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The Mclaughlin Daughters
Parkwood National Historic Site The McLaughlin Daughters Over the course of their lifetime together Sam and Adelaide had the pleasure and good fortune to raise five daughters. Please meet their children – Eileen, Mildred, Isabel, Hilda and Eleanor (affectionately called Billie) Eileen (born Mary Eileen) was born in 1898 and was an avid golfer, equestrian champion and dog lover. Her horse equestrian skills saw Eileen compete throughout Canada and the United States, including at the Chicago World’s Fair. Between 1924 and 1933, Eileen participated in sixty-five exhibitions and competitions. During her first marriage (1918 to 1945) Eileen and her family resided at Adelaide House, now used as the YWCA Durham, in Oshawa. During and after her second marriage, Eileen spent most of the year at her home in British Columbia, raising “Scottie dogs”. Mildred was born in 1900 and through her late teens and early twenties, Mildred attended many teas, dances, art exhibitions, theatre performances, etc. Mildred also enjoyed throwing lavish parties and performances at Parkwood. Together with her first husband, Cord Taylor they moved to the United States in the mid -1920s. Raising her family in America, Mildred returned to Parkwood for numerous visits, especially with her young children. After her second marriage, Mildred, spent her final days in Coral Gables, Florida. Parkwood National Historic Site The McLaughlin Daughters Isabel studied art at the Ontario College of Art from 1926–1930 under Group of 7 member, Arthur Lismer and Yvonne McKague Housser. With a strong love of art, she studied in Paris 1929, Vienna in 1930 and with Hans Hofmann ca. -
Artistic Movement Membership and the Career Profiles of Canadian Painters
DOCUMENT DE TRAVAIL / WORKING PAPER No. 2021-05 Artistic Movement Membership And The Career Profiles Of Canadian Painters Douglas J. Hodgson Juin 2021 Artistic Movement Membership And The Career Profiles Of Canadian Painters Douglas Hodgson, Université du Québec à Montréal Document de travail No. 2021-05 Juin 2021 Département des Sciences Économiques Université du Québec à Montréal Case postale 8888, Succ. Centre-Ville Montréal, (Québec), H3C 3P8, Canada Courriel : [email protected] Site web : http://economie.esg.uqam.ca Les documents de travail contiennent des travaux souvent préliminaires et/ou partiels. Ils sont publiés pour encourager et stimuler les discussions. Toute référence à ces documents devrait tenir compte de leur caractère provisoire. Les opinions exprimées dans les documents de travail sont celles de leurs auteurs et elles ne reflètent pas nécessairement celles du Département des sciences économiques ou de l'ESG. De courts extraits de texte peuvent être cités et reproduits sans permission explicite des auteurs à condition de faire référence au document de travail de manière appropriée. Artistic movement membership and the career profiles of Canadian painters Douglas J. Hodgson* Université du Québec à Montréal Sociologists, psychologists and economists have studied many aspects of the effects on human creativity, especially that of artists, of the social setting in which creative activity takes place. In the last hundred and fifty years or so, the field of advanced creation in visual art has been heavily characterized by the existence of artistic movements, small groupings of artists having aesthetic or programmatic similarities and using the group to further their collective programme, and, one would suppose, their individual careers and creative trajectories. -
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. -
14Th Annual Report the Canada Council 1970-1971
1 14th Annual Report The Canada Council 1970-1971 Honourable Gérard Pelletier Secretary of State of Canada Ottawa, Canada Sir, I have the honour to transmit herewith the Annual Report of the Canada Council, for submission to Parliament, as required by section 23 of the Canada Council Act (5-6 Elizabeth Ii, 1957, Chap. 3) for the fiscal year ending March 31, 1971. I am, Sir, Yours very truly, John G. Prentice, Chairman. June 341971 3 Contents The Arts The Humanities and Social Sciences Other Programs 10 Introduction 50 Levels of Subsidy, 1966-67 to 1970-71 90 Prizes and Special Awards 12 Levels of Subsidy, 1966-67 to 1970-71 51 Research Training 91 Cultural Exchanges Doctoral Fe//owships; distribution of 14 Music and Opera Doctoral Fellowships by discipline. 96 Canadian Commission for Unesco 21 Theatre 54 Research Work 100 Stanley House Leave Fellowships; distribution of Leave 27 Dance Fellowships by discipline; Research Finances Grants; distribution of Research Grants 102 Introduction 30 Visual Arts, Film and Photography by disciph’ne; list of Leave Fellowships, Killam Awards and large Research 105 Financial Statement 39 Writing Grants. Appendix 1 48 Other Grants 78 Research Communication 119 List of Doctoral Fellowships List of grants for publication, confer- ences, and travel to international Appendix 2 meetings. 125 List of Research Grants of less than $5,000 86 Special Grants Support of Learned Societies; Appendix 3 Other Assistance. 135 List of Securities March 31. 1971 Members John G. Prentice (Chairman) Brian Flemming Guy Rocher (Vice-Chairman) John M. Godfrey Ronald Baker Elizabeth A. Lane Jean-Charles Bonenfant Léon Lortie Alex Colville Byron March J. -
Radiant Energy the Hard-Edged Abstractions of Rita Letendre, Doris Mccarthy and Janet Jones
Radiant Energy The Hard-Edged Abstractions of Rita Letendre, Doris McCarthy and Janet Jones Reflecting on her earliest years at her grandparents’ farm in Drummondville, Quebec, Rita Letendre mused in 1969 that it was there “I learned to fight, fist fight. And I learned to draw.”i That she paired anger with art-making at the very onset of her life and practice is unsurprising: Gaston Roberge, in his essay for Woman of Light, a 1997 retrospective highlighting fifty years of Letendre’s works on paper, titled his first subsection “Rage” in deference to her difficult upbringing and the racism she encountered in small-town Quebec: “My childhood is like a serious injury that has never healed… very early in life, I got used to protecting myself against people,” he quotes Letendre.ii Wanda Nanibush, co-curator of the Letendre retrospective Fire & Light at the Art Gallery of Ontario in 2017, situated this emotion within the artist’s intersectional subject position: “Her rage could well have sprung up as resistance to the violence she experienced as a child just for being Abenaki; a society that kept many in grinding poverty and its attendant social problems; a culture of deep religious conservatism; and a ridiculous world where the fact of being a woman limited all of one’s endeavors.”iii Making art at mid-century was an embattled undertaking for a woman. To make abstract art as an Indigenous woman could only be harder. Anger was one motivation that allowed Letendre to crash through the barriers put in her path, but Letendre also chased light and held it in each of her canvasses. -
The Theme of Fire Resource
Teacher Resource FIRE TOM THOMSON RITA LETENDRE FIRE-SWEPT HILLS, 1915 TABORI, 1976 Fire is one of the four Classical elements of nature, along with earth, water, and air. It can symbolize many different things, including life and death, warmth and decay, desire and sustenance, love and tears. With all of these layered meanings, fire has been an important source of inspiration for numerous artists. In Tom Thomson’s Fire-Swept Hills, fire is a destructive element, leaving behind charred remains of the forest. In Rita Letendre’s work Tabori, on the other hand, fire represents spiritual passion, the flame that keeps us moving forward. ESSENTIAL QUESTIONS • What colours come to mind when you think about fire? • What images come to mind when you think of the word “fire”? • How does our relationship to fire change depending on the context? 1 continues > Teacher Resource continued SPOTLIGHT 1 TOM THOMSON, FIRE-SWEPT HILLS 1915 Fire Swept Hills shows the aftermath of fire—a formidable, destructive force. Tom Thomson. Fire-Swept Hills, Summer–Fall 1915. Oil on composite wood-pulp board, 21.6 x 26.7 cm. The Thomson Collection at the Art Gallery of Ontario. © Art Gallery of Ontario 69222 2 continues > Teacher Resource continued GUIDED OBSERVATION ELEMENTARY • Take 30 seconds to look at the details in this artwork. Write down five words that describe the landscape. • What season do you think this painting depicts? What time of day do you think the artist may have captured? What clues in the painting tell you this? • Look closely at how the artist has applied paint onto the surface of this work. -
Fine Canadian Art
heffel f ine Art Auction Auction ine Art h ouse fine canadian art fine canadian fine cAnAdiAn Art MAY 24, 2017 24, MAY Sale Wednesday, May 24, 2017 · 7 PM · ToronTo i ii fine cAnAdiAn Art Auction Wednesday, May 24, 2017 4 PM Post-War & Contemporary Art 7 PM Fine Canadian Art Design Exchange The Historic Trading Floor (2nd floor) 234 Bay Street, Toronto Located within TD Centre Previews Heffel Gallery, Vancouver 2247 Granville Street Saturday, April 29 through Tuesday, May 2, 11 am to 6 pm Galerie Heffel, Montreal 1840 rue Sherbrooke Ouest Thursday, May 11 through Saturday, May 13, 11 am to 6 pm Design Exchange, Toronto The Exhibition Hall (3rd floor), 234 Bay Street Located within TD Centre Saturday, May 20 through Tuesday, May 23, 10 am to 6 pm Wednesday, May 24, 10 am to noon Heffel GAllery, toronto 13 Hazelton Avenue, Toronto Ontario, Canada M5R 2E1 Telephone 416-961-6505 Fax 416-961-4245 Toll Free 1-800-528-9608 www.heffel.com Heffel Fine Art Auction House Heffel.com Departments A Division of Heffel Gallery Limited fine CanAdiAn Art toronto [email protected] 13 Hazelton Avenue, Toronto, Ontario M5R 2E1 APPrAisAls Telephone 416-961-6505, Fax 416-961-4245 [email protected] E–mail: [email protected], Internet: www.heffel.com Absentee And telePHone biddinG ottAwA [email protected] 451 Daly Avenue, Ottawa, Ontario K1N 6H6 Telephone 613-230-6505, Fax 613-230-8884 sHiPPinG [email protected] MontreAl 1840 rue Sherbrooke Ouest, Montreal, Quebec H3H 1E4 subscriPtions Telephone 514-939-6505, Fax 514-939-1100 [email protected] Vancouver 2247 Granville Street, Vancouver, British Columbia V6H 3G1 CatAloGue subscriPtions Telephone 604-732-6505, Fax 604-732-4245 Heffel Fine Art Auction House and Heffel Gallery Limited Calgary regularly publish a variety of materials beneficial to the art 888 4th Avenue SW, Unit 609, Calgary, Alberta T2P 0V2 collector. -
A New Show at the Mcmichael Canadian Art Collection Brings Together the Men's Unheralded Female Contemporaries, No Jack Pines to Be Seen
'A woman in a city': What the Group of Seven lost in the northern woods National Post By: Joseph Brean August 24, 2021 Original URL: https://nationalpost.com/news/a-woman-in-a-city-what-the-group-of-seven-lost-in-the- northern-woods A new show at the McMichael Canadian Art Collection brings together the men's unheralded female contemporaries, no jack pines to be seen Urban landscape: Marion Long’s The Gay Yellow Awnings, c. 1931, oil on board, 26.7 × 21.4 cm. PHOTO BY COURTESY MCMICHAEL CANADIAN ART COLLECTION As this summer began, the Twitter account @CanadaPaintings got hundreds of “likes” when it posted In The Woods, a 1939 painting by Paraskeva Clark, who came to Canada from Russia via Paris in the early 1930s, and who was unusually famous for a 20th-century Canadian woman artist. The painting does exactly what it says on the tin. A keen eye might pick out the influence of Paul Cézanne, but to the casual viewer, it shows the view from behind a rock into a bunch of trees. As a work of art, it is as Canadian as possible under the circumstances, and there is a subtle irony in the fact it is by a woman. Canada is artistically “metrophobic,” says Sarah Milroy, chief curator of the McMichael Canadian Art Collection, which has a lot of paintings set in the woods. Canadians do not think of themselves as an urban nation, although they mostly are, and Canadian fine art has perpetuated this distortion. The received wisdom is that Canadian art is about wilderness, and Canadian artists are basically lumberjacks, epitomized in the all-male Group of Seven, the standard against which all else is judged. -
La Collection De Peinture Canadienne De La CIL / New Patrons of Art the CIL Collection of Canadian Painting
Document generated on 09/29/2021 1:34 p.m. Vie des arts Le nouveau mécénat: La collection de peinture canadienne de la CIL New Patrons of Art the CIL Collection of Canadian Painting Paul Dumas Volume 21, Number 84, Fall 1976 URI: https://id.erudit.org/iderudit/54976ac 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 Dumas, P. (1976). Le nouveau mécénat: La collection de peinture canadienne de la CIL / New Patrons of Art the CIL Collection of Canadian Painting. Vie des arts, 21(84), 38–92. Tous droits réservés © La Société La Vie des Arts, 1976 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/ 38 EXISTENCE DE LA COULEUR Paul Dumas Le nouveau mécénat: La collection de peinture canadienne de la CIL . EXISTENCE DE LA COULEUR 39 Les éléments les plus dynamiques du monde des affaires sont conscients des besoins sociaux et culturels — c'est-à-dire de la qualité de la vie — des populations qui les entourent, et cela consti tue, pour notre pays, un potentiel énorme. (Charles Lussier, Conférence prononcée à Toron to, le 7 mai 1976, devant l'Institut de Recherche en Dons et en Affaires Publiques.) 1. -
A Biography of Norah Mccullough Dama Dons Gailagher MA A
Bringing Art to the People: A Biography of Norah McCullough by Dama Dons Gailagher M.A. A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfilment of the requirements for the degree of Masters of Arts in Canadian Studies Carleton University OlTAWA, Ontario January 13 1997 Dama Dons GaiIagher National Library Bibliothèque nationale 1+1 ,,,,da du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON KIA 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/h7de 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 substantid extracts fkom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. This thesis is the first project to recover the Life and work of Norah McCullough, examining her role as an art educator, and cultural promoter and activist in Canada and South Africa between 1920 and 1968. McCuUough is positioned as a catalyst in the Canadian art world, with a lifelong cornmitment to public education in the visual arts. -
1975-76-Annual-Report.Pdf
19th Annual Report The Canada Council 1975-1976 Honorable Hugh Faulkner Secretary of State of Canada Ottawa, Canada Sir, I have the honor to transmit herewith the Annual Report of the Canada Council, for submission to Parliament, as required by section 23 of the Canada Council Act (5-6 Elizabeth 11, 1957, Chap. 3) for the fiscal year ending March 31, 1976. I am, Sir, Yours very truly, Gertrude M. Laing, O.C ., Chairman June 1,1976 The Canada Council is a corporation created by an Act of This report is produced and distributed by Parliament in 1957 "to foster and promote the study and Information Services, enjoyment of, and the production of works in, the arts, The Canada Council, humanities and the social sciences." It offers a broad 151 Sparks Street, range of grants and provides certain services to individuals Ottawa, Ontario and organizations in these and related fields. It is also re- sponsible for maintaining the Canadian Commission for Postal address: Unesco. Box 1047, Ottawa, Ontario K1 P 5V8 The Council sets its own policies and makes its own deci- Telephone: sions within the terms of the Canada Council Act. It re- (613) 237-3400 ports to Parliament through the Secretary of State and appears before the Standing Committee on Broadcasting, Films and Assistance to the Arts. The Canada Council itself consists of a Chairman, a Vice- Chairman, and 19 other members, all of whom are ap- pointed by the Government of Canada. They meet four or five times a year, usually in Ottawa where the Council of- fices are located. -
Heffel's $13.6 Million Fine Art Auction
News release E.J. Hughes and Jean Paul Lemieux Paintings Lead Way in Heffel's $13.6 Million Fine Art Auction VANCOUVER - May 17, 2011, 10:00 p.m. PST A rare E.J. Hughes painting from the 1940s was the front runner at the Heffel Fine Art Spring Auction, going under the hammer for $1,140,750 (all prices include a 17 per cent buyers premium). Representing one of only a dozen Hughes paintings from the late 1940s, Coastal Boats Near Sidney, BC, a 36 1/8 x 48 1/8 inch oil on canvas attracted a lot of attention and soared past its pre-auction estimate of $700,000 to $900,000 in a three-caller bidding war. Excitement over Hughes works continued when Mouth of the Courtenay River, a 30 x 40 inch oil on canvas, signed and dated 1952, sold for $789,750. Heffel Fine Art Auction House recorded the sixth highest grossing Canadian fine art auction tonight at the Vancouver Convention Centre. The auction exceeded its conservative presale estimate of $8 to $12 million, selling $13.6 million worth of Canadian art. The $8.8 million afternoon session set a record for Post-War and Contemporary art. Two Jean Paul Lemieux works garnered significant attention. Dimanche, an oil on canvas, signed and dated 1966, created a new record when it went under the hammer for $819,000. Les Moniales, a painting that exhibited in Moscow when Lemieux travelled there in 1974 and 1975, broke this record and sold for an impressive $1,023,750. "The Hughes and Lemieux works in the sale represented both artists at their finest.