had little opportunity for her own art, while caring for her son and doing domestic work for her in-laws; despite this she created Memories of Leningrad in 1923: Mother and Child in 1924, and a self-portrait in 1925. In 1929, six-year-old Benedict was sent to a boarding school during week days and Clark took a job outside of her in-laws home, in an interior design shop. Here, she met her second husband, the Canadian accountant Philip Clark. Clark was visiting Europe for three months at the time, and the two kept in touch until he visited her again in 1931, at which point they decided to marry – and did so in London on June 9, 1931. After the wedding, Clark and Benedict travelled with Philip to their new home in Toronto where the family welcomed a new son, Clive, in June 1933. Artistic influences In 1916, Clark discovered that the landscape painter Savely Seidenberg's studio was on the same streetcar line as the shoe factory where she worked; she began to take art night classes there. Seidenberg taught figure drawing as well as still life and for months, Clark, as a beginning student, drew in charcoal from plaster heads, while the advanced students worked from a model. She immersed herself in conversations with her peers about art styles, including impressionism, post impressionism, cubism and the artists who were central to those movements. Vasily Shukhayev was a relatively unknown painter and set designer whose students practiced life drawing and painting. The fallout from the Revolution brought about a great upheaval in all the arts. Clark was familiar with the many prominent artists of the time, including Vladimir Tatlin, who believed that they were creating a revolutionary art – Cubism and Futurism – for the new regime. Kuzma Petrov-Vodkin was a humanist painter who integrated the European influences of Matisse and Cézanne, with his personal Russian experience. He was a thinker, an intellectual, and from him Clark gained some sense of depth of an intellectual, thoughtful life. Clark was interested in colour and still life, to which Petrov-Vodkin brought his theories of space, and studied his way of depicting a visual perspective that was not an artificial architectural construction. It was from Petrov-Vodkin that Clark learned the technique of spherical perspective in which figures and objects are distorted from their perpendicular axis to produce dynamic moment. In years to come, Clark