Fernand Leduc Painter of Light
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The National Gallery of Canada: a Hundred Years of Exhibitions: List and Index
Document generated on 09/28/2021 7:08 p.m. RACAR : Revue d'art canadienne Canadian Art Review The National Gallery of Canada: A Hundred Years of Exhibitions List and Index Garry Mainprize Volume 11, Number 1-2, 1984 URI: https://id.erudit.org/iderudit/1074332ar DOI: https://doi.org/10.7202/1074332ar See table of contents Publisher(s) UAAC-AAUC (University Art Association of Canada | Association d'art des universités du Canada) ISSN 0315-9906 (print) 1918-4778 (digital) Explore this journal Cite this article Mainprize, G. (1984). The National Gallery of Canada: A Hundred Years of Exhibitions: List and Index. RACAR : Revue d'art canadienne / Canadian Art Review, 11(1-2), 3–78. https://doi.org/10.7202/1074332ar Tous droits réservés © UAAC-AAUC (University Art Association of Canada | This document is protected by copyright law. Use of the services of Érudit Association d'art des universités du Canada), 1984 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ The National Gallery of Canada: A Hundred Years of Exhibitions — List and Index — GARRY MAINPRIZE Ottawa The National Gallerv of Canada can date its February 1916, the Gallery was forced to vacate foundation to the opening of the first exhibition of the muséum to make room for the parliamentary the Canadian Academy of Arts at the Clarendon legislators. -
Canada in Venice an ESSAY by GENEVIEVE FARRELL
Canada In Venice AN ESSAY BY GENEVIEVE FARRELL First held in 1895, La Biennale di Venezia was organized in an effort to of works from its permanent collection by artists who have rebrand the decaying city of Venice. Emphasizing the country’s active represented Canada at the Venice Biennale) the exhibitors have been contemporary art scene, the event aimed to fuel tourism (the city’s predominantly white males hailing from Ontario or Quebec. Of the only remaining industry) while propelling Italian art and artists into the 65 artists who have represented the nation thus far, only 10 have 20th century. Drawing in over 200,000 visitors, the overwhelmingly been women. Rebecca Belmore remains the only female Indigenous popular and commercial success of this exhibition propelled the city artist to represent the nation (2005), and while no woman of color has to establish foreign country pavilions within their “Padiglione Italia” exhibited in the Canadian Pavilion, the choreographer Dana Michel (or “Giardini” / “Central Pavilion”). The Venice Biennale has continued became the first Canadian to win a Silver Lion (life time achievement to grow, to become a much larger event where countries exhibit award) at the Venice Dance Biennale in 2017. While these statistics the best of their nations’ contemporary cultural production. After are not atypical when one looks at the history of Biennale exhibitors surviving two world wars and much political upheaval, the biennale from other participating nations, the information should provoke is now a foundation that not only runs a bi-annual contemporary serious reflection on the historic political and cultural values of art exhibition, but also the Architecture Biennale, the Venice Film western nations. -
Denyse Delrue, Estelle Hecht, Agnès Lefort Et Rose Millman
UNIVERSITÉ DU QUÉBEC À MONTREAL LE PARCOURS DE FORMATION ET LES STRATÉGIES DE DIFFUSION DE FEMMES GALERlSTES À MONTRÉAL ENTRE 1941 ET 1963 : DENYSE DELRUE, ESTELLE HECHT, AGNÈS LEFORT ET ROSE MILLMAN MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN ÉTUDES DES ARTS PAR GENEVIÈVE LAFLEUR JANVIER 20 II UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de ce mémoire se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.01-2006). Cette autorisation stipule que «conformément à l'article 11 du Règlement no 8 des études de cycles supérieurs, [l'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication .de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l'auteur] autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire.» REMERCIEMENTS Mes premiers remerciements vont à ma directrice, Thérèse St-Gelais, dont les conseils avisés m'ont guidée tout au long de ce projet. -
Proquest Dissertations
Atlantic Canadian Representation in the National Gallery of Canada's Biennial Exhibitions of Canadian Art (1953-1968) by Suzanne A. Crowdis, BFA (Concordia University, 2004) School for Studies in Art and Culture, Department of Art History A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts in Art History Carleton University OTTAWA, Ontario © 2010, Suzanne A. Crowdis Library and Archives Bibliothgque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'gdition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-71604-5 Our file Notre reference ISBN: 978-0-494-71604-5 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
1966-67-Annual-Report.Pdf
110th ANNUAL REPORT THE CANADA COUNCIL 1966-67 &si?ciafe Direclor P.M. DWIER THE CANADA COUNCIL Honourable Judy LaMarsh, Secretary of State of Canada, Ottawa, Canada. Madam, 1 have the honour to transmit herewith, for submission to Parliament, the Report of The Canada Council for the fiscal year ending March 31, 1967, as required by section 23 of the Canada Council Act (5-6 Elizabeth II, 1957, Chap. 3). 1 am, Madam, Yours very truly, I June 30, 1967. THE CANADA Oneforty Wellington Street ) Members JEAN MARTINEAU (Chuimzn) MME ANNETTE LASALLE-LEDUC J. FRANCIS LEDDY (Vice-Chaimzn) NAPOLEON LEBLANC MURRAY ADASIUN DOUGLAS V. LEPAN JEAN ADRIEN ARSENAUL.T C. J. MACXENZIE ALEX COLVILLE TREVOR F. MOORE J. A. CORRY GILLES PELLETIER MRS. W. J. DORRANCE MISS KATHLEEN RICHARDSON MRS. STANLEY DOWHAN CLAUDE ROBILLARD W. P. GREGORY 1. A. RUMBOLDT HENRY D. HICKS SAMUEL STEINBERG STUART KEATE ) Investment Committee J. G. HUNGERFORD (Chairman) JEAN MARTINEAU G. ARNOLD HART TREVOR F. MOORE LOUIS HEBERT ) officefs JEAN BOUCHER, Director PETER M. DWYER, Associate Director F. A. MILLIGAN, Assistant Director ANDRE FORTIER, Assistant Director and Treasurer LILLJAN BREEN, Secretury JULES PELLETIER, Chief, Awards Section GERALD TAAFFE, Chief, Znformotion Services DAVID W. BARTLETT, SecretarpGeneral, Canadian National Commission for Unesco COUNCIL Ottawa 4 ) Advisory Bodies ACADEMIC PANEL JOHN F. GRAHAM (Chairman) BERNARD MAILHIOT EDMUND BERRY J. R. MALLORY ALBERT FAUCHER W. L. MORTON T. A. GOUDGE MALCOLM M. ROSS H. B. HAWTHORN CLARENCE TRACY J. E. HODGETTS MARCEL TRUDEL W. C. HOOD NAPOLEON LEBLANC MAURICE L’ABBE DOUGLAS V. LEPAN ADVISORY ARTS PANEL VINCENT TOVELL (Chairman) HERMAN GEIGER-TOREL LOUIS APPLEBAUM GUY GLOVER JEAN-MARIE BEAUDET WALTER HERBERT B. -
Summaries of the Articles
Document generated on 09/26/2021 11:20 a.m. Vie des arts Summaries of the Articles Number 44, Fall 1966 URI: https://id.erudit.org/iderudit/58373ac See table of contents Publisher(s) La Société La Vie des Arts ISSN 0042-5435 (print) 1923-3183 (digital) Explore this journal Cite this article (1966). Summaries of the Articles. Vie des arts, (44), 97–103. Tous droits réservés © La Société La Vie des Arts, 1966 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ SUMMARIES OF THE ARTICLES Translation by BILL TRENT tbe Canadian carrefour BY GILLES HÉNAULT Apart from artist-architect collaboration, it is of interest that once In the world of art, Canada is a carrefour, a sort of meeting place a building is completed, the owners automatically search out the of the great aesthetic currents of Europe and America, a part of the art vendors. An interesting example is the C.I.L. collection. But Paris-New York-San Francisco axis. Long the disciples of a pictur company officials also call on the artists when it comes time to esque provincialism, Canadian painters have for the past 20 years decorate their offices. -
Consignor Canadian Fine Art Auctioneers & Appraisers
CONSIGNOR CANADIAN FINE ART AUCTIONEERS & APPRAISERS Auction of Important Canadian Art November 22, 2016 FALL AUCTION OF IMPORTANT CANADIAN ART LIVE AUCTION Tuesday, November 22nd at 7:00 pm The Berkeley Church 315 Queen Street East (Queen St. E at Berkeley St.) Toronto, Ontario M5A 1S7 ON VIEW November 1st – 19th Monday to Friday: 9:00 am to 5:00 pm Saturdays: 11:00 am to 5:00 pm November 20th – 22nd Sunday, November 20th: 11:00 am to 5:00 pm Monday, November 21st: 9:00 am to 5:00 pm Tuesday, November 22nd: 9:00 am to 2:00 pm Consignor Gallery 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] Consignor Canadian Fine Art presents an innovative partnership within the Canadian art industry. The venture acts to bridge the services of the retail gallery and auction businesses in Canada with a team of art industry professionals who not only specialize in consultation, valuation, and professional presentation of Canadian art, but who also have unparalleled reputations in providing exceptional service to the specialized clientele. Mayberry Fine Art partner Ryan Mayberry and auction industry veterans Rob Cowley and Lydia Abbott act as the principals of Consignor Canadian Fine Art, a hybridized business born in response to the changing landscape of the Canadian art industry. Apart from the sales of artwork through auction and private means, Consignor Canadian Fine Art also provides professional appraisal and consultation services, serving clientele through a wide range of purposes, including insurance, probate, and donation. -
(Title of the Thesis)*
“ODDBALLS AND ECCENTRICS” (“LES HIRSUTES ET LES EXCENTRIQUES”): VISUAL ARTS AND ARTISTS IN THE POPULAR PRESS IN POST-WAR CANADA by Debra Anne Antoncic A thesis submitted to the Department of Art In conformity with the requirements for the degree of Doctor of Philosophy Queen‟s University Kingston, Ontario, Canada (May 2011) Copyright © Debra Anne Antoncic, 2011 Abstract This dissertation examines the representation of visual arts and artists in two popular Canadian magazines. It is based on case studies of the Montréal-based Le petit journal, a French-language magazine, and the Toronto-based English-language publication Star Weekly, from 1945 to 1968. Both were weekly magazines with large readerships and included content for the entire family. Neither was devoted to visual arts but both carried photographs and articles that engaged with broad issues in the field of visual arts. As such, they represent a cross-section of ideas and perspectives that is very different from those of daily newspapers or of publications explicitly devoted to the arts. In addition, both implicitly claimed a national perspective by including articles and information about different regions of Canada. In this way, although in reality the two publications constitute a central Canadian perspective, inflected in each case by the particularities of their provincial locations, they claimed a national vision. In contrast to existing research concerning art journals and art critics in Canada, my investigation involves the ownership and editorial direction of these two popular magazines. By analyzing the content of the magazines across more than two decades, I am able to identify shifts in outlook as they occurred and consider them in the context of the period. -
Decolonizing the Story of Art in Canada: a Storied Approach to Art for an Intercultural, More-Than-Human World
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2014-08-15 Decolonizing the Story of Art in Canada: A Storied Approach to Art for an Intercultural, More-Than-Human World Patenaude, Troy Robert Charles Patenaude, T. R. (2014). Decolonizing the Story of Art in Canada: A Storied Approach to Art for an Intercultural, More-Than-Human World (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/25532 http://hdl.handle.net/11023/1684 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Decolonizing the Story of Art in Canada: A Storied Approach to Art for an Intercultural, More-Than-Human World by Troy Patenaude A THESIS SUBMITTED TO THE FACULTY OF ARTS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF COMMUNICATION AND CULTURE CALGARY, ALBERTA AUGUST, 2014 © Troy Patenaude 2014 ii Abstract The master narrative dominating the field of Canadian art history has continually privileged Eurocentric, colonialist ways of knowing. Many art historians and critics have called for a new story, but nothing to date has been proposed. This dissertation marks the first attempt at re-envisioning the story of art in Canada. -
A Wigwam in Venice: the National Gallery of Canada Builds a Pavilion, 1954-1958
ANALYSIS I ANALYSE A WIGWAM IN VENICE: THE NATIONAL GALLERY OF CANADA BUILDS A PAVILION, 1954-1958 MICHELANGELO SABATINO (Ph.O.J is Assistant >MICHELANGELO SABATIN0 1 Professor at the Gerald D . Hines College of ArchitectUI'e of the University of Houston. His publications have appea1'ed in "Casabella," "Harvard Design Magazine," "Rotunda," and "JSAH." He has contributed an essay to Foro ltalico (20031 Ca nada has built an intricate wigwam of and co-edited II nuovo e if moderno in architettura glass and wood around a t ree, presumabl y to symbol ize lov e o f nature. In tru th, 12001 J. Sabatino's forthcoming book is entitled perhaps all the p avili ons are, to some Or'dinary Things: Folk Art and Architecture in Italian extent, folkloric. Modernism. - Lawrence Alloway, The Venice 8 iennale 1895-1968. Canada's first permanent international pavilion for the display of art opened to the general public on the grounds of the Venice Biennale in June 1958.' The Milanese architectural firm Studio Architetti BBPR designed the brick, glass, wood, and steel wigwam-like structure on commission from the National Gallery of Canada acting on behalf of the Cana dian Government (figs. 1-3). The pavilion opened the same year in which BBPR's controversial Milanese Torre Velasca and Brussels Pavilion were completed. The English critic Reyner Banham hailed those two works as evidence of Italy's "retreat" from the modern.3 Compared with the international style Canadian Pavilion by Charles Greenberg at the 1958 Brussels World's Fair, the Venice Pavilion offers a distinct Canadian character for spec tators to contemplate. -
Post-War & Contemporary
post-wAr & contemporAry Art Sale Wednesday, May 25, 2016 · 4 PM · VancouVer Post-wAr & contemPorAry Art Auction Wednesday, May 25, 2016 4 PM Post-War & Contemporary Art 7 PM Fine Canadian Art Vancouver Convention Centre West Burrard Entrance, Room 211 1055 Canada Place, Vancouver Previews Galerie Heffel, Montreal 1840 Rue Sherbrooke Ouest Thursday, May 5 through Saturday, May 7, 11 am to 6 pm Heffel Gallery, Toronto 13 & 15 Hazelton Avenue Thursday, May 12 through Saturday, May 14, 11 am to 6 pm Heffel Gallery, Vancouver 2247 Granville Street Saturday, May 21 through Tuesday, May 24, 11 am to 6 pm Wednesday, May 25, 10 am to noon Heffel GAllery, vAncouver 2247 Granville Street, Vancouver British Columbia, Canada V6H 3G1 Telephone 604-732-6505 Fax 604-732-4245 Toll Free 1-800-528-9608 www.heffel.com Heffel Fine Art Auction House Heffel.com Departments A Division of Heffel Gallery Limited consiGnments vAncouver [email protected] 2247 Granville Street, Vancouver, British Columbia V6H 3G1 APPrAisAls Telephone 604-732-6505, Fax 604-732-4245 [email protected] E–mail: [email protected], Internet: www.heffel.com Absentee And telePHone biddinG Calgary [email protected] 888 4th Avenue SW, Unit 609, Calgary, Alberta T2P 0V2 Telephone 403-238-6505, Fax 403-265-4225 sHiPPinG [email protected] toronto 13 & 15 Hazelton Avenue, Toronto, Ontario M5R 2E1 subscriPtions Telephone 416-961-6505, Fax 416-961-4245 [email protected] ottAwA 451 Daly Avenue, Ottawa, Ontario K1N 6H6 CatAloGue subscriPtions Telephone 613-230-6505, Fax 613-230-8884 Heffel Fine Art Auction House and Heffel Gallery Limited montreAl regularly publish a variety of materials beneficial to the art 1840 rue Sherbrooke Ouest, Montreal, Quebec H3H 1E4 collector. -
L'art Québécois Contemporain Au Musée / Quebec Contemporary Art in the Museum
Document généré le 24 sept. 2021 02:23 Vie des arts L'art québécois contemporain au Musée Quebec Contemporary Art in the Museum Germain Lefebvre Volume 20, numéro 82, printemps 1976 URI : https://id.erudit.org/iderudit/55032ac Aller au sommaire du numéro Éditeur(s) La Société La Vie des Arts ISSN 0042-5435 (imprimé) 1923-3183 (numérique) Découvrir la revue Citer cet article Lefebvre, G. (1976). L'art québécois contemporain au Musée / Quebec Contemporary Art in the Museum. Vie des arts, 20(82), 39–91. Tous droits réservés © La Société La Vie des Arts, 1976 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ L'événement 1. Pierre AYOT . .. et boule de gomme. Sérigraphie; 76 cm 3 x 56,5. (Don des Presses de l'Université du Québec) En octobre 1940, l'Art Association of Mon rechercher les pièces manquantes. Ainsi, le treal, devenue depuis le Musée des Beaux- tableau Les Pensées d'Alfred Pellan, des an Arts de Montréal, présente une importante ex nées 1935-1940, vient combler, en 1956, un vide position des travaux d'Alfred Pellan, récem malheureux.