their travels were documented in a Maclean's article. Although he was never a communist and undertook this visit out of curiosity, it is likely that this visit made him ideologically 'suspect' and may have adversely affected his career from this point forward. As a mature designer, he continued to work steadily during the 1950s, counting as his clients Imperial Oil, the University of Toronto, Ryerson, York University and the Stratford Festival. He was not a prolific fine artist, however, which guaranteed him a low profile in comparison to other war artists, such as Alex Colville, Lawren P. Harris or Jack Shadbolt. Aldwinckle was an out-of-the-box thinker decades before the term became popular. He was a student of Theosophy (his book Two Fables was published by the Theosophical Press in 1950), an accomplished chef, raconteur, astrologer, composer of music, playwright, writer, and social critic. He enjoyed mentoring young artists, and influenced the careers of the late composer Harry Somers (his correspondence with Somers is in the McMaster University Archives, RC0385), Academy Award-winning filmmaker Christopher Chapman, muralist York Wilson and designer Theo Dimson. While his work as a war artist and as a graphic art designer were his most visible contribution, perhaps his most enduring legacy will be his role in the establishment of Killarney Provincial Park, the area where members of the Group of Seven painted some of their works. Honours Royal Canadian Academy of Arts References Bibliography External links Eric Aldwinckle fonds (R5339) at Library and Archives Canada 1909 births 1980 deaths Artists from Toronto Canadian illustrators British emigrants to Canada Canadian graphic designers Members of the Royal Canadian Academy of Arts Artists from Oxford People from Old Toronto Canadian war artists Conscientious objectors OCAD University faculty Royal Canadian Air Force personnel of World War II Royal Canadian Air Force officers