, was one of these close friends, he felt comfortable talking with…..and she, by all accounts, found him an intellectual equal, and they had many long discussions about business and local politics.

      The artist's son, Richard Sahoff Karon, noted that "My father also produced a number of wood products, stools, night tables and chests. Many of which my mother and I still own. The nicely crafted chest is a particularly important piece to me, as it now houses most of our family photographs, my father's slides, and newspaper clippings.  It is also very nostalgic for me, as every time I open it up, I'm immediately transported back to my childhood, when I lived in the house my father built in Baysville. It has a strong pine scent, which persists to this day, which is perhaps one of the most special smells in my life. It's amazing how only slight smell can evoke these memories. It sits in our livingroom, and I'm so happy to have this piece of my father's craftsmanship. He did eventually decide to make cloth lampshades, on the urging of Eva Scheel, owner of the Log Cabin Gift Shop, on Lake of Bays (overlooking Bigwin Inn), of which I have referred earlier in this biography. At the auction, held at the Karon property, quite a few bidders that day, left with these hanging electric lamps, without knowing the connection between artist and crafter. It is known that he had been involved in the hat trade in Poland, and for a cotton firm located in Hamilton, Ontario, according to citizenship documents, post 1951. So he did have the skill with industrial sewing machines to do this work on the fabric lampshades. We have found out recently, it was the Log Cabin owner who urged him to diversify, but we aren't positive whether it was a successful venture. It was known that Eva Scheel was a big supporter of his work, and may have handled some of his art at her gift shop. When I was working for a publication, known as The Muskoka Sun, I conducted a business interview with Eva, and following this, we talked about our mutual respect for the art created by Mr. Karon. I suppose this might have been initiated when I found one of his business cards, or that she found reason to mention her association, as part of the business interview. This was some time after the Karon family had moved to Southern Ontario, but I can't be confident whether or not my interview, at the Log Cabin, followed the news of his death. I can remember her telling me how much the move from Muskoka had disheartened him, and that losing his young son, in the marital separation, was one of the most devastating things in his life. It was her opinion, of the situation, after having several conversations with the artist before and after closing his studio. She was sorry to have lost a friend, who frequently dropped in for a chat, when in her picturesque neighborhood, looking out over the expanse of Lake of Bays.

I have heard it often said, that one can die of a broken heart. Although it might be presumed, this was what ended his life, it is factually untrue. He died of lung cancer. If he suffered in this way emotionally, the evidence may be found in his general abandonment of the art he had used as an outlet, since his boyhood in Poland. When he allowed the sale of his cast-off paintings, damaged and rolled in storage, anyone with a background in art, and the general protocols of practicing artists, would have seen this as a clear sign he had given up on both a career, and the dreams it had always inspired. Those like Eva Scheel expected he was, at this point in his life, living  a through a nightmare, but there was no exit. No means of escaping this time. The gravity of his illness kept him from traveling, which had long been one of his ways of escaping even temporarily. Being intimate with this story, compels me to be honest, even if it seems blunt and uncaring. All I know of this period, beyond his physical illness, is that he was suffering from severe depression, regarding his perceived failures. I have great respect for the feelings of the Karon family, who are well aware of these circumstances he faced at the end of his life. Yet no matter how tragic it all seems, I can sit and scan through his paintings, and feel the passionate determination of a beautiful life, emerging from his interpretations……and sense, that in those minutes, hours and days he spent finishing the panels, his had been a good and fulfilling life. He gave us his impressions of the region we live, and of this we are grateful.

Admittedly, there are still many aspects of Richard Karon's life we are currently unaware. We know, for example, that he was actively involved in art, while still in Poland. We have no examples of his work from this period, from about 1939 to 1951, when he arrived at the Port of Halifax, to begin a new and free life. We are aware of some of the early "human form" paintings (sketches of nudes), from his first years in Canada, and we have viewed some of his experimental art pieces, and abstracts, but ninety percent of the traded art work, involved landscape studies. We wish to have some of the early sketches he did, while in Poland, when he copied the images he found on used postcards. It is assumed that when he fled Poland, for Germany, in 1948, and then onto France,  he left his art work behind. While he claimed to have exhibited his art in numerous European countries, we have nothing to confirm this, at the present time. We do know, from an early business card in the possession of his son, that the elder Karon did paint for profit in Europe, including some time spent in Czechoslovakia, Austria, Poland and France. There is no indication he held shows, as he did later in Canada. And as this is an ongoing research project, with no firm conclusion, or point we will stop accepting submissions, from those who knew his work, or have stories of the artist they wish to share, we can hope that at some point, this present gray area is revised with new information.

On the 23rd of March, 2012, a widely circulated Muskoka regional newspaper, known as The Weekender, published a letter I had written, requesting assistance from the public, for any information they might have about Richard Karon, including images of paintings they might possess, for purposes of this biography. Within only hours of the paper hitting driveways around the district, we had three important responses from painting owners, generously offering to share their stories and photographs, of the paintings they owned. After one week, we had been offered more than thirty images of Richard Karon paintings. One kind artist, in the Lake of Bays area, offered to take a photograph of the easel, Mr. Karon had given her, many years earlier, after closing-out his studio / gallery. She was so kindly willing to meet with the artist's son, who very much wanted to see, once again, the easel his father used daily at the family's Baysville studio. He has been cordially invited back to the original house the elder Karon, had first set-up as a studio, prior to 1972, opposite the property he would eventually purchase (across the road), and build his family estate. The week so far, has been amazing for Richard and I, receiving so many emails, with such kind offers, and generous intent, to help us build a thorough inventory of his paintings….., and make his biography as complete as possible, especially the Muskoka years. I know at times, Richard has been speechless, when reading some of these offers of assistance, many of them with warm and respectful remembrances of his father, and the art work he created for their viewing pleasure. While we were expecting it, and had prepared ourselves in advance, we were shocked by the fact all the folks who contacted us since The Weekender article, never made one single request as to "how much are they worth?" These emails were coming from people who had little interest in the monetary side, as the paintings they were sharing with us were "not for sale." For some, the paintings were family heirlooms, passed on to family by parents and grandparents. One Bracebridge woman, phoning from a local retirement residence, was so proud to tell me that the original Karon landscape, she and her husband had purchased, in the early 1970's, was presently hung over her bed……and would remain in the family in perpetuity. It was evident from what we were reading and hearing, that after all these years, and with little information about Mr. Karon to be found, they still had enormous respect for the art he had created. If there was a true measurement of pride, I'm reasonably sure Richard Karon Jr., must now be a hundred pounds heavier under its comforting weight.

"He left the bustle of city life for the Muskoka area, and began to devote all his time to painting. It was in this scenic part of Ontario that he began to capture the beauty of the natural landscape, in his own rare style of palette-knife painting." (undated, North Bay Nugget) "Richard Karon's brilliant color combinations and versatility of styles have set him apart from many artists favoring the more realistic landscape form. The years spent in Muskoka have enabled Richard to capture the area's outstanding spectrum of colors and magnificent sunsets in this favored land." Richard Karon, 1928-1987.

What gives every appearance of a sad story, and a re-telling of an unfortunate life, is the furthest thing from the truth of this biography. Every life has its tragic moments. Each mortal existence endures its suffering. Just as each life has its brightness and contentment. As the biographer of this brief biography, I would never find myself indecisive about the quality and successes of his life. He was a survivor of what should have killed him. He managed to eke out a living, despite some discouraging wrong turns and misadventures. Richard Karon was capable of working at many professions. He might have found favorable income from working in a factory, or becoming a professional hair stylist, hat maker, or baker. But he chose art. He didn't see it as a gamble, because he was confident his work was competent, and there would always be buyers for good and representative art. Karon knew there was a magic in Muskoka, and he tapped into it at a time when it was all beginning to bud and bloom. By the time the Autumn Studio Tour was launched, in 1979, an exciting new art community was presenting itself…….artists like Richard Karon invited to be a part of this new initiative, to invite patrons into the home / studios of regional artisans, painters, potters, sculptors, glass blowers and stained glass artists. Some might suggest he was slightly ahead of his time, and that if he had opened his studio later, his profits would have been greater. This is a folly of speculation.

We hope you will continue to submit images of Richard Karon paintings you may possess, or come to own some time in the future. If you wish to share a personal story about Mr. Karon, please email us. I hope you have had an opportunity to visit the YouTube video tribute to Richard Karon, the music being provided by singer Dani O'Connor and guitarist Robert Currie, both of Gravenhurst. Robert Currie created the video. Thank you one and all, for making this a true adventure in the arts, and such an enjoyable odyssey of discovery, at home in one of the most beautiful district on earth……Muskoka.

Please let your friends know about this blog-site. Your comments are appreciated.

More Tomorrow!