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Franklin Carmichael's Representation of The
TRANSCENDENTAL NATURE AND CANADIAN NATIONAL IDENTITY: FRANKLIN CARMICHAEL’S REPRESENTATION OF THE CANADIAN LANDSCAPE by NICOLE MARIE MCKOWEN Submitted to the Faculty Graduate Division College of Fine Arts Texas Christian University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2019 TRANSCENDENTAL NATURE AND CANADIAN NATIONAL IDENTITY: FRANKLIN CARMICHAEL’S REPRESENTATION OF THE CANADIAN LANDSCAPE Thesis Approved: ______________________________________________________________________________ Major Professor, Dr. Mark Thistlethwaite, Kay and Velma Kimbell Chair of Art History ______________________________________________________________________________ Dr. Frances Colpitt, Deedie Rose Chair of Art History ______________________________________________________________________________ Dr. Meredith Munson, Lecturer, Art History at University of Texas, Arlington ______________________________________________________________________________ Dr. Joseph Butler, Associate Dean for the College of Fine Arts Date ii iii Acknowledgements I would like to express my gratitude to my committee chair Dr. Mark Thistlethwaite and my committee members Dr. Frances Colpitt and Dr. Meredith Munson for their time and guidance throughout the writing of this thesis. I am also grateful to all of the faculty of the Art History Division of the School of Art at Texas Christian University, Dr. Babette Bohn, Dr. Lori Diel, and Dr. Jessica Fripp, for their support of my academic pursuits. I extend my warmest thanks to Catharine Mastin for her support of my research endeavors and gratefully recognize archivist Philip Dombowsky at the National Gallery of Canada, archivist Linda Morita and registrar Janine Butler at the McMichael Canadian Art Collection, and the archivists at the Library and Archives Canada for their enthusiastic aid throughout my research process. Finally, I am indebted to my husband and family, my champions, for their unwavering love and encouragement. -
Correspondence, Research Notes and Papers, Articles
MS BANTING (FREDERICK GRANT, SIR) PAPERS COLL Papers 76 Chronology Correspondence, research notes and papers, articles, speeches, travel journals, drawings, and sketches, photographs, clippings, and other memorabilia, awards and prizes. Includes some papers from his widow Henrietta Banting (d. 1976). 1908-1976. Extent: 63 boxes (approx. 8 metres) Part of the collection was deposited in the Library in 1957 by the “Committee concerned with the Banting Memorabilia”, which had been set up after the death of Banting in 1941. These materials included papers from Banting’s office. At the same time the books found in his office (largely scientific and medical texts and journals) were also deposited in the University Library. These now form a separate collection in the Thomas Fisher Rare Book Library. The remainder of the collection was bequeathed to the Thomas Fisher Rare Book Library by Banting’s widow, Dr. Henrietta Banting, in 1976. This part of the collection included materials collected by Henrietta Banting for her projected biography of F.G. Banting, as well as correspondence and memorabilia relating to her won career. Researchers who wish to publish extensively from previously unpublished material from this collection should discuss the question of literary rights with: Mrs. Nancy Banting 12420 Blackstock Street Maple Ridge, British Columbia V2X 5N6 (1989) Indicates a letter of application addressed to the Director, Thomas Fisher Rare Book Library, is needed due to fragility of originals or confidential nature of documents. 1 MS BANTING (FREDERICK GRANT, SIR) PAPERS COLL Papers 76 Chronology 1891 FGB born in Alliston, Ont. To Margaret (Grant) and William Thompson Banting. -
Tom Thomson's Paintings Are Frequently Reproduced As Icons of Canadian Nationalism
'OURIDEAL OF AN ARTIST': TOMTHOMSON, THE IDEAL OF MANHOODAND THE CREATIONOF A NATIONALICON (1 9 17-1 947) by Ross DOUGLASCAMERON A thesis submitted to the Department of History in conformity with the requirements for the degree of Master of Arts Queen's University Kingston, Ontario, Canada September, 1 998 Copyright 6 Ross Douglas Carneron, 1998 National Library Bibliothèque nationale I*B of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue Wellington Wwa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant a la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial'extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othemise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Tom Thomson's paintings are frequently reproduced as icons of Canadian nationalism. His best known works, such as "A Northern River," "The Jack Pine," and "The West Wind," have been reproduced in such various forms as postage starnps, coins, coasters and posters. -
The Tom Thomson Trail, Named for the Artist Who Died Mysteriously In
On The Trail of Tom Thomson Written & photographed by Ken Haigh except where noted. The Tom Thomson Trail, named for the artist who died mysteriously in 1917, goes for 43 km between Owen Sound and Meaford, through countryside that was home to the artist for much of his life. “Fishing,” says Leanne, laughing and waving her hand around the room. “In almost every photo, he’s fishing.” ▲ Tom Thomson tying a fishing lure at Canoe Lake, Algonquin Park, circa 1915. PHOTO BY MAUD VARLEY, COURTESY TOM THOMSON ART GALLERY. 20 Spring 2013 would form the core of The Group Thanking Leanne, I get in two existing rail trails: the of Seven, Canada’s best-known art my car and drive east, to the Georgian Bluffs Trail, which movement. Yet, for my money, Bayshore Community Centre. starts at Owen Sound Harbour, Thomson was the best of the lot. From the kiosk behind the and the Georgian Trail, which Who knows what he might have arena, the Tom Thomson Trail runs between Meaford and accomplished had he lived longer? wends its way east over the Collingwood. eanne Wright is the manager of marketing and development for the Tom Thomson Gallery in Owen LSound, and she has agreed to show me around the collection. I am planning to cycle a portion of the Tom Thomson Trail, a three-season, non-motorized trail for hikers, bikers and equestrians, which runs between Owen Sound and Meaford, and which passes the Thomson farm, where the artist grew up, and the churchyard where Thomson is buried. Before I leave, I am looking for some background on the painter. -
"The West Wind" by Tom Thomson
"THE WEST WIND" BY TOM THOMSON (1877-1917) by CAROLYN WYNNE MACHARDY B.A., University of Alberta, 1972 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (The Department of Fine Arts) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 1978 (c) Carolyn Wynne MacHardy, 1978 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree 'that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1WS Date ABSTRACT This thesis discusses Tom Thomson's (1877-1917) last and perhaps most famous canvas, The West Wind. Chapter One considers the facts concerning the paint• ing and its sketch and reviews the various hypotheses advanced concerning the dating of the two works and the site from which the sketch was done. In the absence of any specific documents concerning The West Wind, it is necessary to refer to the testimonies of friends and acquaintances of Thomson, and occasionally to those of people whose interest in Thomson prompted them to individual research and speculation. It also outlines the history of both the sketch and the canvas following the death of Thomson in 1917 and problems concerning the title by which the canvas is known. -
Thomson's Toronto Neighbourhoods
Tom Thomson’s Toronto Neighbourhoods by ANGIE LITTLEFIELD TOM THOMSON’S TORONTO NEIGHBOURHOODS © 2010 Angie Littlefield E-edition 2010 By Angie Littlefield, angielittlefield.com E–edition Revised and updated, September 2016 Print edition 2016 2nd printing 2017 Toronto, Canada Published by Angie Littlefield Marangi Editions, Toronto All queries should be addressed to Tom Thomson’s Toronto Neighbourhoods, Angie Littlefield, 72 Baronial Crt, Toronto, ON, Canada M1C 3J7 Editor, cover and interior design: Mary Cook All Rights Reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or in any means – by electronic, mechanical, photocopying, recording or otherwise – without prior written permission. This publication is not-for-profit and intended for educational use. Other books by Angie Littlefield Tom Thomson’s Fine Kettle of Friends: biography, history, art and food, 2017 The Selected Works of Robert Francis “Kurt” Lavack, 2017 Tom Thomson’s Toronto Neighbourhoods*, 2nd edition, 2017 Ilse Salberg: Weimar Photographer*, 2015 The Ten Best Modern Medical Marvels, with Jennifer Littlefield, 2012 Reading and Remembrance**, 2005–2012 Robert’s Worst Sheep–Shearing Day, Ever!* and The Wreck of the MS Oliva*, written by the children of Tristan da Cuhna, ed., 2012 Elisapee of the Arctic: Mallikjuak Adventure*, written by the children of Cape Dorset, ed., 2010 angelika hoerle: the comet of cologne dada, 2009 The Art of Dissent: Willy Fick, 2008 The Ten Deadliest Plants, with Jennifer Littlefield, -
Visual Art Discourses As Rhetoric: Exploring the Colonial Creation of the Canadian Northwest Passage
Visual Art Discourses As Rhetoric: Exploring the colonial creation of the Canadian Northwest Passage by Daryl Anderson A thesis submitted in partial fulfilment of the requirements for the degree of Ph.D. in Human Studies The Faculty of Graduate Studies Laurentian University Sudbury, Ontario, Canada © Daryl Anderson, 2015 THESIS DEFENCE COMMITTEE/COMITÉ DE SOUTENANCE DE THÈSE Laurentian Université/Université Laurentienne Faculty of Graduate Studies/Faculté des études supérieures Title of Thesis Titre de la thèse Visual Art Discourses as Rhetoric: Exploring the colonial creation of the Canadian Northwest Passage Name of Candidate Nom du candidat Anderson, Daryl Degree Diplôme Doctor of Philosophy Department/Program Date of Defence Département/Programme Human Studies Date de la soutenance June 17, 2015 APPROVED/APPROUVÉ Thesis Examiners/Examinateurs de thèse: Dr. Hoi Cheu (Supervisor/Directeur de thèse) Dr. Philippa Spoel (Committee member/Membre du comité) Dr. Carolle Gagnon (Committee member/Membre du comité) Approved for the Faculty of Graduate Studies Dr. Jonathan Paquette Approuvé pour la Faculté des études supérieures (Committee member/Membre du comité) Dr. David Lesbarrères M. David Lesbarrères Dr. Jonathan Bordo Acting Dean, Faculty of Graduate Studies (External Examiner/Examinateur externe) Doyen intérimaire, Faculté des études supérieures Dr. Lee Maracle (External Examiner/Examinateur externe) ACCESSIBILITY CLAUSE AND PERMISSION TO USE I, Daryl Anderson, hereby grant to Laurentian University and/or its agents the non-exclusive license to archive and make accessible my thesis, dissertation, or project report in whole or in part in all forms of media, now or for the duration of my copyright ownership. I retain all other ownership rights to the copyright of the thesis, dissertation or project report. -
Ay Jackson, Lawren S. Harris and Canada's Eastern Arctic Patrols
ART AND ARCTIC SOVEREIGNTY: A.Y. JACKSON, LAWREN S. HARRIS AND CANADA’S EASTERN ARCTIC PATROLS by Agnes Elizabeth Ladon A thesis submitted to the Department of Art History In conformity with the requirements for the degree of Master of Arts Queen’s University Kingston, Ontario, Canada (December, 2012) Copyright © Agnes Elizabeth Ladon, 2012 Abstract In 1930, A.Y. Jackson and Lawren S. Harris travelled to the Arctic Archipelago as members of Canada’s Eastern Arctic Patrol. The collaborative venture between the Department of the Interior and the noted Group of Seven artists, which followed Jackson’s 1927 voyage aboard the government patrol, was part of a mutual aim to generate popular interest in the Canadian North through art. This thesis examines the underlying political context of both the 1927 and 1930 collaborative efforts. It examines the government patrols in connection with the promotion of Jackson’s and Harris’s Arctic works as part of a larger process of advancing the Arctic as a Canadian possession during a period of increased foreign interest in the region. Drawing on primary source material as well as various print media reports and exhibition reviews, this study provides insight into how the contemporary framing of Jackson’s and Harris’s Arctic sketches and paintings from the government-supported expeditions—the ways in which the works were discussed and understood—contributed not only to the “imagining” of the Arctic as a Canadian possession, but also to the dissemination of Canadian sovereignty efforts in the North. ii Acknowledgements This thesis was generously supported by a scholarship funded by the Social Sciences and Humanities Research Council of Canada, for which I am most grateful. -
Mdtt Guide.Pdf
1 2 THE MYSTERIOUS DEATH OF TOM THOMSOn STUDY GUIDE 1 Consider the cover design of TheMysterious Death of Tom Thomson.Ataglance the image may appear to be rough-hewn, but consider that wood engraving is a predominantly 19th-century printmaking technique that requires the artist to create images with a burin manipulated on the end-grain of polished blocks of hardwood, in this case, maple. This is not, particularly,easy to accomplish. Tomissmoking a pipe, and holding a co}ee in his hand. He is wearing a toque, and suspenders, maybe. He appears to be smiling, and he is outdoors, close to a lake. Would any of your students be able to identifythe tree on the left as a Jack-pine? Have any of your students ever been to Algonquin Park? or, speci~cally,toCanoe Lake? Can we assume that Tom is often happy to be outdoors, in the bush? Is there some other detail in the image that I have missed? The focus of this Study Guide is Visual Literacy. Let ’s start by considering the ~rst couple of images as they appear on pages three to six in The Mysterious Death of Tom Thomson,and then the two that followthe copyright page. ... 2 Compare this engraved portrait with the archival photograph reproduced on page 14. What ’s di}erent? 3 Tommay have enrolled in evening classes at the Central Ontario School of Art and Design in Toronto. What is there in this image that suggests an evening setting? 4 THe MYsTeRious DeaTH oF ToM THoMson A WORDLESS nARRATIVE TOLD In OnE HUnDRED AnD nInE WOODBLOCK EnGRAVInGS GEORGE A. -
NEWSLETTER the Town of York Historical Society ______
NEWSLETTER The Town of York Historical Society ____________________________________________________________________________________________________________ December 2013 Vol. XXIX No. 4 NEW LIFE PROPOSED FOR Seven freight cars could unload at once from the railway siding along the east side, while the loading LOBLAWS WAREHOUSE docks on the west side had space for 23 trucks. It had a garage, carpentry and paint shops, giant ovens for baking cakes, huge drums for blending tea, and massive refrigerators cooled by 22,000 feet of pipe. Such were its mechanical wonders that, during the depression, customers would line up for tours. Under the same roof were recreational facilities for Loblaw’s 800 local employees. These included bowling alleys, a billiards room and lounges for playing euchre. There was also an auditorium for When it was completed in 1928 the Toronto Star concerts and staff-produced plays. At the opening described the Loblaw Groceteria Co. Ltd. building at ceremonies for the recreational rooms, hundreds Fleet and Bathurst Streets as “the most modern danced to live music performed by the corporate warehouse building of its type in the dominion.” A symphony. The “merchant prince” responsible for it all triumph of Art Deco design by the architectural firm was not there, however. T.P. Loblaw had been thrown of Sparling, Martin and Forbes, its four storeys housed by a horse months earlier and was still recovering administrative offices in addition to manufacturing, from his injuries. packaging and storage facilities. Continued on page 2 ______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ St. Anne’s Anglican – the “Group of Seven Church” A remarkable cycle of paintings grace the interior surfaces of St. -
ALGONQUIN PARK Grandeur Nature’S
TRAVEL TOURISME TOM THOMSON: THE JACK PINE | LE PIN (1916-17) ALGONQUIN PARK Grandeur Nature’s Photo: National Gallery of Canada | Musée des beaux-arts du Canvas The landscapes of Ontario’s Algonquin Park have inspired generations of artists and nature-lovers, in all seasons. En Ontario, le paysage du parc Algonquin a inspiré des générations d'amoureux de la nature et d’artistes, dont le célèbre Groupe des Sept. Tour d’horizon en toutes saisons. By | Par Li Robbins THE SIGHT OF A STAND OF WHITE PINES from the VOIR DEPUIS L’AVANT DE SON CANOT DÉFILER les bou- bow of a canoe, a stately moose at the water’s edge: these quets de grands pins blancs, contempler la majesté d’un are just two images that come to mind when conjuring orignal au bord de l’eau, ce ne sont là que deux des images qui Algonquin Provincial Park, with its 7,725 square kilome- vous restent après avoir exploré les 7725 kilomètres de forêts, tres of forests, rivers, and lakes. The park is a marvel of de rivières et de lacs du parc provincial Algonquin. natural beauty—all within a three-hour drive of Toronto. Cette merveille de la nature n’est qu’à trois heures de route But its appeal is more than recreational. Algonquin, as de Toronto, mais son attrait ne se limite pas aux activités de seen from hiking trails and intricate series of 2,000 kilo- plein air. Les sentiers de randonnée du parc et son réseau de metres of canoe routes, has also been a source of inspira- plus de 2000 kilomètres de parcours de canotage ont éga- tion for artists, including the legendary Group of Seven. -
Through a Glass Darkly
THROUGH A GLASS DARKLY Canadian Art Criticism Audrey Thomas A.RT is ONE OF THE NECESSITIES of life," says Henry James; "but even the critics themselves would probably not assert that criticism is anything more than an agreeable luxury — something like printed talk."1 Noth- ing more, perhaps, but sometimes something less, a great deal less; or should we say it depends on who is talking? For, six months after undertaking to survey Canadian art criticism both as literature and as a separate literary genre, my first impulse is to confess to the reader that no such thing exists. However, the curi- osities which I did uncover, as well as the few articles and books which may only be the exceptions that prove the rule, are too interesting and, in the case of Emily Carr's Growing Pains and A. Y. Jackson's A Painter's Country, too important to be written off so quickly, simply because there is no real body of Canadian art literature behind them. This article will be a survey then, neither definitive nor particularly comprehensive, of some of the literary curiosities (and some of the literary gems) which I did discover in my search for the still unborn Canadian art criticism as a literary genre. Let us begin with a curiosity. In the Canadian Magazine ("of Politics, Science, Art and Literature"), in November, 1902, a woman named Kathleen Hale re- calls a journey to the home of Homer Watson : It was an amber day in October, when with a sense of adventure we set out for that village [Doon] ; the kind of day when, as Mobray says, "Nature holds a bit of yellow glass to our eyes, till, like children, we catch a glimpse of the golden ages." Doon, nestling near the heart of Ontario, is get-at-able by a "local" train, when it resolves itself into a station house and half a hundred cottages.