Activating Emily
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The Needle Art of Kathleen O'reilly
Volume 35, No. 4 BRITISH COLUMBIA Fall 2002 $5.00 HISTORICAL NEWS ISSN 1195-8294 Journal of the British Columbia Historical Federation Womanly Arts Expressions of and creations by women in Victorian British Columbia. Left: Kathleen O’Reilly, age 21, December of 1888. Photo taken at the studio of Lambert Weston & Sons, Folkestone, England. See “How Shall I Frame Myself?” by Liberty Walton in this issue. BC Archives Archives HP50082 BC Our Web site <bchistory.ca> is hosted by Selkirk College in Castlegar, BC British Columbia Historical News British Columbia Historical Federation Journal of the PO Box 5254, Station B., Victoria BC V8R 6N4 British Columbia Historical Federation Under the Distinguished Patronage of Her Honour Published Winter, Spring, Summer, and Fall. The Honourable Iona Campagnolo. PC, CM, OBC Lieutenant-Governor of British Columbia Editor: Fred Braches PO Box 130 Honorary President: Helen B. Akrigg, Whonnock BC, V2W 1V9 Phone 604.462.8942 Officers [email protected] President: Wayne Desrochers Book Review Editor: 13346 57th Avenue, Surrey BC V3X 2W8 Anne Yandle Phone 604. 599.4206 Fax. 604.507.4202 [email protected] 3450 West 20th Avenue First Vice President: Jacqueline Gresko Vancouver BC, V6S 1E4 5931 Sandpiper Court, Richmond BC V7E 3P8 Phone 604.733.6484 Phone 604.274.4383 [email protected] [email protected] Second Vice President: Roy J.V. Pallant Subscription Secretary: 1541 Merlynn Crescent, North Vancouver BC V7J 2X9 Joel Vinge Phone 604.986.8969 [email protected] 561 Woodland Drive Secretary: Ron Hyde Cranbrook BC V1C 6V2 #20 12880 Railway Ave., Richmond BC V7E 6G2 Phone/Fax 250.489.2490 Phone: 604.277.2627 Fax 604.277.2657 [email protected] [email protected] Recording Secretary: Gordon Miller 1126 Morell Circle, Nanaimo BC V9R 6K6 Publishing Committee: Phone 250.756.7071 [email protected] Tony Farr Treasurer: Ron Greene 125 Castle Cross Road, PO Box 1351, Victoria BC V8W 2W7 Salt Spring Island BC V8K 2G1 Phone 250. -
Fabuleux Ouest Canadien
1 Watson Lake YUKON 1 Grand Lac Fort Liard des Esclaves TERRITOIRES DU NUNAVUT Ouest canadien Dease Lake Liard River Fort Resolution Juneau Hot Springs NORD-OUEST À ne pas manquer Provincial Park Muncho Lake Telegraph Provincial Park Vaut le détour Creek 37 Fort Smith Baie 97 Intéressantd’Hudson Stone Mountain Fort Nelson Provincial Park Churchill Wildlife Mount Edziza Rainbow Churchill Management Area Northern Rocky Parc national Lac Athabasca Provincial Park M Lake 35 Mountains Wood Buffalo Parc national Provincial Park Wapusk and Protected Area High Level o Baie Fort d’Huson ALASKA Stewart Vermilion (É.-U.) COLOMBIE- n Kaskatamagan BRITANNIQUE Wildlife Management Area Nisga’a Memorial t ALBERTA Lava Bed Park Hazelton Fort Lynn Lake Gillam a St. John Prince Driftwood Canyon Peace 6 Rupert Terrace Provincial Park River Fort La Loche g Dawson Hudson’s Creek McMurray 16 Smithers Hope Dunvegan Thompson Kitimat Lakelse Lake n McLennan Provincial Park Fort St. James Lac La Ronge Archipel e Grande Provincial Park Prairie Valleyview Haida Gwaii Lac La Biche La Ronge Flin Flon Prince s MANITOBA George 16 Athabasca Tweedsmuir Cold Lake Bowron Lake SASKATCHEWAN Provincial Park 97 Smoky Provincial Park Lake Meadow Cumberland House Bella Quesnel Fort Saskatchewan St. Paul Lake Provincial Historic Park Coola Pinnacles McBride The Pas Hinton St. Albert Parc national ONTARIO Provincial Park Barkerville 11 Vegreville OCÉAN PACIFIQUE Jasper de Prince Albert Narrow Hills 20 Mt. Robson Prov. Park Edmonton R Parc national 4 Provincial Park and Protected -
[Carr – Bibliography]
Bibliography Steven C. McNeil, with contributions by Lynn Brockington Abell, Walter, “Some Canadian Moderns,” Magazine of Art 30, no. 7 (July 1937): 422–27. Abell, Walter, “New Books on Art Reviewed by the Editors, Klee Wyck by Emily Carr,” Maritime Art 2, no. 4 (Apr.–May 1942): 137. Abell, Walter, “Canadian Aspirations in Painting,” Culture 33, no. 2 (June 1942): 172–82. Abell, Walter, “East Is West – Thoughts on the Unity and Meaning of Contemporary Art,” Canadian Art 11, no. 2 (Winter 1954): 44–51, 73. Ackerman, Marianne, “Unexpurgated Emily,” Globe and Mail (Toronto), 16 Aug. 2003. Adams, James, “Emily Carr Painting Is Sold for $240,000,” Globe and Mail (Toronto), 28 Nov. 2003. Adams, John, “…but Near Carr’s House Is Easy Street,” Islander, supplement to the Times- Colonist (Victoria), 7 June 1992. Adams, John, “Emily Walked Familiar Routes,” Islander, supplement to the Times-Colonist (Victoria), 26 Oct. 1993. Adams, John, “Visions of Sugar Plums,” Times-Colonist (Victoria), 10 Dec. 1995. Adams, Sharon, “Memories of Emily, an Embittered Artist,” Edmonton Journal, 27 July 1973. Adams, Timothy Dow, “‘Painting Above Paint’: Telling Li(v)es in Emily Carr’s Literary Self- Portraits,” Journal of Canadian Studies 27, no. 2 (Summer 1992): 37–48. Adeney, Jeanne, “The Galleries in January,” Canadian Bookman 10, no. 1 (Jan. 1928): 5–7. Art Gallery of Greater Victoria, Oil Paintings from the Emily Carr Trust Collection (ex. cat.). Victoria: Art Gallery of Greater Victoria, 1958. Art Gallery of Ontario, Emily Carr: Selected Works from the Collection of the Vancouver Art Gallery (ex. cat.). Toronto: Art Gallery of Ontario, 1974. -
A Review Essay
The enigma of emily carr A Review Essay LESLIE DAWN Unsettling Encounters: First Nations Imagery in the Art of Emily Carr Gerta Moray Vancouver: UBC Press, 2006. 400 pp. Illus. $75.00 cloth. Emily Carr: New Perspectives on a Canadian Icon Charles C. Hill, Johanne Lamoureux, and Ian M. Thom (Vancouver: Douglas & MacIntyre, with the National Gallery of Canada and the Vancouver Art Gallery, 2006). 336 pp. Illus. $75.00 cloth. o Canadian artist has gen- struction of personal and na tional Nerated, or produced, more textual identities and the place of Aboriginal material than Emily Carr. That this peoples and cultures within them. is still true is evident from the two The exhibition catalogue contains books on the artist that appeared in eight essays by ten contributors from the summer of 2006. The National various disciplines, arranged more Gallery of Canada and the Vancouver or less chronologically. Ethnologists Art Gallery produced Emily Carr: Peter Macnair and Jay Stewart open New Perspectives on a Canadian by reinvestigating Carr’s 1907 tourist Icon, the catalogue for the latest excursion to Alaska, during which Carr retro spective. Concurrently, she formed the project for painting a UBC Press pub lished Gerta Moray’s documentary record of the poles of the long awaited monograph Unsettling Aboriginal villages of the Canadian Encounters: First Nations Imagery Northwest Coast. Contributing to the in the Art of Emily Carr. The two discussion on the veracity of Carr’s complementary studies combine the later autobiographical writings, they formats of lavishly illustrated coffee compare her published recollections table books with scholarly writings with archival records and the remaining that attempt defini tive statements on fragments of Carr’s missing Alaska this protean artist. -
Canadian, Impressionist & Modern
CanAdiAn, impressionist & modern Art Sale Wednesday, december 2, 2020 · 4 pm pt | 7 pm et i Canadian, impressionist & modern art auCtion Wednesday, December 2, 2020 Heffel’s Digital Saleroom Post-War & Contemporary Art 2 PM Vancouver | 5 PM Toronto / Montreal Canadian, Impressionist & Modern Art 4 PM Vancouver | 7 PM Toronto / Montreal previews By appointment Heffel Gallery, Vancouver 2247 Granville Street Friday, October 30 through Wednesday, November 4, 11 am to 6 pm PT Galerie Heffel, Montreal 1840 rue Sherbrooke Ouest Monday, November 16 through Saturday, November 21, 11 am to 6 pm ET Heffel Gallery, Toronto 13 Hazelton Avenue Together with our Yorkville exhibition galleries Thursday, November 26 through Tuesday, December 1, 11 am to 6 pm ET Wednesday, December 2, 10 am to 3 pm ET Heffel Gallery Limited Heffel.com Departments Additionally herein referred to as “Heffel” Consignments or “Auction House” [email protected] appraisals CONTACt [email protected] Toll Free 1-888-818-6505 [email protected], www.heffel.com absentee, telephone & online bidding [email protected] toronto 13 Hazelton Avenue, Toronto, Ontario M5R 2E1 shipping Telephone 416-961-6505, Fax 416-961-4245 [email protected] ottawa subsCriptions 451 Daly Avenue, Ottawa, Ontario K1N 6H6 [email protected] Telephone 613-230-6505, Fax 613-230-6505 montreal Catalogue subsCriptions 1840 rue Sherbrooke Ouest, Montreal, Quebec H3H 1E4 Heffel Gallery Limited regularly publishes a variety of materials Telephone 514-939-6505, Fax 514-939-1100 beneficial to the art collector. An Annual Subscription entitles vanCouver you to receive our Auction Catalogues and Auction Result Sheets. 2247 Granville Street, Vancouver, British Columbia V6H 3G1 Our Annual Subscription Form can be found on page 103 of this Telephone 604-732-6505, Fax 604-732-4245 catalogue. -
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IND EX Abbotsford International Air Show 15 Accommodations 189-200
© Lonely Planet Publications INDEX helicopters 223 in Vancouver 226-7 children, travel with 228 See also separate to/from airport 224 to/from Vancouver 224 activities 180 indexes for: Alcan Dragon Boat Festival books, see also literature, arts 170 Arts p248 14 Shopping subindex attractions 88 Drinking p248 ambulance 230 cookbooks 135 Vancouver International Eating p249 antiques, see Shopping environment 58 Children’s Festival 13 Nightlife p250 subindex history 22 Chinatown 76-9, 77, 5 Shopping p250 aquariums 52, 53 local authors 30 food 135-6, 5 INDEX Sights p251 architecture 33-5 Bowen Island 217-18 Night Market 115, 5 Sleeping p252 area codes, see inside front breweries, see Sights shopping 115-16 Sports & cover subindex walking tour 78-9, 78 bridges 35, see also Sights Activities p253 art galleries, see Shopping Chinese New Year 12 subindex Top Picks p253 & Sights subindexes choral music 171-2, see also arts 26-33, see also Arts Buddhist temple 106 Arts subindex Buntzen Lake 216-17 subindex, cinema, dance, Choy, Wayson 29 bus travel A literature, music, theater, Christ Church Cathedral 47 tours 233 Abbotsford International TV, visual arts Christmas Carolship in Vancouver 226 Air Show 15 courses 229 Parade 17 to/from Vancouver 224-5 accommodations 189-200, cinema 31-2, see also film ATMs 232 business hours 228, see also see also Sleeping subindex City Farm Boy 61 inside front cover airport hotels 199 Clark, Rob 130 B bars 148 B&Bs 190 classical music 28, 166-7, B&Bs 190, see also Sleeping coffeehouses 148 costs 191 see also Arts subindex -
NATIONAL GALLERY of CANADA and the VANCOUVER ART GALLERY
Exhibition Reviews 157 Exhibition Reviews Emily Carr: New Perspectives on a Canadian Icon . NATIONAL GALLERY OF CANADA and the VANCOUVER ART GALLERY. Mounted at the National Gallery of Canada, Ottawa. 2 June–4 September 2006. Accompanying publication: Charles Hill, Johanne Lamoureux, and Ian M. Thom. Emily Carr: New Perspectives on a Canadian Icon. Toronto: Douglas McIntyre, 2006. 335 p. ISBN 1-55365-173-1. Another exhibition about Emily Carr could not be unpopular , could it? Everyone, even schoolchildren, has at least heard of Emily Carr . As a child, I first noticed her when snooping through my father ’s art books, where I found Emily Carr, Her Paintings and Sketches, the exhibition catalogue for the 1945 memorial show put on after her death by the National Gallery of Canada and the Art Gallery of Ontario. The odd cover image of fantastic totem creatures near bundled Native women made me look inside, and there I saw massive plasticine structures in the forms of buildings, trees, and columns. That moment of discovery bubbled up again when I entered the 2006 show , organ- ized by the National Gallery of Canada and the Vancouver Art Gallery. My anticipation grew, knowing that Emily Carr ’s paintings were waiting silently beyond the first doorway, simmering with their intensity and grandeur. The concept of this show was a key element of the Vancouver Art Gallery’s seventy-fifth anniversary plans, since the Emily Carr collection is an important part of the Gallery’ s holdings. What was planned was a fresh look at the artist that involved revisiting the major twentieth-century exhibitions that had formerly presented her work, an honest presentation that would rely on new sources and perhaps dispel or at least deflate myths or assumptions about the artist. -
Helen Kemp Frye's Writings On
Helen Kemp Frye’s Writings on Art Helen Kemp Frye’s Writings on Art Compiled and Edited by Robert D. Denham Helen Kemp Frye’s Writings on Art Compiled and Edited by Robert D. Denham This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Robert D. Denham All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-3659-1 ISBN (13): 978-1-4438-3659-3 CONTENTS Introduction ............................................................................................... vii 1. “The University and the Fine Arts” (1933) ............................................. 1 2. “Loan Collections from the Art Gallery of Toronto” (1936) ................... 7 3. “Children in the Gallery” (1937) ........................................................... 11 4. “The Permanent Collection” (1937) ...................................................... 17 5. “Children at the Art Gallery of Toronto” (1937) ................................... 25 6. “Yvonne Williams” (1938) .................................................................... 29 7. “Yvonne McKague Housser” (1938) ..................................................... 33 8. “Fritz Brandtner” -
Elements & Principles of Design
CANADIAN ART: The Late 1800’s Canadian artists working in the late 1800’s and early 1900’s painted landscapes in a fairly realistic style. They painted what they saw without expressing any feeling or emotions. This style of painting landscapes with a soft, quiet, tame, and inviting appearance originated in Europe. These landscapes were full of realistic details and natural colours, but they lacked personal expression. Homer Watson John A. Fraser September Afternoon, Eastern At the Rogers Pass, Summit of the Townships 1873 Selkirk Range, B.C. 1886 CANADIAN ART: THE GROUP OF SEVEN The Group of Seven was founded in 1920 to develop a new style of Canadian painting with a distinct Canadian identity. These artists painted what they saw, but added imagination and feeling. They were especially interested in expressing the wild, untamed spirit of the Canadian wilderness in their paintings. The artists often travelled into the wilderness to make sketches in the open air. They wanted to capture the atmosphere, the effects of light, and the spirituality and ruggedness of the northern Canadian landscape. In order to accomplish this, their style was also rugged, expressive, and powerful. THE GROUP OF SEVEN PAINTING STYLE a)Colours: bold and vibrant or bold and dark/dull high contrast between lights and darks b) Shapes/Forms: simplified with few details almost 2 dimensional abstract c) Brushstrokes: thick paint application (impasto) often visible (not blended) Franklin Carmichael Lake Wabagishik 1928 Mirror Lake 1929 Arthur Lismer A September Gale, Georgian Bay 1921 Bright Land 1938 J.E.H. MacDonald The Solemn Land 1921 Mist Fantasy 1922 F.H. -
National Historic Sites of Canada System Plan Will Provide Even Greater Opportunities for Canadians to Understand and Celebrate Our National Heritage
PROUDLY BRINGING YOU CANADA AT ITS BEST National Historic Sites of Canada S YSTEM P LAN Parks Parcs Canada Canada 2 6 5 Identification of images on the front cover photo montage: 1 1. Lower Fort Garry 4 2. Inuksuk 3. Portia White 3 4. John McCrae 5. Jeanne Mance 6. Old Town Lunenburg © Her Majesty the Queen in Right of Canada, (2000) ISBN: 0-662-29189-1 Cat: R64-234/2000E Cette publication est aussi disponible en français www.parkscanada.pch.gc.ca National Historic Sites of Canada S YSTEM P LAN Foreword Canadians take great pride in the people, places and events that shape our history and identify our country. We are inspired by the bravery of our soldiers at Normandy and moved by the words of John McCrae’s "In Flanders Fields." We are amazed at the vision of Louis-Joseph Papineau and Sir Wilfrid Laurier. We are enchanted by the paintings of Emily Carr and the writings of Lucy Maud Montgomery. We look back in awe at the wisdom of Sir John A. Macdonald and Sir George-Étienne Cartier. We are moved to tears of joy by the humour of Stephen Leacock and tears of gratitude for the courage of Tecumseh. We hold in high regard the determination of Emily Murphy and Rev. Josiah Henson to overcome obstacles which stood in the way of their dreams. We give thanks for the work of the Victorian Order of Nurses and those who organ- ized the Underground Railroad. We think of those who suffered and died at Grosse Île in the dream of reaching a new home. -
Seeing and Not Seeing: Landscape Art As a Historical Source
ch08.qxd 2/5/08 1:41 PM Page 140 Seeing and Not Seeing: Landscape Art as a Historical Source COLIN M. COATES Colin Coates is the Canada Research Chair in Cultural Landscapes at Glendon College, York University. During the years that I taught Canadian Studies courses at the University of Edinburgh, I some- times asked my British students to complete the phrase, “As Canadian as ...”The answers they gave were usually fairly predictable: “maple syrup,” “snow,” “a Mountie.” If I had to answer the question myself, I would probably finish the sentence with “landscape.” After all, as the second- largest country in the world, Canada has a lot of landscape. More importantly, the image Canadians project to themselves and others is often of rural or “wilderness” landscapes, even if they rarely visit them, and the human population of the country is crowded into the cities and towns that hug the American border. But the images of Canada iconic to Canadians and tourists alike are usually (apparently) pristine forests, lakes, mountains, and icebergs, not the cities, high-rises, and highways that more accurately define the day-to-day life of the vast majority of Canadians today. Canadians are not unique in finding the essence of their country outside their urban settings. Many countries locate their self-image in the countryside or the wilderness: Scotland, for instance, markets its majestic lochs and craggy islands, even if most Scots live in the tamer cities and suburbs near the English border. In the Canadian case, landscapes are often refracted through particular aesthetic approaches.