net absence

Bad tidings from Chicago: the Blackhawks lost again last night, shut out by Tampa Bay, which leaves them mired at the bottom of the NHL’s Central Division. As of this morning, Hockey Reference has the team’s chances of making the playoffs at a gloomy 15.6 per cent.

Slightly better news, though maybe not really: goaltender Corey Crawford was seen headed to the Blackhawks’ dressing room at the United Center last night. Crawford, whose upper body has been injured in a not-divulged area, in an undisclosed way, such that he hasn’t played since December 27, was in civilian clothes, wearing a cap. He didn’t get into anything resembling the goaling garb depicted above let alone out on the ice, but his presence at the rink did give rise to plenty of speculation that he might be close to — maybe? — returning, whereupon he can get to work rescuing his team’s season by hauling them into the playoffs. This follows a report from two weeks ago from until Mark Lazerus of the Sun-Times, who found three sources to tell him that Crawford’s symptoms are “vertigo-like,” and that he’s probably out for the season. John Dietz of Chicago’s Daily Herald was on hand last night to hear Blackhawks’ coach Joel Quenneville tell reporters … not much. Crawford is “getting better.” It was, Quenneville confessed, “good to see him.”

Toronto illustrator Dave Murray worked up this Crawford portrait last spring, as a part of a series focussed on 2017 playoffs. For more of Murray’s work, visit


in the paint

Man With A Palette: Jacques Plante made his debut on this day in 1929: born in Notre-Dame-du-Mont-Carmel , Québec, the Hall-of-Fame goaltender died in 1986 at the age of 57. For all his puck-stopping and face-saving, he was as famous a knitter and oil-painter as the NHL has ever seen. The knitting came naturally, he told an interviewer in 1954: his mother taught each of her 11 children to work the needles and the wool. “I can knit a pair of socks in a day,” Plante confided, “have knitted a tuque in three-and-a-half hours, and knitted a jumbo wool three-quarters-length coat for my wife in a week by knitting all day long.” That’s her, Jacqueline, here, with son Michel. Portrait-painting was, Plante said, something he’d picked up more recently, for something to do away from the ice. So far he’d worked up renderings of several of his teammates’ wives along with the self-portrait seen here, in which he’d outfitted himself in the uniform of the Montreal Royals, the QMHL team he starred for before graduating to the Canadiens. “I took a correspondence course from a school in Washington, D.C.,” Plante said, “and find painting a good hobby. Maybe someday I’ll be good enough to paint professionally.”



Spiderman: Tiny Thompson was nine-and-a-half seasons into his career as an NHL puck-repudiator this month in 1937 when the Associated Press checked in with him to report that the Boston Bruins’ goaltend had worn the same pair of pads for 12 seasons. During that time, he had (by his own estimate) stopped 125,000 shots. “They’ve been repaired so often,” the AP alerted, “that there’s nothing left of the original set but the stuffing.” Thompson said he had no plans to buy a new pair any time soon. That must be them depicted here, in Nadine Arsenault’s hand-embroidered interpretation of an archival image from the late ’30s. A Toronto editorial designer and illustrator with a deep and delightful creative imagination, Arsenault shows her hockey portfolio at

the greatest job in the world: the year tony harris spent painting 100 hockey greats

Standing Pat: Tony Harris’ NHL100 rendition of Pat LaFonatine.

(A version of this post appeared on November 18, 2017, on page D1 of The New York Times under the headline “The Best on Ice, Preserved in Oil.”)

OTTAWA — A hundred years after the National Hockey League was born in Montreal’s grandest hotel, the Windsor, the league went back to where it all began in November.

The hotel is gone, but the adjacent train station is still there, next door to the Montreal Canadiens’ home rink at the Bell Centre.

Gathering there — on paper, at least — are the 100 players deemed to be the best to have played in the NHL.

For the past year, the artist Tony Harris has been at his easel trying to translate the speed and color and glory of hockey through paint and paper.

In mid-November he finished the final two 11-inch-by-14-inch portraits, depicting Montreal Canadiens speedy winger Yvan Cournoyer and the inimitable Wayne Gretzky in the Edmonton Oilers’ blue and orange. Over the weekend of November 18-19, all 100 paintings will be shown together in public for the first time.

A panel of 58 hockey insiders voted on the top 100 list, which was revealed in January. A certain amount of debate ensued. Whither Frank Nighbor? Where have you gone, Joe Thornton? No Evgeni Malkin — really?

But for the most part, the list was not controversial. Gordie Howe is there, and Mario Lemieux, Bobby Orr, Howie Morenz, Ken Dryden and the rest — 76 living and 24 deceased.

Six of the players are skating still, including Sidney Crosby, Alex Ovechkin and the perennial Jaromir Jagr. Most of the players date to the 1970s, ’80s, and ’90s, with just a single representative (goalie Georges Vézina) from that first season in 1917-18.

Commissioner Gary Bettman hatched the idea for the paintings last fall. Harris, 53, has called the assignment “the greatest job I could ever get.”

“I guess it was a shock,” he said, recalling the initial discussion when he realized he would be putting aside all other professional work for the year. “But it was a cool call.”

Since the NHL announced the art project in February, two new paintings have been posted on each Monday.

Studious: Tony Harris at work in his Ottawa studio in February of 2017.

The studio at Harris’s Ottawa home claims a basement room that the morning lights through high windows. A wall-filling TV is tuned, always, to wherever in the world there is a golf tournament.

One of the action figurines presiding over Harris’s work space is a six-inch Chicago Blackhawks goaltender from the early 1970s. Harris was in the third grade back then at Lakefield Elementary, about 90 minutes northeast of Toronto. He liked to draw. And like many Canadian 8-year-olds, he also collected hockey cards.

“The only one I could find with my name on it was Tony Esposito’s,” Harris said.

Sketching the Chicago goalie over and over again, he turned himself into a Blackhawks fan. And when the time came to suit up for minor hockey, Harris knew he would follow his namesake to the net.

I was at school with Harris, a couple of years behind him, and I can vouch for his goaltending chops: he was good. Set amid fields and forests, next to a lake called Katchawanooka, Lakefield College School is known by those who are fond of it as the Grove. As the son of a beloved English teacher there, Harris grew up on campus at the private boarding school before he started as a student there in grade nine.

Two of his mentors at the Grove were teachers who meant a lot even to those of us who didn’t end up painting portraits or skating on NHL ice. Bob Armstrong taught History and Economics. A former NHL defenceman for the Boston Bruins, he was also the hockey coach.

Harris’ Mark Messier

When the art teacher, Richard Hayman, wasn’t commanding the school’s busy art room, he could be found ranging soccer fields and cricket pitches as coach of Lakefield’s varsity teams. “To this day I’ve never taken an art lesson from anybody other than Richard,” Harris said, an echo of awe in his voice. “I still don’t think I’m even close to what he could do. He was just so ridiculously talented. But his gift was also in teaching. And thank God that was his calling, because he was so important for me.”

One of Hayman’s imperatives, and Lakefield’s, Harris said, was: “Here was a place you could be an athlete and an artist. It was really the whole point of being able to not pigeonhole yourself into this is what you’re supposed to be, or how it’s supposed to go.”

He admitted he was not a good student, and was happiest outdoors.

“If you were inside, reading was like the worst thing for me, so I would grab a ‘Sports Illustrated’ and draw,” Harris said. “I found something that I could do and I just kept doing it.”

He played quarterback in college, and had a short junior stint in the nets of the Kingston Canadians of the Ontario Hockey League. Then he followed his father into the classroom. There was just one problem: “I just felt like I was back in school again,” Harris said. “I thought why am I doing this? So I left.”

When he took up painting, he said, he did not think of it as a real job.

“The thing that saved me was golf — painting golf courses,” Harris said. “There just wasn’t anybody else doing it in Canada.”

His love of the game and his skill with a club blended well with what he could do on canvas. Lots of people in and around Toronto, as it turned out, were eager to pay for paintings of a favorite hole at a chosen course.

“All of a sudden I went from a struggling artist to having as much work as I wanted,” Harris said.

He is not complaining now, but after almost a decade of that work, he said, “I was really getting tired a painting golf courses.”

The transition to hockey did not happen all at once. It was accelerated around 2006, when Harris painted a portrait of Orr from a photograph he had seen on the cover of Stephen Brunt’s book, Searching For Bobby Orr. To Harris, the picture was remarkable because it looked like a painting; the realism of his painting wowed those who saw it.

Soon Harris was painting less grass and more ice. His commissions for the N.H.L. Players’ Association came to include an annual portrait of the winner of the Ted Lindsay Award, given to the league’s outstanding player as voted by N.H.L.P.A. members.

More and more, he was getting calls to commemorate career milestones for players in Ottawa and around the N.H.L. When the Senators’ Chris Phillips played his 1,000th N.H.L. game in 2012, the team presented him with a Harris portrait that showed the defenceman fending off Ovechkin, Crosby, Lemieux, and Gretzky.

Phillips, who retired in 2016, now has three Harris prints hanging on his walls, and has commissioned paintings of the Canadian prairies where he grew up.

“He really understands the little details that are important to a player,” Phillips said, “and he portrays them with such precision.”

Colourings: A view into Harris’ paint drawer.

If Harris has a guiding principle in his painting of athletes, it might be this: “I’ve got to do something,” he said, “that if I was the guy, if it was me, that’s the painting I’d want to see of myself.”

He laughed when he talked about the call he got in 2016 from the Chicago Blackhawks.

As reigning Stanley Cup champions, they had been invited to visit the White House. The team had prospered during President Barack Obama’s two terms, making two previous White House visits after their 2010 and 2013 championships. President Obama already had plenty of Blackhawks swag; this time he was going to get a painting.

Harris quickly sketched up an idea that February and emailed it to the Blackhawks; he proposed presenting a triptych of the team’s Stanley Cup parades.

“I said, ‘When do you want to do this?’ They said, ‘Well, next Thursday.’ And this was … Thursday,” Harris said.

Working 20-hour days, he got it done — framed, too — by the next Tuesday.

Chicago Coach Joel Quenneville, a friend of Harris’s, reported on what went on in the Oval Office: the president told the Blackhawks that he was going to take down George Washington to put up Harris’s painting.

“I said, ‘No, he didn’t,’” Harris recounted. “Joel said, ‘Hand to God, Tony, he said it.’”

He is wary of tallying up the hours he spent at the easel painting the NHL’s top 100 players. “When I start thinking about it, the math just gives me a headache,” he said. “Twenty hours or 25 hours probably, per?”

He would rather recall the simple pleasures of doing the work, and the distractions he will continue to savour.

Out of the blue he got a call from Tony Esposito, who is among the 100 along with brother Phil. They talked for 15 minutes.

What about? “How goaltending used to hurt,” Harris said. “You had to catch pucks, because if you didn’t, they were going to hit your body, and if they hit your body, you were going to be in pain, because the equipment was so terrible.”

In November, as he approached the last brush stroke, Harris contemplated what it all meant to him, what he had achieved.

He tried out a couple of words — iconic, legacy, “all those buzzwords,” he said — but none of them felt right.

Seeing the exhibition in Montreal, all 100 paintings on the wall together for the first time, he said, “That’s going to be spectacular.

“I just want someone to stand there and say, ‘That’s cool.’ And if it’s Pat LaFontaine and he takes a look at his painting, I’d like him to say, ‘Oh, that’s pretty cool.’”

Namesake: Harris’ portrait of Tony O, his childhood hockey-card hero.


(LaFontaine and Esposito images courtesy of Tony Harris. Messier and paintbox photos by Stephen Smith)

bob gainey: what you get if you turn guy lafleur inside out

On Bob Gainey’s birthday — Peterborough, Ontario’s own five-time-Stanley-Cup-winning former-Habs-captaining Hall-of-Famer turns 64 today — a few fond fêteful notes.

A cornerstone, Stu Hackel dubbed him when, earlier this year, Gainey was named to the NHL’s pantheon of 100 Greatest Players. Hackel’s citation quoted a Montreal teammate from those dominant Canadiens teams of the 1970s, Serge Savard: “I can’t think of anyone on our team,” Savard said, “who means more to us than Gainey.”

The NHL didn’t, of course, get into ranking its superlatives, but if you’re looking for something in that line, I refer you to a book published earlier this fall by the hockey cognoscenti at Le Journal de Montreal. Not so surprisingly, Les 100 meilleurs joueurs du Canadien goes with a top three of Maurice Richard, Jean Béliveau, and Guy Lafleur. Gainey gets in at number 22 — three slots back of Carey Price, but just ahead of Andrei Markov, Toe Blake, and Georges Vézina. If that fails to satisfy, you may be better to settle down with Red Fisher’s 2005 Canadiens top ten, whereon Gainey is lodged at number eight. (Béliveau, just for the record, comes ahead of Richard in Fisher’s thinking, with Lafleur holding at third.)

“That No. 23 for the Montreal team, Mr. Gainey, is the best player in the world in the technical skills of the game.” That was Soviet maestro Viktor Tikhonov rating Gainey during the 1979 Stanley Cup finals, which Gainey dominated. You’ll see it sliced up, this opinion, edited down to leave out the final phrase and make it absolute. Not necessary — it’s high enough praise in the original translation. Still, you can understand how, especially in Montreal in those glory days, the temptation to upgrade. “May be one of the most technically perfect hockey players who ever lived,” Gazette columnist Tim Burke was writing the morning after Canadiens beat the Rangers to hoist the Stanley Cup.

Gainey won the Conn Smythe Trophy that spring as playoff MVP. To go with the NHL silverware, Sport magazine gave him a 1980 Silver Anniversary Jeep CJ5, too. That’s maybe worth a mention.

Would we consider here, too, just how much of the literature detailing Gainey’s hockey brilliance finds a way, even if only gently, to scuff at his reputation? That sounds a little defensive, probably, but then what could be more appropriate while we’re talking about the man who won the first four Frank J. Selke trophies?

“A down-to-earth product” of Peterborough, a New York columnist by the name of Elliot Denman called him after those ’79 finals in a column that actually quoted Gainey as saying “Aw, shucks.” On behalf of those of us who, like Gainey, are born-and-bred Peterbruvians, I’m going to turn the other cheek for all of us on Denman’s drive-by dis of our little city, which happens to have been (not making this up) the first municipality in Canada to install streetlights. Gainey, Denman supposed, “much prefers the 75-watt lighting of his hometown to the bright neons of Montreal and New York.”

Then again, Gainey did say himself that if he were a GM (as he later would be, once his playing days were ended), he’d get rid of himself. “I’d trade myself for a Larry Robinson or a Ken Dryden. Defencemen and goalies are crucial.”

Still, it’s not as if the archives lack for Gainey acclaim. Back to that.

Ken Dryden goes on Gaineying for pages in The Game (1983). To his “basic, unalterable qualities — dependability, discipline, hard work, courage,” Gainey added an “insistent passion, an enormous will to win, and a powerful, punishing playing style, secure and manly, without the strut of machismo.”

“If I could be a forward,” wrote Dryden, “I would want to be Bob Gainey.”

Heading out of the tempestuous ’70s into a whole new hockey decade, Gazette sports editor Al Strachan saw him as a symbol and standard-bearer for entire continents and generations to come.

“Nobody in the world,” Strachan wrote, “better exemplifies the true North American style of hockey than Gainey.”

He is a superb skater and an excellent defensive player. But unlike the European players, he also plays a rugged, bone-crunching game. He pounds the opponents into the boards, blasts them off the puck, and makes them pay the price for dipsy-doodling in their own zone.

Yet no one plays a cleaner game than Gainey. … Nothing could be better for hockey than to have the junior ranks start emulating the Bob Gaineys of this world than the Dave Hutchisons.

Rick Salutin writing about Gainey is worth your while, finally. “Gainey works,” he wrote in a 1980 magazine profile of our hero. “Hard.”

He tears up the ice, his legs pumping and thrusting, his face contorted with effort and determination. He is the very opposite of his teammate Guy Lafleur. Lafleur skates lightly, with a Gallic flair that appears effortless: he whirls and corners like one of those toy tightrope walkers you can’t knock off balance. Gainey is what you would expect to get if you turned Lafleur inside out. In fact, Ken Dryden calls Gainey “the Guy Lafleur of defensive forwards.” Lafleur fulfils our every stereotype of French-Canadian finesse, while Gainey does the same for our notions of the earnest, achieving English-Canadian.

It gets better. “What is the Gainey style?” Salutin goes on to wonder.

In a stage play I wrote several years ago called Les Canadiens, a defensive forward steps onto the ice/stage to try to contain a rampaging goal scorer in the Morenz-Richard-Lafleur tradition. The character says, to his teammates or the audience:

It’s okay. I got ’im. Good thing I backcheck. It’s not the glamour job, but somebody’s gotta do it. Maybe it’s because Mom always said the other kids were pretty or smart but I was so “responsible.” I’m there when there’s hard slugging to do

This speech was inspired by Gainey’s play, but it is really too stodgy for Gainey. For, despite his defensive role, he is an exciting player.”

Later in the profile, Salutin adds a perfect parenthetic coda:

(Gainey saw Les Canadiens, by the way, and pronounced it “luke,” as in lukewarm; two nights later, at a performance of his own at the Forum, he had one of his two-goal nights in a kind of rebuttal to the onstage caricature.)

(Painting by Timothy Wilson Hoey, whose work you’re advised to investigate further, at and

best in show

Easel Does It: Ottawa artist (and former goaltender) Tony Harris spent the last past year on a commission to paint the NHL’s 100 greatest players. He finished the job last week. This weekend, from Sid Abel to Steve Yzerman, the original oils are all on show together at Montreal’s Windsor Station as part of the NHL’s Centennial celebrations. Visiting hours are today from noon to 7 pm and, tomorrow, noon to 4 pm.

That’s Harris here, in his Ottawa studio, earlier this year. I talked to him for a piece that’s on the page today in The New York Times.



Wall of Fame: Bucyks and Brodas, Keons and Keiths, Selannes and Sittlers. Ottawa artist Tony Harris has been painting for a year now to depict each of the players (Bobby Orr, above, included) deemed the greatest in NHL history, and last week we put the finishing touches on Yvan Cournoyer and Wayne Gretzky, the final two of his 100 11 x 14 oil-on-paper portraits. Today through Sunday, as part of the NHL’s centennial celebrations, they’ll all be on show, together for the first time, at Montreal’s historic Windsor Station. (Image courtesy Tony Harris)