Reference:
Armstrong, Christopher. Nelles, H.V. The Painted Valley, Artists Along Alberta’s Bow River, 1845-2000. University of Calgary Press, 2007.

Cochran, Bente Roed.  Printmaking in Alberta, 1945-1985.  Edmonton: University of Alberta Press, 1989.

Gooch, Jane Lytton.  Mount Assiniboine, Images In Art.  Vancouver, BC: Rocky Mountain Books, 2007.

Laviolette, Mary-Beth. An Alberta Art Chronicle: Adventures in Recent & Contemporary Art. Altitude Publishing, Canmore, Alberta, 2005.
MacDonald, Colin S.  A Dictionary of Canadian Artists, Volume 4.  Ottawa: Canadian Paperbacks, 2000.

Middleton, catalogue published Los Gatos, California.
Townshend, Nancy. A History of Art in Alberta 1905-1970. Bayeux Arts Publishing, Calgary, AB, 2005.

Janet Middleton's artistic journey began in western Canada's core institutions, where she received comprehensive training at the Winnipeg School of Art (1941-3), followed by studies at the Provincial Institute of Art and Technology in Calgary (1943-6) under H.G. Glyde and Walter J. Phillips. Her education culminated at the Banff School of Fine Arts with Phillips, Glyde, George Pepper, and A.Y. Jackson—a notable connection given Jackson's membership in the Group of Seven. In 1961-62, she earned a British Arts Council Bursary for the prestigious Slade School of Art in London, where she concentrated on graphics, and simultaneously traveled and studied across France, Italy, Japan, Indonesia, and the USA. She painted as Janet Middleton until 1950, then generally adopted Middleton or Janet (Holly) Middleton for the remainder of her career. Her teaching career spanned decades, beginning at the University of Alberta's Department of Extension (1948-64), which afforded her extensive travel throughout Alberta. At just 27, she became the youngest female instructor at the Banff School of Fine Arts in 1947, where she taught painting during summer terms until 1971. Later, she lectured at the University of Guelph's Landscape Architecture and Costume Department.

Printmaking

Middleton embraced a remarkable range of printmaking media, demonstrating versatility that reflected the multi-disciplinary approach of her mentors and teachers. Influenced by Walter J. Phillips—renowned for his woodcuts and wood engravings—she built upon his foundation while expanding into linocut and serigraphy, and also explored lithography and intaglio methods. As an early core member of the Edmonton Branch (Western) of the Canadian Society of Painters & Etchers, alongside contemporaries like George Weber, Annora Brown, and Margaret Shelton, she helped establish western Canada's print-making community.

She actively exhibited in CPE shows throughout the 1950s, establishing herself as a consistent presence in juried exhibitions. The First Western Canada Print Exhibit (1956-7) at Hart House, Toronto, marked a significant milestone—her serigraphs were included among 112 competing entries, gaining her recognition beyond regional circles. She achieved full CPE membership in 1961, with her works continuing to be featured in juried exhibitions throughout her career.