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English Translations Yvonne Kirbyson and Bill Trent Document generated on 09/30/2021 11:28 a.m. Vie des arts English Translations Yvonne Kirbyson and Bill Trent Number 52, Fall 1968 URI: https://id.erudit.org/iderudit/58224ac 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 Kirbyson, Y. & Trent, B. (1968). English Translations. Vie des arts, (52), 74–81. Tous droits réservés © La Société La Vie des Arts, 1968 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/ CALGARY THE GAINSBOROUGH GALLERIES NEW YORK THE MUSEUM OF MODERN ART 611-8th Avenue S.W. 11 West 53rd Street 6-26 octobre: Hugh Monahan, exposition-solo; novembre: William Harisch; Jusqu'au 13 octobre: John D. Graham, peintures et dessins; jusqu'au 11 novem­ décembre: Mario Moczorodynski. bre: architecture des musées; 1 octobre-4 novembre: Dubuffet, collection du musée; à partir du 14 octobre: Rauschenberg, sons; 23 octobre-5 janvier 1969: SASKATOON MENDEL ART GALLERY Brassai. 11 octobre-3 novembre: le XIXe siècle français (exposition itinérante de la Galerie Nationale du Canada); 25 octobre-17 novembre: collection Peter THE METROPOLITAN MUSEUM OF ART Stuyvesant; 4-30 novembre: tapisseries françaises contemporaines. Collection Fifth Avenue at 82nd Street C.I.L. Jusqu'au 17 novembre: fresques italiennes entre autres de Botticelli, Piero della Francesca, Castagno, Uccello; jusqu'au 19 janvier 1969: art du Guatemala. VICTORIA THE ART GALLERY OF GREATER VICTORIA 1040 Moss Street THE SALOMON R. GUGGENHEIM MUSEUM Jusqu'au 20 octobre: Kiyoshi Saito; 22 octobre-10 novembre: art canadien, nou­ 1071 Fifth Avenue velles acquisitions; 12 novembre-1 décembre: Donald Harvey et Margaret Jusqu'au 2 février 1969: maîtres artisans du Pérou; 20 décembre-10 mars: Peterson ; 3-22 décembre: collection Stuyvesant; 26 octobre-17 novembre: legs collection Peggy Guggenheim. Massey. MINNEAPOLIS WALKER ART CENTER VANCOUVER THE DOUGLAS GALLERY 1710 Lyndale Avenue S. 1724 Davie Street 3 octobre-10 novembre: gravures d'artistes britanniques, Paolozzi, Kitaj, 4-19 octobre: David Mayrs 21 octobre-2 novembre: Michael Morris; 4-23 Hamilton, Tilson; 2 novembre-15 décembre: l'architecture de Mies Van Der novembre: Jack Shadbolt. Rohe. THE VANCOUVER ART GALLERY EXPOSITIONS INTERNATIONALES DE LA 1145 W. Georgia Street GALERIE NATIONALE OU CANADA 2-27 octobre: tapisseries françaises contemporaines. Eric Freifeld, exposition GALERIE DURAND RUEL solo; 31 octobre-1 décembre: voitures de douane; 3 décembre-5 janvier: Au Paris coeur de London ; 8-29 décembre: médailles Massey pour l'architecture. 9-31 octobre: rétrospective de James Wilson Morrice. GALLERY OF THE GOLDEN KEY LA BIENNALE DE VENISE 761 Dunsmuir Street Pavillon du Canada 8-14 octobre: Ishrat Ali Khan; 19-25 novembre: Kardos. Jusqu'au 20 octobre: peintures de Guido Molinari et sculpturesd'Ulysse Comtois. GALERIE ZANETTIN 28 CÔTE DE LA MONTAGNE peintures, sculptures, céramiques QUÉBEC ARTISTES CANADIENS leisure time, the arts play an important part in giving life greater ENGLISH TRANSLATIONS meaning and allowing man to express the multiple facets of his by yvonne kirbyson - bill trent personality. The school can and must provide parallel to the intellectual forma­ tion it gives, an opportunity for the awakening of youthful sensitivity editorial by an artistic initiation. Only by beginning at the primary level can the habits and needs be created which will raise the cultural level of ART AND EDUCATION AT UNESCO the population. In this regard, school art instruction is a very impor­ tant link in the chain of cultural development. BY ANDRÉE PARADIS Formation of the professional artist Since ies inception, UNESCO has best reflected the interest of The talents and tastes of the child must be discerned as early as pos­ numerous countries over the past 20 years in a fundamental freedom sible and his aptitudes encouraged throughout his genetal education outlined in the Universal Declaration of Human Rights as "the right until he has developed to the point whete the technical training of the to parcitipate freely in the cultutal life of the community and take professional artist might begin. pleasure in the arts." This formation of the professional artist requires a constant re- The director of the department of art instruction at UNESCO, evaluation in the light of new educational thoughts and tendencies, Madame d'Arcy Hayman is responsible for promoting international perpetual transformations in the manners of expression, and new uses co-operation in the teaching and diffusion of the arts through a pro­ of material, and finally must be accomplished with a clear vision of gramme designed to channel artistic education into general education social and economic changes which the world has been undergoing to permit both the formation of the professional artist and the artistic since the end of the second World War. education of the public at large. It is important that art teaching programmes should thus evolve The importance of the arts in general culture is an accepted fact. As continually. Since teaching art comes from an old tradition, there are the director of UNESCO, Mr. René Maheu states it, "one day we will problems in adapting to new needs. In many countries rapid growth have to speak of culture when we deal with development. man is at of specialized institutes, of art and music academies, results in serious once the means and the end of development". (1) Man is therefore the employment problems. What must be done is to adopt the law of means and end of his own culture. If art is recognized as a natural supply and demand to avoid a plethora of artists in areas offering language, it follows that att must be taught like a living language. relatively few openings. From this point everything possible must be done to awaken art awareness in the child, and to arouse an untiring curiosity by stimu­ Art education in the school curriculum lating all the forms of expression. All members of society are either spectators or consumers in the artistic domain. In view of the influence of the arts on economic and Artistic formation in general education social development, one of the essential functions of artistic educa­ As almost everyone has some creative potential, one of the major tion is informing the public and making business and government responsibilities of art education is to discover the talent of each child more conscious of the influence of the arts on the well-being and and encourage its growth. Today especially, with the increase in development of the individual. The programme of UNESCO's art education department requires a flexible and imaginative implementation. Since the excellent instruc­ (1) La Civilisation de l'Universel. René Maheu. Editions Laffont-Gauthier. tion periods of Bristol in 1951 organized under the auspices of 74 UNESCO, much has been undertaken in terms of promoting and petroglyphs in quebec financing national and international programmes of art education. UNESCO also participated in the creation of three non-governmental organizations: The International Society of Art Education; the Inter­ BY RENE LEVESQUE national Society for Music Education; and the World Council of Crafts. Formation of cultural animators Quebec can now count petroglyphs among its many treasures. The rock carvings were discovered along the Saint-Francois River in the The modification of the function of traditional means of diffusion, municipalities of Brompton and Sherbrooke. We are indebted to as well as the appearance of new instruments and means of communi­ their discoverers, Messrs. Jean-Marc Foret, Claude Camire, Julien cation and public education, confronts all countries with a problem Lahaie, and Michel Montmigny. Once the stones wete removed from of men : whether it is a question of art administrators, of animators of the river to prevent theit being harmed eithet by the action of the ice public education or of organizers of cultural centres. The demand or overly-enthusiastic souvenir huntets, it became possible for us to certainly surpasses the actual supply and the requirements will in­ analyse them more completely and to photograph them. Thus, in the crease. In several countries (Czechoslovakia, Poland, France) the course of this article, the first pictures of these discoveries are pre­ professional profile of these animators is being drawn so that it can be sented, as well as the circumstances under which the find was made. determined precisely what must be the level of recruitment, the Before delving into our subject, we may be well advised to considet a nature of the training, the type of career, and the status. brief synthesis of the historical notes which Monsignor Maurice Several countries suggest that it is the task of the univetsity to form O'Bready, the Principal of the Normal School of Sherbrooke placed versatile teachers. Others favour institutions that would offer a spe­ at our disposal. To his comments we will add desctiptions of some cialized formation adapted to the innovating and specific chatactet of archeological discoveries. the cultural animator. Such institutes may be found at a national level The Sherbrooke Archeological Society located some prehistotic with a regard for cohesion, for effectiveness, for more universal Ametican Indian settlements along the Saint-Ftancois River. There are utilization, or at a local level (museums, libraries) to permit decentral­ traces of "archaic" villages at Sherbrooke and Weedon at the mouths ization and answer local needs. The tendency is to combine the two.
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