DOCSLIB.ORG

Interartistic Modernism in Canada, 1930-1960

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Interartistic Modernism in Canada, 1930-1960 BETWEEN THE LINES: INTERARTISTIC MODERNISM IN CANADA, 1930-1960 Michèle Rackham Department of English McGill University, Montreal November 2011 A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Michèle Rackham 2011 for David TABLE OF CONTENTS ABSTRACT / RÉSUMÉ i-iv ACKNOWLEDGEMENTS v-viii INTRODUCTION Contextualizing the Rise of Interartistic 1 Modernism in Canada CHAPTER ONE ―Not nature alone, but nature‘s relationship to man‖: 46 Emily Carr‘s and Dorothy Livesay‘s Landscapes of Affect CHAPTER TWO Montreal Modernisms, Little Magazines, and the 130 Agency of Visual Art in the 1940s CHAPTER THREE ―Let A- / tomic unsplittable REALITY / now at last / 225 be exploded to hell‖: The Energy of Canadian Modernist Poetry and Visual Art in the Fifties CHAPTER FOUR P.K. Page-Irwin‘s ―Geometry Awash‖: Negotiating 332 Modernist Aesthetics Via the Visual Arts CONCLUSION Canada‘s Interartistic Modernism and National Culture 430 WORKS CITED 450 Rackham i ABSTRACT This dissertation offers the first comprehensive examination of the diverse inte- ractions and collaborations among Canadian modernist poets and artists, as well as the aesthetic, thematic, and idiomatic relationships between their poems and works of art. The project incorporates archival and historical research to demon- strate the interartistic nature of modernist poetry in Canada between 1930 and 1960. By establishing that paintings, sculptures, and book designs and illustrations by Canadian artists who knew and worked closely with Canadian modernist poets informed and affirmed the content and aesthetics of the poetry, the dissertation argues for a consideration of the social dimension of literary modernism in Cana- da. Chapter One investigates the personal relationship between the poet Dorothy Livesay and the artist Emily Carr and reveals the aesthetic and thematic conver- gences of their paintings and poems as they relate to landscape and affect. Chapter Two deals with the Montreal little magazines of the 1940s as interartistic sites of collaboration among artists and poets and argues that the artists‘ paintings pro- vided models of human agency for the poets. Chapter Three considers the small press movement and gallery space of the 1950s as similar sites of interartistic col- laboration and contact; it suggests that this contact inspired Canadian modernist poets to translate the aesthetic and thematic tensions of Canadian art into their poems. Chapter Four concerns both the poetry and visual art of P.K. Page-Irwin and argues that the poet addressed an ongoing aesthetic conflict in her poetry through the visual arts. Where the first chapter examines the relationship between a single poet and a single artist, the second and third chapters analyze the dynam- ics of groups of artists and poets working closely together on little magazines and Rackham ii on small press publications and encountering each others‘ work within the space of a gallery. The final chapter considers the work of a poet who is also a visual artist. This framework reveals the diversity of interartistic relationships that flou- rished throughout the rise of modernism in Canada. Rackham iii RÉSUMÉ Cette thèse de doctorat offre le premier examen approfondi des diverses interactions et collaborations parmi les poètes et les artistes modernes du Canada et les relations aesthétiques, thématiques, et idiomatiques entre leurs poèmes et leurs oeuvres d‘art. Le projet prend en compte la recherche historique et archiviste pour démontrer la nature interartistique de la poésie moderniste au Canada entre 1930 et 1960. En démontrant que les peintures, sculptures, et con- ceptions et illustrations de livres par les artistes Canadiens qui connaissaient et travaillaient de près avec les poètes modernistes du Canada ont informé et affirmé les sujets et l‘aesthetique de la poésie, cette thèse de doctorat soutient que la di- mension sociale de la litérature moderniste au Canada soit considérée. Chapître un enquête sur la relation personnelle entre la poète Dorothy Livesay et la peintre Emily Carr et révèle les convergences aesthétiques et thématiques de leurs pein- tures et poèmes comme ils se rapportent au paysagisme et aux émotions. Chapître deux traite sur le sujet des petites revues de Montréal dans les années 1940 comme étant des sites interartistiques de collaboration parmi des artistes et des poètes et soutient que les peintures par ces artistes fournissaient des modèles de l‘agence humaine pour les poètes. Chapître trois considère le mouvement de pe- tites maisons d‘édition et l‘espace des galeries d‘art dans les années 1950 comme étant de semblables sites interartistiques de collaboration et contact; il suggère que ce contact a inspiré les poètes modernistes du Canada à traduire les tensions aesthétiques et thématiques d‘art Canadien vers leurs poèmes. Chapître quatre concerne et la poésie et l‘art visuel de P.K. Page-Irwin et soutient que la poète ab- ordait un conflit aesthétique continuel dans sa poésie à travers les arts visuels. Où Rackham iv le premier chapître examine la relation entre une seule poète et une seule artiste, le deuxième et le troisième chapîtres analysent les dynamiques des groupes d‘artistes et poètes travaillant ensembles sur les petites revues et les publications de petites maisons d‘édition et qui devenaient exposés aux oeuvres des uns et des autres dans l‘espace de la galerie d‘art. Le dernier chapître considère l‘ouvrage littéraire et artistique d‘une seule poète qui est aussi une artiste visuelle. Ce cadre révèle la diversité des relations interartistiques fleurrissant durant la hausse du modernisme au Canada. Rackham v ACKNOWLEDGEMENTS My sincere and heartfelt thanks to those who supported and stood by me through- out the duration of the dissertation. First among them is my loving husband, Da- vid Hall, who encouraged me and supported me both emotionally and financially from start to finish. He also gallantly chauffeured me to remote locations to con- duct interviews and photograph artworks. To my parents, James and Diane Rack- ham, and my in-laws, Wayne Hall and Patricia Hall, I am forever grateful for your encouragement. I am also thankful for the generosity of my uncle and aunt, Ro- bert Robb and June Robb, who let me stay with them while working on this project, fed me many hearty dinners, and even prepared bagged lunches for me to bring to school: your kindness will never be forgotten. This project benefited enormously from the broad and profound know- ledge of Brian Trehearne. His inspiring enthusiasm for Canadian poetry and visu- al art, keen editorial eye, and candid advice were indispensible to the completion of this project. I am deeply grateful for his dedication, patience, and exceptional supervision. The idea for this project grew out of many conversations with Collett Tra- cey, my MA supervisor, and Michael Gnarowski, who offered preliminary guid- ance. Their passion for Canadian modernist poetry and literary history was inspi- rational and their encouragement will forever be appreciated. Jenn Macquarrie was also involved in these seminal conversations, and I am grateful for her know- ledge and assistance with interviews and early research. Of great assistance to the chapter on P.K. Page-Irwin was Zailig Pollock, who not only made his high resolution photographs of P.K. Irwin‘s paintings Rackham vi available to me, but also offered detailed information about these paintings, bio- graphical information about the artist, and insight into her interest in Sufism. He also arranged a meeting with Page at her home in 2009, where I was able to speak candidly with the artist about her artwork and view her paintings and those of oth- er artists she admired—James Wilson Morrice, Jori Smith, Portinari—hanging on her walls. Sincere thanks to Aileen Collins and Stanley Rozynski, who both gra- ciously hosted me at their homes to discuss their work with CIV/n, share their knowledge about Montreal poets and artists they knew and worked with, and show me original paintings and drawings by these artists. Thank you, also, to Max Layton, who shared with me details about his mother‘s art and information about her life in Montreal during the 1940s and 1950s. Other people offered guidance and assistance with the research and writ- ing of this project. Miranda Hickman gave me useful advice and insight on sources related to material modernism. Dean Irvine shared a catalogue of a CAS exhibition that includes an introduction by Patrick Anderson. Sandra Djwa gra- ciously provided me with excerpts from a draft of her unpublished biography on P.K. Page and her general knowledge about Page‘s interest in the visual arts and relationships with artists, such as Jori Smith. Nathalie Cooke read an early draft of Chapter Two and provided some helpful direction. Jeff Weingarten read drafts of a few of the chapters and offered his keen advice and assistance as an editor. Joel Deshaye pointed out a few sources on poet-artist relationships in Canada. Emily Ballantyne shared her MA thesis and discussed P.K. Irwin‘s artwork with me. I am grateful for each of their generosity, advice, and our wonderful conversations. Rackham vii Other students and organizations contributed less directly, but nonetheless helpfully, to the completion of this project. Sarah Skoronski benevolently hosted me in Montreal on numerous occasions while working on this project. Emily Es- sert and Caroline Krzakowski were wonderful listeners as well as fonts of infor- mation about British and American modernism. I am also grateful to the Editing Modernism in Canada (EMiC) project for funding my participation in seminars and conferences related to my work on P.K. Irwin. The EMiC community, fur- thermore, has been incredibly supportive of this project, and I would like to thank its numerous members for their candid conversations, invaluable insight, and sharp advice.
Load more

Recommended publications
  • Open Wide a Wilderness Canadian Nature Poems
    Open Wide a Wilderness Canadian Nature Poems Edited by NANCY HOLMES Introduction by DON MCKAY Wilfrid Laurier University Press IfwuTH Contents xv PREFACE xvii ACKNOWLEDGEMENTS I INTRODUCTION: "GREAT FLINT SINGING" BY DON MCKAY THE POEMS 35 Thomas Cary from Abram's Plain 38 Adam Allan A Description of the Great Falls, of the River Saint lohn, in the Province of New Brunswick 40 Ann Cuthbert Knight from A Year in Canada 41 Adam Hood Burwell from Talbot Road 44 Standish O'Grady from The Emigrant 46 Adam Kidd from The Huron Chief 48 William Kirby from The U.E., "Niagara" 50 Alexander McLachlan The Hall of Shadows 53 Charles Sangster from The St. Lawrence and theSaguenay 55 George Martin The lewelled Trees 57 Charles Mair The Last Bison 63. Isabella V.Crawford The Lily Bed 65 Isabella V. Crawford from Malcolm's Katie 67 Ethelwyn Wetherald Unheard Niagaras 68 Ethelwyn Wetherald The Horned Larks in Winter 69 Susan Frances Harrison Rhapsodie (II) [Seranus] 70 Susan Frances Harrison A Canadian Anthology [Seranus] 73 Wilfred Campbell Indian Summer 74 Wilfred Campbell How One Winter Came in the Lake Region 75 Charles G. D. Roberts The Clearing 76 Charles G. D. Roberts from'Ave!" 80 Charles G. D. Roberts The Skater 81 Bliss Carman A Vagabond Song 82 Bliss Carman Vestigia 83 Pauline Johnson The Flight of the Crows (Tekahionwake) 85 Pauline Johnson The Camper (Tekahionwake) 86 Archibald Lampman Freedom 88 Archibald Lampman In November 90 Archibald Lampman To the Ottawa River 91 Archibald Lampman On the Companionship with Nature 92 Frederick G.
    [Show full text]
  • Expositions Personnelles
    Jean Paul Riopelle Est né à Montréal en 1923. Il est décédé en 2002 à L’Isle-aux-Grues au Québec. EXPOSITIONS PERSONNELLES 1949 Riopelle à la Dragonne, Galerie Nina Dausset, Paris, cat. Texte : Aparté entre Elisa Breton, André Breton et Benjamin Péret 1951 Studio Paul Facchetti, Paris, exposition présentée par Michel Tapié 1953 Galerie Pierre et Galerie Craven, Paris, exposition présentée et préfacée par Pierre Loeb, cat., poème de Nicole Derlon 1954 Riopelle, First American Exhibition, Pierre Matisse Gallery, New York, cat., texte de Georges Duthuit, traduit par Samuel Beckett Galerie Marcel Évrard, Roubaix Riopelle, Galerie Rive droite, Paris, cat., texte de Georges Duthuit 1955 Jean Paul Riopelle, Exhibition of recent paintings and watercolors, Pierre Matisse Gallery, New York 1956 Jean Paul Riopelle, Paintings, Gouaches, Watercolours, (Paintings 1948-1956), Gimpel Fils Gallery, Londres Riopelle, Paintings, Gouaches, Watercolors, Pierre Matisse Gallery, New York, cat. Riopelle, Œuvres récentes, Galerie Jacques Dubourg, Paris, cat., texte de Pierre Schneider 1957 Galerie Dominion, Montréal. 1958 Riopelle, Kölnischer Kunstverein, Cologne, cat. Riopelle, Anne Abels Galerie, Cologne, cat. Riopelle, Kunst in Museumverein, Wuppertal, cat. Riopelle, Kestner Gesellschaft, Hanovre, cat. 1959 Svensk-Franska Konsgalleriet, Stockholm. Paintings 1949-1959, Arthur Tooth & Sons Gallery, Londres, cat., texte de Pierre Boudreau Riehentor Galerie, Bâle. Riopelle, Galerie Anne Abels, Cologne, cat., texte d’Edouard Trier 1960 Galerie Jacques Dubourg et Galerie Kléber, Paris, cat., texte de Pierre Schneider Galleria dell’Ariete, Milan, cat. Dipindi di Riopelle, Notizie Associazione Arte Figurative, Turin, cat., texte de Pierre Schneider 1961 Galerie Benador, Genève, cat. Riopelle, Roberts Gallery, Toronto 1962 Riopelle, Sculptures, Galerie Jacques Dubourg, Paris, cat., texte de Pierre Schneider Riopelle, Biennale de Venise, cat., textes de Franco Russoli, Guy Viau, J.
    [Show full text]
  • 1920S Modernism and Twenty-First-Century Modern Angst: AGH Winter Exhibitions Explore the Work of Visionary Artists
    1920s Modernism and Twenty-First-Century Modern Angst: AGH Winter exhibitions explore the work of visionary artists Hamilton, February 10, 2016 -- Two upcoming exhibitions at the Art Gallery of Hamilton highlight the works of artists who dared to offer a new vision. 1920s Modernism in Montreal: The Beaver Hall Group – on view from February 20 to May 8, 2016 -- explores the works of some of Canada’s most avant-garde artists of the time, and stresses its unique role in developing women artists. Fearful Symmetry: The Art of John Scott – on view from February 6 to May 15, 2016 – showcases three decades of powerful work by an artist who championed the plight of the worker as a human tool in the face of global industry. [From left: Adrien Hébert (1890-1967) Saint Catherine Street, 1926, oil on canvas, 81.5 x 102.2 cm, Archambault family, Photo MMFA, Christine Guest | Lilias Torrance Newton (1896-1980), Nude in the Studio, 1933, oil on canvas, 203.2 x 91.5 cm, Collection A. K. Prakash, Estate of Lilias Torrance Newton © NGC Photo Thomas Moore | Prudence Heward (Canadian 1896-1947) At the Theatre 1928, oil on canvas, 101.6 x 101.6 cm, Montreal Museum of Fine Arts, purchase, Horsley and Annie Townsend Bequest Photo: MMFA, Christine Guest “1920s Modernism in Montreal: The Beaver Hall Group is the first comprehensive exhibition to examine the impact and complexity of one of Canada and Quebec’s most significant group of artists,” says AGH President and CEO Shelley Falconer. “A counterpart to Ontario’s Group of Seven, the more than 130 works by many of Canada’s leading artists represent a multiplicity of perspectives on Montreal modernism including portraits and urban landscapes.
    [Show full text]
  • Borderline Research
    Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Adam Douglas Swinton Welch 2019 Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch Doctor of Philosophy Department of Art University of Toronto 2019 Abstract Taking General Idea’s “Borderline Research” request, which appeared in the first issue of FILE Megazine (1972), as a model, this dissertation presents a composite set of histories. Through a comparative case approach, I present eight scenes which register and enact larger political, social, and aesthetic tendencies in art between Canada and the United States from 1965 to 1975. These cases include Jack Bush’s relationship with the critic Clement Greenberg; Brydon Smith’s first decade as curator at the National Gallery of Canada (1967–1975); the exhibition New York 13 (1969) at the Vancouver Art Gallery; Greg Curnoe’s debt to New York Neo-dada; Joyce Wieland living in New York and making work for exhibition in Toronto (1962–1972); Barry Lord and Gail Dexter’s involvement with the Canadian Liberation Movement (1970–1975); the use of surrogates and copies at the Nova Scotia College of Art and Design (1967–1972); and the Eternal Network performance event, Decca Dance, in Los Angeles (1974). Relying heavily on my work in institutional archives, artists’ fonds, and research interviews, I establish chronologies and describe events. By the close of my study, in the mid-1970s, the movement of art and ideas was eased between Canada and the United States, anticipating the advent of a globalized art world.
    [Show full text]
  • Martinson Nomadism.Pdf
    due punti •• 52 © 2017, Pagina soc. coop., Bari Le avanguardie dei Paesi nordici nel contesto europeo del primo Novecento The Nordic Avant-gardes in the European Context of the Early 20th Century Atti del Convegno Internazionale di Studi Roma, 22-24 ottobre 2015 a cura di / edited by Anna Maria Segala, Paolo Marelli, Davide Finco Per informazioni sulle opere pubblicate e in programma rivolgersi a: Edizioni di Pagina via dei Mille 205 - 70126 Bari tel. e fax 080 5586585 http://www.paginasc.it e-mail: [email protected] facebook account http://www.facebook.com/edizionidipagina twitter account http://twitter.com/EdizioniPagina Le avanguardie dei Paesi nordici nel contesto europeo del primo Novecento The Nordic Avant-gardes in the European Context of the Early 20th Century Atti del Convegno Internazionale di Studi Roma, 22-24 ottobre 2015 a cura di / edited by Anna Maria Segala, Paolo Marelli, Davide Finco È vietata la riproduzione, con qualsiasi mezzo effettuata, compresa la fotocopia. Per la legge italiana la fotocopia è lecita solo per uso personale purché non danneggi l’autore. Quindi ogni fotocopia che eviti l’acquisto di un libro è illecita e minaccia la sopravvivenza di un modo di trasmettere la conoscenza. Chi fotocopia un libro, chi mette a disposizione i mezzi per fotocopiare, chi favorisce questa pratica commette un furto e opera ai danni della cultura. Finito di stampare nell’ottobre 2017 dalle Arti Grafiche Favia s.r.l. - Modugno (Bari) per conto di Pagina soc. coop. ISBN 978-88-7470-580-1 ISSN 1973-9745 Contents Anna Maria Segala, Paolo Marelli, Davide Finco Preface 9 Anna Maria Segala The Dialectic Position of the Nordic Avant-gardes 11 SECTION 1 The Precursors Björn Meidal Strindberg and 20th Century Avant-garde Drama and Theatre 25 Kari J.
    [Show full text]
  • Newsletter Template 2015
    nouvelles news January-February 2016 janvier-fevrier Events this Month All Sunday services start at 10:30 am unless otherwise specified. We have an active children's program during our Sunday service, at which all children are warmly welcome January 8, 5:30 p.m. Friday, January 22, 7:00 p.m. “Welcome Families! Potluck supper and Saturday, January 23, 7:00 pm discussion” “Coffee House & Play Reading: The Cruellest Month” Potluck supper and discussion for young families (and Coffee House & theatrical reading of a radio play those who enjoy being with them), with child care based on The Cruellest Month,a novel by mystery offered for children. Coffee, tea and juice are offered. writer Louise Penny and adapted by Eric Alexandre. Bring a dish to share. RSVP to Amanda.hillenburg @ Directed by Phyllis Baxter, with a cast of 14 characters gmail.com, [email protected], or and sound effects, in a coffee house ambiance. Repeat wildflowergrowing @ hotmail.com . *Downstairs in performances Friday and Saturday. Doors open at 6:30 Stoddard Hall. p.m.; refreshments available at reasonable cost. January 10 Tickets: $15/performance. Benefit for UUEstrie and Rev. Carole Martignacco Syrian refugees. To buy tickets: 819-842-4146 or [email protected]. “Beyond Protest ~ A New Era of Activism” From the decades of anti-this and anti-that, a deeper January 24 wisdom is welling up. It is not enough to protest Prof. Bruce Gilbert injustice, as our resistance too often is dominated by “Excess Is the Pathway to Wisdom” the very shape of what we protest. Instead, we are British romantic poet William Blake (1757-1827) called to be innovators, shape-changers in a world that believed that the if the doorways of perception could longs to be reinvented.
    [Show full text]
  • A Voice of English-Montreal the First Twenty Years of Véhicule Press
    A Voice of English-Montreal The First Twenty Years of Véhicule Press, 1973–1993 Amy Hemond Department of English McGill University, Montreal April 2019 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts © Amy Hemond 2019 Hemond ii Table of Contents Abstract ................................................................................................................................................................ iii Résumé ................................................................................................................................................................. iv Acknowledgements ............................................................................................................................................... v Introduction ........................................................................................................................................................... 6 The Véhicule fonds .................................................................................................................................................. 13 The History of English-Quebec Publishing ............................................................................................................... 16 Discussion ................................................................................................................................................................ 26 Chapter 1: The Poetic Prelude to a Small Press, 1972–1976 ................................................................................
    [Show full text]
  • Difficulty in the Origins of the Canadian Avant-Garde Film
    CODES OF THE NORTH: DIFFICULTY IN THE ORIGINS OF THE CANADIAN AVANT-GARDE FILM by Stephen Broomer Master of Arts, York University, Toronto, Canada, 2008 Bachelor of Fine Arts, York University, Toronto, Canada, 2006 A dissertation presented to Ryerson University and York University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Joint Program in Communication and Culture Toronto, Ontario, Canada, 2015 © Stephen Broomer, 2015 Author’s Declaration I hereby declare that I am the sole author of this dissertation. This is a true copy of the dissertation, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this dissertation to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this dissertation by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my dissertation may be made electronically available to the public. ii Codes of the North: Difficulty in the Origins of the Canadian Avant-Garde Film Stephen Broomer Doctor of Philosophy in Communication and Culture, 2015 Ryerson University and York University Abstract This dissertation chronicles the formation of a Canadian avant-garde cinema and its relation to the tradition of art of purposeful difficulty. It is informed by the writings of George Steiner, who advanced a typology of difficult forms in poetry. The major works of Jack Chambers (The Hart of London), Michael Snow (La Region Centrale), and Joyce Wieland (Reason Over Passion) illustrate the ways in which a poetic vanguard in cinema is anchored in an aesthetic of difficulty.
    [Show full text]
  • [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.
    [Show full text]
  • 26727 Consignor Auction Catalogue Template
    Auction of Important Canadian & International Art September 24, 2020 AUCTION OF IMPORTANT CANADIAN & INTERNATIONAL ART LIVE AUCTION THURSDAY, SEPTEMBER 24TH AT 7:00 PM ROYAL ONTARIO MUSEUM 100 Queen’s Park (Queen’s Park at Bloor Street) Toronto, Ontario ON VIEW Please note: Viewings will be by appointment. Please contact our team or visit our website to arrange a viewing. COWLEY ABBOTT GALLERY 326 Dundas Street West, Toronto, Ontario JULY 8TH - SEPTEMBER 4TH Monday to Friday: 9:00 am to 5:00 pm SEPTEMBER 8TH - 24TH Monday to Friday: 9:00 am to 5:00 pm Saturdays: 11:00 am to 5:00 pm Sunday, September 20th: 11:00 am to 5:00 pm 326 Dundas Street West (across the street from the Art Gallery of Ontario) Toronto, Ontario M5T 1G5 416-479-9703 | 1-866-931-8415 (toll free) | [email protected] 2 COWLEY ABBOTT | September Auction 2020 Cowley Abbott Fine Art was founded as Consignor Canadian Fine Art in August 2013 as an innovative partnership within the Canadian Art industry between Rob Cowley, Lydia Abbott and Ryan Mayberry. In response to the changing landscape of the Canadian art market and art collecting practices, the frm acts to bridge the services of a retail gallery and auction business, specializing in consultation, valuation and professional presentation of Canadian art. Cowley Abbott has rapidly grown to be a leader in today’s competitive Canadian auction industry, holding semi-annual live auctions, as well as monthly online Canadian and International art auctions. Our frm also ofers services for private sales, charity auctions and formal appraisal services, including insurance, probate and donation.
    [Show full text]
  • Poesier & Kombinationer Bruno K. Öijers Intermediala Poesi Askander
    Poesier & kombinationer Bruno K. Öijers intermediala poesi Askander, Mikael 2017 Document Version: Förlagets slutgiltiga version Link to publication Citation for published version (APA): Askander, M. (2017). Poesier & kombinationer: Bruno K. Öijers intermediala poesi. (Lund Studies in Arts and Cultural Sciences; Vol. 12). Lund University. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Mikael Askander Poesier & kombinationer BRUNO K. ÖIJERS INTERMEDIALA POESI LUND STUDIES IN ARTS AND CULTURAL SCIENCES 12 Bruno K. Öijer är ett av de mest centrala namnen i den moderna svenska litteraturen. Alltifrån debuten 1973, med diktsamlingen Sång för anarkismen, till idag har hans dikter nått stora skaror av läsare.
    [Show full text]
  • ECLECTIC DETACHMENT Aspects of Identity in Canadian Poetry
    ECLECTIC DETACHMENT Aspects of Identity in Canadian Poetry A. J. M. Smith I,N THE CLOSING PARAGRAPHS of the Introduction to The Oxford Book of Canadian Verse I made an effort to suggest in a phrase that I hoped might be memorable a peculiar advantage that Canadian poets, when they were successful or admirable, seemed to possess and make use of. This, of course, is a risky thing to do, for what one gains in brevity and point may very well be lost in inconclusiveness or in possibilities of misunderstanding. A thesis needs to be demonstrated as well as stated. In this particular case I think the thesis is implicit in the poems assembled in the last third of the book — and here and there in earlier places too. Nevertheless, I would like to develop more fully a point of view that exigencies of space confined me previously merely to stating. The statement itself is derived from a consideration of the characteristics of Canadian poetry in the last decade. The cosmopolitan flavor of much of the poetry of the fifties in Canada derives from the infusion into the modern world of the archetypal patterns of myth and psychology rather than (as in the past) from Christianity or nationalism. After mentioning the names of James Reaney, Anne Wilkinson, Jay Macpherson, and Margaret Avison—those of the Jewish poets Eli Mandel, Irving Layton, and Leonard Cohen might have been added—I went on to say : The themes that engage these writers are not local or even national; they are cos- mopolitan and, indeed, universal.
    [Show full text]