Jun 17, 2026

Anita Blackwood on David Blackwood’s Legacy

The late printmaker’s wife recalls cherished moments of a life lived together with art

[Early Days] David and Anita Blackwood, ca. December, 1970. Collection of Anita Blackwood. Photo: AGO.

For Anita Blackwood, her husband David’s (1941–2022) legacy is defined by kindness and generosity. During five decades of marriage, she witnessed an eager young printmaker from Newfoundland evolve into one of the most notable artists in Canada. While she celebrates his body of work with great passion, it is her memories of a devoted husband and father, a dedicated teacher, and a steadfast champion of the arts that colour her summation of his life.

Anita describes the experience of first setting foot in the AGO exhibition David Blackwood: Myth & Legend as “exhilarating, emotional, surprising and wonderful.” She was deeply moved by the sprawling retrospective of her husband’s career, and by the meticulous curatorial efforts behind the show. She doesn’t have a favourite Blackwood work; they are all gateways into cherished memories of a life with her late husband.

Before the exhibition closes on July 26, Anita spoke to Foyer. She reflected on various eras of David’s career, their love of Italian getaways, and his unwavering commitment to the AGO.

[Early Days] Anita and David Blackwood with their dogs, ca. 1970. Collection of Anita Blackwood. Photo: AGO.

Foyer: Can you describe what it felt like the first time you saw Myth & Legend? What were you reflecting on as you walked through this major retrospective of David’s work?

Blackwood: My first opportunity to see Myth & Legend happened to coincide with media day for the exhibition. It was busy with curator Alexa Greist touring the exhibition, taking questions and with members of the exhibition team in attendance. As such, it was not a quiet contemplative first view, however, it was exhilarating, emotional, surprising and wonderful. I had the opportunity, and was pleased, to meet the Newfoundland artist, Jerry Ropson, whose commissioned video accompanies the exhibition. 

What was remarkable and somewhat overwhelming was seeing the result of many months of visits to David’s studio and studio archives by Greist along with Amy Furness, the AGO’s then head of Library and Archives. Their discussions, decisions and vision for Myth& Legend were supported by an amazing team working behind the scenes. It’s analogous to the opening night of a play; actors finally appear on stage, and behind it all are dedicated specialized teams who have brought it all to life.

David Blackwood. Molly Glover Leaving Bragg's Island, 1985. Etching, aquatint, Sheet: 67 × 82.1 cm. Promised Gift of Anita Blackwood © Estate of David Blackwood. Photo: AGO.

Is there a work from the exhibition that you would call a favourite? Or one that particularly resonates with you?

I don’t have a favourite image of David’s. It would be impossible to name one, although I always find myself drawn to the early pieces from OCAD, when David had just discovered printmaking. Of course, beginning in 1970, each image does have a particular resonance with me; reminders of the passage of time over our 52 years together before his death. 

There was an evolution in David’s images, moving away from the disasters related to the seal fishery and the great loss of men at sea to more personal elements in his imagery. The outport resettlement program, impending loss of communities, architecture, portraits of Captains, his grandparents, his mother and father. Community life, weddings, funerals, images with himself as a child – although they are not named as such – memories of being pulled in a sled, walking with his paternal grandfather, kites being flown, sailing as a child on his family’s Labrador schooners. The homage to his teachers, Alice Lacey, Ishmael Tiller, his beloved Aunt Gertie Hann, the midwife Aunt Julia Carter.

David had a deep concern for a vanishing way of life. All of this is reflected in the exhibition. Not only in the etchings, but the inclusion from the collection held in the AGO archives, of photographs, sketches, scribbles, diaries, an exhibition enriched with the inclusion of personal aspects of the artist’s life.

Anita and David Blackwood as guests of the Governor General at Rideau Hall, January 31st, 1982. Collection of Anita Blackwood. Photo: AGO.

Could you describe a cherished moment that you shared with David over the years? What makes this memory particularly special for you?

There are so many moments. it was a rich life full of experiences and memories neither of us could have imagined. We shared great privilege and also deep loss. 

We developed a love affair with Italy. After David taught printmaking in Florence one summer in the late ‘70s, we visited Venice and Florence together in the early ‘80s. It wasn’t easy to have David leave his ‘jealous mistress’ – the studio – but finally we began to visit Italy regularly. Each autumn, our visits to Italy brought cherished memories. It was always blissful to return to the Casa Colonica, a residence we rented in the hills near Umbertide. One spectacular late September morning, I received a call from Matthew Teitelbaum, then Director of the AGO; he wished to speak with David. After David spoke with Matthew at length, we left with friends to tour the Museo Civico in Cortona. Hours later, over lunch, I thought to ask David about Matthew’s call; he quietly replied that Matthew indicated the Board wished him to take the position of Honourary Chair, making him the first artist to do so. He was humbled and honoured.

David was definitely not particularly fond of meetings, but he attended each and every board meeting during his tenure as Trustee and again during the period while Honourary Chairman. When he was called upon, he was always available. David had an expression: time well spent. For David, any time at the AGO was ‘time well spent’

David Blackwood speaking at reception for Turner, Whistler, Monet: Impressionist Visions exhibition, 2004. Art Gallery of Ontario. Photo © AGO

Reflecting on the many years you spent sharing life with David, and closely witnessing the evolution of his career, what is it you hope people remember most about his legacy?

What is legacy? There are so many interpretations. For David, I know that he strongly believed in ‘passing it forward’. Given the opportunity David always spoke highly of his instructors at OCAD. He was mentored and supported, this penniless, determined teenager from Newfoundland. David went on to teach, part-time at Trinity College School in Port Hope, for 25 years. He was very grateful, as it paid the rent on his Toronto studio. By all accounts, he was a kind and supportive teacher and mentor, as evidenced by the enduring friendships developed with students there. David was generous in spirit, with his time and talents. To his close friends who visited in his final days, David reminded them to ‘be kind’. Kindness and generosity are a legacy to be proud of.

David Blackwood: Myth & Legend is on view until July 26, 2026, on Level 1 of the AGO. The exhibition is curated by Alexa Greist, Curator & R. Fraser Elliott Chair, Prints and Drawings at the AGO. Thanks to the generosity of the artist and his family, the AGO is home to Blackwood’s archives and the largest collection of his work in the world.

Anita Blackwood on David Blackwood’s Legacy

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