September 2015 Online Sale Catalogue
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Finding Artwork
Splash Page THE PLASTICIENS AND BEYOND MONTREAL 1955 - 1970 Varley Art Gallery of Markham CONTACT INFO Varley Art Gallery 216 Main St Unionville, ON L3R 2H1 905-477-9511 ext. 3263 http://www.visitthevarley.com/ ABOUT THE GALLERY The Varley Story The Group of Seven The Group of Seven is famously known to have established a distinct aesthetic to the Canadian landscape, its members are historically recognized for the impact they have made on the Canadian art movement. Frederick Varley, Tom Thomson, J.E.H MacDonald, Arthur Lismer, Frank Johnston, and Franklin Carmichael would first meet as employees at the design firm Grip Ltd in Toronto. These six men would come together during and after work discussing bold new directions for Canadian Art, they were joined by A.Y Jackson and Lawren Harris in 1913. With the support of Dr. James MacCallum, an artist and university professor, the group raised money to build the Studio Building for Canadian Art in Toronto. It was there that they would create masterpieces as they discovered the distinct light of the Canadian atmosphere and capture it in bold new ways. The production the group was interrupted as they suffered tragedy when Tom Thomson, one of the founding members died in mysterious circumstances; shortly after, some of the members left to serve in the First World War. It was not until 1920 that the Group of Seven officially formed with their first exhibition in Toronto. Once their popularity grew, the artists began to travel Canada capturing what inspired them. The group shared a like vision concerning art in Canada. -
Vente Aux Enchères / Auction Montréal
Vente aux enchères / Auction Montréal 10 NOVEMBRE 2019, 14 H ART D’APRÈS-GUERRE & CONTEMPORAIN NOVEMBER 10, 2019, 2 PM POST-WAR & CONTEMPORARY ART Vente aux enchères / Auction Montréal DIMANCHE 10 NOVEMBRE 2019, 14 H / SUNDAY, NOVEMBER 10, 2019, 2 PM Les enchères BYDealers Auction House 6345, boulevard Saint-Laurent FOIRE D’ART / ART FAIR BYDEALERS 24−27 OCTOBRE 2019 Les enchères BYDealers Auction House vous convient à la EXPOSANTS/EXHIBITORS première édition de leur foire d’art – historique, d’après-guerre et contemporain –, exclusivement consacrée au marché secondaire. Du 24 au 27 octobre 2019, venez visiter les stands des exposants Canadian Fine Arts Toronto | 416 544-8806 et, par la même occasion, découvrir en primeur les œuvres de la canadianfinearts.com vente d’automne en salle de BYDealers, au 325 Front Street West, [email protected] à Toronto. Les enchères BYDealers Auction House is launching Galerie d’Arts the first edition of its art fair—featuring historical, Contemporains contemporary, and post-war art—dedicated exclusively to Montréal | 514 844-6711 the secondary market. Come and visit the exhibitors, as well galerieartscontemporains.ca as BYDealers’ fall 2019 live sale preview, October 24–27, 2019, [email protected] at 325 Front Street West, Toronto. Galerie Claude Lafitte Montréal | 514 842-1270 lafitte.com [email protected] Galerie Lacerte art HEURES D’OUVERTURE / contemporain OPENING HOURS Montréal | 418 580-6431 galerielacerte.com [email protected] Jeu. 24 oct. Thur. Oct. 24 Galerie Robert Poulin 15 h — 21 h 3 pm — 9 pm Montréal | 514 910-8906 galerierobertpoulin.com Ven. 25 oct. Fri. -
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. -
(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. -
Artistic Movement Membership and the Career Profiles of Canadian Painters
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Hodgson, Douglas J. Working Paper Artistic movement membership and the career profiles of Canadian painters Document de travail, No. 2021-05 Provided in Cooperation with: Department of Economics, School of Management Sciences (ESG UQAM), University of Quebec in Montreal Suggested Citation: Hodgson, Douglas J. (2021) : Artistic movement membership and the career profiles of Canadian painters, Document de travail, No. 2021-05, Université du Québec à Montréal, École des sciences de la gestion (ESG UQAM), Département des sciences économiques, Montréal This Version is available at: http://hdl.handle.net/10419/234822 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. may exercise further usage rights as specified in the indicated licence. www.econstor.eu DOCUMENT DE TRAVAIL / WORKING PAPER No. -
COLOUR, LANGUAGE & STORYTELLING Through the Art Of
TEACHER RESOURCE GUIDE FOR GRADES 3–6 LEARN ABOUT COLOUR, LANGUAGE & STORYTELLING through the art of YVES GAUCHER Click the right corner to COLOUR, LANGUAGE & STORYTELLING YVES GAUCHER through the art of return to table of contents TABLE OF CONTENTS PAGE 1 PAGE 2 PAGE 3 RESOURCE WHO WAS YVES TIMELINE OF OVERVIEW GAUCHER? HISTORICAL EVENTS AND ARTIST’S LIFE PAGE 4 PAGE 8 PAGE 11 LEARNING CULMINATING HOW YVES GAUCHER ACTIVITIES TASK MADE ART: STYLE & TECHNIQUE PAGE 12 READ ONLINE DOWNLOAD ADDITIONAL YVES GAUCHER: LIFE YVES GAUCHER RESOURCES & WORK BY ROALD IMAGE FILE NASGAARD EDUCATIONAL RESOURCE COLOUR, LANGUAGE & STORYTELLING through the art of YVES GAUCHER RESOURCE OVERVIEW This teacher resource guide has been designed to complement the Art Canada Institute online art book Yves Gaucher: Life & Work by Roald Nasgaard. The artworks within this guide and images required for the learning activities and culminating task can be found in the Yves Gaucher Image File provided. Abstract painter, printmaker, and collagist Yves Gaucher (1934–2000) grew up in Montreal and was known for his rebellious spirit. He was twice expelled from school yet went on to become one of Canada’s leading twentieth-century abstract painters. After a life-changing meeting with Canadian artist Arthur Lismer (1885–1969), a founding member of the Group of Seven, Gaucher devoted himself fully to art and developed his style in the post-Plasticien movement. He is best known for his large monochromatic paintings, often inspired by his love of music. Gaucher became a leader among Canadian artists, and his art has been shown in galleries around the world.