Pleasing Melody by Edna Jeanette Taçon (USA/Canada, 1905-1980), pastel on board, signed and dated 1947, framed - 25 1/2" x 15 1/2"
 
Born in Milwaukee, Taçon's father passed away when she was 6. Unable to care for her, Taçon's mother gave her up for adoption soon thereafter to a Canadian widow. She was trained as a violinist and moved with her adopted mother to Toronto in 1924 to pursue a degree in music. She graduated with a bachelor's degree in Music from the University of Toronto in 1927. In 1929 Taçon married Percy Henry Taçon, a painter of abstract works.  Although she continued to perform and study the violin in New York and Europe, notably in Switzerland with Oscar Studer during the summer of 1935, her husband's career as a painter and instructor of art and modern languages influenced her in her decision to pursue painting and, particularly, abstraction. Taçon was influenced by artist Kandinsky's theories on abstraction and color and saw the relationship between abstract painting and music as similarly intuitive and creative. She wrote, "Many people will say that painting cannot reach the sublime summit that music has attained as an abstract art. But there is an analogy between music and painting when both are nonrepresentational ... It is the ambitious aim of our modern artist to exploit...all the ramifications of such an analogy." Taçon used collage in her early years, employing the term "paper plastics," to describe these works. She became involved with the Museum of Non-Objective Painting in 1941 when she took some of her paper plastics to be critiqued. As a result, Taçon was awarded a scholarship by the Guggenheim Foundation and three works by Taçon were exhibited in March 1941 as part of the exhibit Ten American Non-Objective Painters. Taçon was to spend a number of years moving back and forth between Hamilton, Ontario and New York City. In the fall of 1941 she had her first solo shows in New York at Studio 83 and in Toronto at the Eaton's Fine Arts Galleries. Starting in 1942, Taçon's work was included in a series of group shows by the Guggenheim Foundation and in 1943 she joined the museum as a hostess and guide. She was increasingly exhibited in Canada as well. The Art Gallery of Toronto included her in the exhibition Four Canadian Artists, also featuring Jessie Faunt, Michael Forster and Gordon Webber. She had seven solo shows between 1941-1947 at Eaton's Fine Arts Galleries and was shown in the Hamilton Women's Art Association's annual Spring show in 1942 and 1943. In 1945, Taçon was included for the first time in the Ontario Society of Artists' annual exhibition. The Canadian Group of Painters invited her to exhibit as a non-member in their 1945-46 show. In January 1946, she was elected to the membership of the group. In 1945, the Taçons moved to Toronto when Percy Taçon was appointed as Head of the Art Department of the Ontario College of Education. Edna Taçon had her first solo exhibition in New York in October 1946. This exhibit marked a change in direction in her work towards a more expressionistic approach. Her paintings nevertheless remained indebted to Kandinsky's "theory of the spiritual nature of art." During her time in Toronto, Taçon taught design and art history at Toronto Western Technical School. Taçon did not exhibit publicly again after 1949 although she continued to paint. Her work can be found in the collections of the Guggenheim Museum, the Art Gallery of Ontario, and the Robert McLaughlin Gallery, Oshawa.