DOCSLIB.ORG

Note to Users

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Note to Users NOTE TO USERS This reproduction is the best copy available. UMI Rails and Ties: A Companson of Late Nieteenth-Century Images of Western Railways in Canada and the United States Martine Fournier in The Department of Art History Presented in Partial Fulfiirnent of the Requirements for the Degree of Master of Arts Concordia University Montreal, Quebec, Canada May 2000 63 Martine Fournier, 2000 National Library Bibiiithèque nationale 1+1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Weilington Street 395. rue Wdligtm Ottawa ON KIA ON4 OnawaON KIAM Canada canada The author has granted a non- L'auteur a accordé une licence non exclusive licence aliowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seli 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/fiim, 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 othewise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract Rails and Ties: A Cornpanson of Late Nineteenth-Century Images of Western Railways in Canada and the United States Manine Fournier This thesis is a comparative examination of Iate nineteenth-century (c. 1869 to 1900) images of railways in the Canadian and American Western iandscapes, focusing on differences in how transcontinental railways were depicted in the mountainous Westem terrain of each country. It pits Frederick Jackson Turner's %entier thesis'' about colonization of the Amencan West against Northrop Frye's view of Canadian deveIopment. the "gamson rnentality" theory, exploring how these t heories manifested themselves in the culture of each country, first using nineteenth-century iiterature, then esarnining visuat esamples. Drawing on Gaile McGregor's theory that nineteenth-century representations of the Canadian landscape demonstrate a negative relationship with wilderness, and Barbara Novak's examination of positive aspects of .American landscape such as warm Iight and calm rvater, the thesis traces how images of railways in the mountains of the West reflect the reactions of Americans and Canadians to Iandscape. The study concentrates on American railway imagery as evidence of a fulfilling and peacefùl relationship with wildemess, and Canadian images as repositories for more fearfùl reactions. However, it also highlights the cornplexity of attitudes about Westem landscape in both countnes by exploring examples that contradict this dichotomy. and examining the iii ambipous nature of many landscape components. .4rtists and photographers discussed include Lucius O'Brien, John A- Fraser, F. M. Bell-Smith, and Oliver Buell in Canada and .Aibert Bierstadt, Thomas Moran, Carleton Watkins, and William HeqJackson in the Cnited States. 1 would like to thank the Fulbright Foundation for giving me the oppominity to spend a year in the United States completing research for this project. 1 owe a debt to many people u-ho heIped alone- the way: Dr. David Van Zanten, who agreed sight unseen to informally supervise my research at Northwestern University, the very patient stafTat Concordia Cniversity Inter-Libraq- Loans, the staff of Xonhwestern University Libras; in particular RusseIl MayIone at Special Collections, the Photography Department at the Chicago Art Institute. the reference stafFat the Whyte Museum of the Canadian Roches. and the staff of the Newberry Library and the Chicago Public Library. 1 give very special thanks to Dr. Brian Foss for his support and guidance, to Dr. Loren Lerner and Dr. Jean Bélisle, to al1 friends and farnily who tolerated numerous rants about the thesis, and to Keith. for not wanting me to talk about it at alI. 'Lfartine Fournier Table of Contents List of Figures vii Introduction 1 Chapter 1 8 Chapter 2 35 Chapter 3 73 Conclusion 113 Illustrations 116 N70rksConsulted 189 List of Figures 1. Bainbrieje, Philip James. Moraiail Indinit Cïllage on the Thes.September 1838. 1838. Watercolour over pencil on paper. 14.2 15 cm. National -4rchives of Canada Ottawa, ON. 3. Ainslie, Henry Francis. Bcrrrncks al Lorxion. Cariada West. hIq 1843. 1 842. Mised media on paper. 25.9 x 35.5 cm.Xationat Archives of Canada, Ottawa. ON. 3. Whymper, Frederick. Bille Iirlet. 1865. Watercolour. Provincial .Archives of British Columbia, Victoria, BC. 4. Warre? Henry James. fie Rocky ibîortrrtairrsfrom the Bocri Er~carnpmettr011 the Coiicnzbio Riwr. May 2. 1846. 1846. Sepia wash on tinted paper. 17.6 * 25.9 cm. National Archives of Canada, Ottawa ON. S. -4ibert Cmyori. Selkirk Range. Photograph. Glimpses .Along_the Canadian Pacific Railwav: Mountain Series A. By Canadian Pacific Railway. K.P.,[c. 1890?]. 6. Russell. George Home.Moorilighr. Fraser Ccafion. 189-? The Selling of Canada: The CPR and the Be~nninrrsof Canadian Tourism. By E. I. Hart. BanE AB: Mitude: 1983. 92. 7. Brymner. William. Mott~itCheops. Rogers Pass. c.1892. Oil and graphite on canvas. 152.6 2 13.6 cm. Robert McLaughlin Gailery, Oshawa, ON. S. Harnmond. John. T3te Zhree Sisters. Oil on canvas. 12 1 -9 x 1 82.9 cm. Glenbow-Aiberta Inst., GIenbow Museum, Calgary, AB. 9. Notman, William McFarlane. Lookmg Across ~hePuiieyffom Fzrsr Trestlr Loop on the vii Cariadiatf Pacifie. 1887. Aibumen pnnt. 23 x 18 cm. David ;Mirvish Gallery, Toronto, ON. 10. Martin, Thomas Mower. Train in the Mountains. Undated. Oil on canvas. 91.3 x 137.8 cm. GIenbow-Aiberta Inst., Glenbow Museum, Calgary, AB. 1 1. Roper. Edward. Mt. Field adMt. Stephen ott Kickhg Horse River nenr Siunmit of hr Rockirs. c. 1887. Tempera on paper. 12.7 x 22.2 cm. Glenbow-Aiberta Inst., GIenbow Museum, Calgary, -48- II. illatthews, Mmaduke. Pu811gBi/&. Lrndated. Watercolour on board. 19.4 ,< 20.5 cm. Glenbow-Aberta Inst., Glenbow Museum, Calgary, AB. 13. Buell. Oliver. Roger 3 Pms, Siinmir SettIetmrr~.c. 1886. Canadian Railway Museum. St.-Constant, PQ. Trail of bon: The CPR and the Birth of the Westl 1880- i 930. By Bill McGee and Georgeen Klassen. Vancouver: Glenbow-Aibena Inst.; Toronto: Dougias and McLntyre, 1983- 68-9. 13. Sotman and Son. Bini 3-Ep I.tar: Lower Kickmg Horse CUI~OII,Rocb :2.fourmi11.s. GIirnpses Along the Canadian Pacific Railwav: Mountain Series -4. By Canadian Pacific Railway. 'i.p., [c. 1890?]. 15. O'Brien Lucius. On the Cariboo Rd1887. Watercolour over graphite on paper. 5 1.3 x 35.9 cm. National Gallery of Canada Ottawa, ON. 16. O 'B rien, L uciu S. Throzrgh die Rocky ibfo~intaitw,a Pass on the Canadian Highvq. 1587. Watercolour on paper. 10 1.6 69.8 cm. Private coileaion, Toronto, ON. 17. Russell. George Home. Kickirtg Harw Pas, B.C.. 1900. Oil on canvas. 197.5 x 150.5 cm. Glenbow-Alberta Inst., Glenbow Museum, Calgaly, AB. 1 S. Fraser, John Arthur. Mozmt Stephen. c.1886. Engraving- The Selline of Canada: The CPR anci the Beoinninns- - of Canadian Tourisrn. By E. J. Han. BaAB: Mtitude, 1983. 35. 19. Notman, William McFarlane. Mozint Sirphen. 1889. Aibumen silver print. 19.3 x 23.5 cm. National Galley of Canada, Ottawa, ON. 20. Fraser, JOhn Arthur. Fr~zserRiver Lhe of the Currntiiutr Paczfic Rcdwq. 1 586. Watercolour. 36.3 x 66.8 cm. Art Gallery of Hamilton, Hamilton, OP\;. 3 1. O'Brien. Lucius. A4orintaziz Scerrr - bopat Glacier. 1886. Watercolour on paper. 35.6 54.6 cm. Canadian Pacific Corporate Archives, Montreal, PQ. 22. O'Bnen. Lucius. C7ew of the Roches. 1887. Watercolour on paper. 54 :< 75.6 cm. Xational ..Schives of Canada. Ottawa ON. 23. Photograph of the Loop at Glacier. 1890. Glenbow Archives, Calgary, AB. Trail of Iron: The CPR and the Birth of the West. 1880- 1930. By Bill McKee and Georgeen Kiassen. Vancouver, BC: Glenbow- Aberta Inst.; Toronto: Douglas and McIntyre, 1983. 45. 24. Bell-S rnith, Frederic Marlett. Misf, Rucky Ibforirr?nins.1 890. Watercolour. 3 2.1 x 47.3 cm. Hart House, University of Toronto. Toronto, OK 25. Russell, George Horne. Wiizgs of the Monring. Undated. CP Hotels. Trail of Iron: The CPR and the Birth of the West. 1880- 1930.By Bill McKee and Georgeen Klassen. Vancouver, BC: Glenbow-Alberta Inst.; Toronto: Dougias and McIntyre, 1983. 55. 26. Leutze, Emmanuel. Wesfivardthe Course of Empk Tikes its Wq.1 86 1. Oil. 83.5 x 1 10.2 cm. National Museum of .berican Art, Smithsonian Inst-, Washingon, DC. 27. Peale. Titian. Rocky Motu~tainr... From a Sketch by S... undated. Oïl. 18.4 * 33 cm- JosIyn .Art Museum, Omaha, NE. 28. Miller, Alfred Jacob. Troppers SaMing the Rocb Mow~tairl~-.1864. Oil. 63.5 x 98.7 cm. Buffalo Bill Historical Center. Cody, NT. 29. Youn=, Harvey Otis. The Hearz of the Roches. 1S99. Mixed media. 1 14.3 ,< 132.1 cm. Penrose Public Library, Colorado Springs. CO. 30. Jackson, William Henry. Cary011of the Rio Lashimas. c.1880. 45.7 53.3 cm. Colorado State Historical Society. Denver, CO. 3 1. .41iimcr~.C1afiorz arid the Nredk hfowatailu.Engraving. 1887. Rhvmes of the Rockies; Or. What the Poets Have Found to Sav of the Beautilùl Scenerv on the Denver and Rio Grande Railroad- the Scenic Line of the World. By Denver and Rio Grande Railroad. 7" ed. Chicago: Poole. 189 1. 32. .&fier Thomas Moran. 7he ChYs of Echo Carlot?,Utah. Engraving. The Pacific Tourist: Adams and Bisho~'sTllustrated Transcontinental Guide of Travel. fi-om the .Atlantic to the Pacific Ocean: A Cornplete Traveier's Guide of the Union and Central Pacific Railroads. New York: Adams and Bishop, 1884.
Load more

Recommended publications
  • The Influence of the Visual Arts on the Landscape Photographs of William James Topley
    The Influence of the Visual Arts on the Landscape Photographs of William James Topley by Sharon Mary Newton A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Art History Carleton University Ottawa, Ontario © 2020 Sharon Mary Newton Abstract My thesis proposes a new way of understanding one of the most prominent Canadian photographers of the nineteenth and early twentieth century: it considers William James Topley as an aspiring photographic artist. Previous literature has studied him as a commercial photographer and businessman; however, my argument moves away from that characterization and discusses his various connections and interests in the visual arts. The case study looks at photographic reproduction of artworks from Album 29 (Ottawa & Paintings), including Lucius O'Brien's, Sunrise on the Saguenay, Cape Trinity (1880). Furthermore, it compares them to selected photographs from Paysages canadiens, Topley II. The comparison brings to light Topley's connection to the arts and artists the Royal Canadian Academy of Art and The National Gallery of Canada. I argue that Topley used these reproductions of landscape paintings as references for his landscape photographs of the Cape Trinity on the Saguenay River. ii Acknowledgements There are many who travelled with me on this journey and to whom I am indebted. All have given me the guidance and support I needed in various ways through a very difficult few years in my life. To my family, (Paul, Miranda, Connor, and Nathan), it has not always been easy while Mom has been working on this these last few years.
    [Show full text]
  • In Partial Fulfillnent of the Requirements for the Degree of Doctor of Philosophy in History
    BUSINESS, ART AND LABOUR: BRIGDEN'S AND THE GROWTH OF THE CANADIAN GRAPHIC ARTS INDUSTRY 1870_1950 By Angela E. Davis A Thesis presented to the University of Manitoba in partial fulfillnent of the requirements for the degree of Doctor of PhiLosophy in History The University of Manitoba t{innipeg, Manitoba September 1986 ABSTRACT The thesis presented in this dissertation concerns the inter-reLationship between business, art and labour in Canada during the years 1870 to 1950. It will suggest that the foundations of "Canadian Art" and a Canadian popular culture rest not only within the European traditions of "fine" art, but also in the work of those artists who practiced in the commercial environment of engraving, or graphic arts, houses. Indeed most artists, for the period under discussion, worked as both "commercial" and "fine" artists. In order to substantiate this argument, a history of the development of the Canadian graphic arts industry will be traced, using the firm of Brigden's Limited as a case study. Graphic arts firns such as Brigden's demonstrate the unique aspects of an industry which included among its workforce artÍsts as wel.l as skilled technicians. Not only did thjs reguire a management capable of recognizing artistic creativity and practical knowledge, but it al.so necessitated an organization capable of adapting to econonic, social and technoj.ogical change. It was from out of this structure that the product of the industry, the reproduced visual image, made its considerabLe contribution to the development of a Canadian
    [Show full text]
  • WILLIAM NOTMAN Life & Work by Sarah Parsons
    WILLIAM NOTMAN Life & Work by Sarah Parsons 1 WILLIAM NOTMAN Life & Work by Sarah Parsons Contents 03 Biography 11 Key Works 34 Significance & Critical Issues 41 Style & Technique 48 Where to See 55 Notes 57 Glossary 62 Sources & Resources 67 About the Author 68 Copyright & Credits 2 WILLIAM NOTMAN Life & Work by Sarah Parsons William Notman arrived in Canada from Scotland in 1856 and swiftly established himself as Montreal’s most prominent photographer, with studio portraits forming the core of his work. Notman developed complex composite pictures for large groups and innovative techniques for creating winter scenes in his studio. Through his unparalleled combination of photographic and promotional skills, he was the first Canadian photographer to build an international reputation. Notman was still deeply involved in photography when he died in 1891 after a short illness. 3 WILLIAM NOTMAN Life & Work by Sarah Parsons GLASGOW EARLY YEARS The broad strokes of William Notman’s life could have anchored a Victorian novel. He was born March 8, 1826, in Paisley, Scotland, to William Notman and Janet Sloan. His father was a designer and manufacturer of woollen cloth; his paternal grandfather had been a dairy farmer. Young William Notman was the beneficiary of his family’s ambitious upward mobility. When he was a teenager the Notmans moved from the town of Paisley to the city of Glasgow. Although there are no known details of his schooling, it is evident that young William received a decent education, including training in painting and drawing. He had hopes of becoming a professional artist but was advised to join his father’s business, deemed a more stable line of work.
    [Show full text]
  • Acquisitions Principales Des Musées Et Galeries Canadiens, 1977 Principal Acquisitions of Canadian Museums and Galleries, 1977
    Document generated on 09/26/2021 5:37 a.m. RACAR : Revue d'art canadienne Canadian Art Review Acquisitions principales des musées et galeries canadiens, 1977 Principal Acquisitions of Canadian Museums and Galleries, 1977 Volume 5, Number 2, 1978–1979 URI: https://id.erudit.org/iderudit/1077036ar DOI: https://doi.org/10.7202/1077036ar 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 document (1978). Acquisitions principales des musées et galeries canadiens, 1977 / Principal Acquisitions of Canadian Museums and Galleries, 1977. RACAR : Revue d'art canadienne / Canadian Art Review, 5(2), 153–182. https://doi.org/10.7202/1077036ar 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), 1979 (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/ ACQUISITIONS PRI1BÊSERÂLÊS / PRINCIPAL ÀÉQÜÜSmONS Acquisitions principales des wzuws M gzzZmks canadiens Principal Acquisitions of Canadian Muséums and Galleries 1977 PRINCE EDWARD ISLAND Charlottetown Confédération Centre Art Gallery and Muséum i 2 1 Robert Harris (Canadian, 1849- 2 Lindee Climo 3 Robert Young (Canadian, b.
    [Show full text]
  • The Amateur Mountain Photography of Ken Betts, 1929-1936
    University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies Legacy Theses 2001 "Down to the valley and up to right": the amateur mountain photography of Ken Betts, 1929-1936 Bryan, Dawn Margaret Bryan, D. M. (2001). "Down to the valley and up to right": the amateur mountain photography of Ken Betts, 1929-1936 (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/20621 http://hdl.handle.net/1880/41259 master 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 The author of this thesis has granted the University of Calgary a non-exclusive license to reproduce and distribute copies of this thesis to users of the University of Calgary Archives. Copyright remains with the author. Theses and dissertations available in the University of Calgary Institutional Repository are solely for the purpose of private study and research. They may not be copied or reproduced, except as permitted by copyright laws, without written authority of the copyright owner. Any commercial use or publication is strictly prohibited. The original Partial Copyright License attesting to these terms and signed by the author of this thesis may be found in the original print version of the thesis, held by the University of Calgary Archives.
    [Show full text]
  • FINE ART AUCTION Sunday, April 17, 2016 HERBERT JOHANNES JOSEPH SIEBNER 232 Confrontation of Bella Belle Oil on Canvas $9,00/$12,000 30X31.75 In
    FINE ART AUCTION Sunday, April 17, 2016 HERBERT JOHANNES JOSEPH SIEBNER 232 Confrontation of Bella Belle oil on canvas $9,00/$12,000 30x31.75 in. / 67x81 cm. FREDERIC MARLETT BELL-SMITH 007 Siwash Indian Canoes watercolour on paper MAXWELL BENNETT BATES 003 $3,500/$4,500 22x30 in. / 55x76 cm. Cafe, 1973 watercolour on paper ROD CHARLESWORTH 021 $4,000/$6,000 14x20 in. / 35x50 cm. Fireweed, Prelude Lake oil on canvas ORESTES [RICK] DE GRANDMAISON 035 $1,500/$2,000 22x28 in. / 55x71 cm. Dawn Chinook oil on canvas board $2,000/$2,500 22x29.75 in. / 55x75 cm. MOLLY LAMB BOBAK 009 NICHOLAS DE GRANDMAISON 034 Beach Crowd [2] watercolour on paper Chief Bear Paw pastel on paper $1,200/$1,500 8.25x11.25 in. / 20x28 cm. $10,000/$12,000 18x13.25 in. / 45x33 cm. MERV BRANDEL 011 Blue Rocks oil on canvas $1,500/$2,000 24x30 in. / 60x76 cm. WILLIAM [BILL] DUMA 042 Winter Sunset acrylic on canvas board $600/$800 12x16 in. / 30x40 cm. BERTRAM BROOKER 013 Untitled - Faces ink on paper / 1929 ca. PAUL CARON 016 $1,000/$1,500 11x8 in. / 27x20 cm. Entrance to the Saguenay mixed media $700/$900 4.5x6.5 in. / 11x16 cm. HORACE CHAMPAGNE 018 ADELINE HALVORSON 049 Spring Run-Off pastel on paper 2011 Here Comes Trouble acrylic on canvas $1,500/$2,000 12x18 in. / 30x45 cm. $2,000/$2,500 16x20 in. / 40x50 cm. GILBERT A. FLODBERG 044 A Summer Wind oil on canvas $3,000/$3,500 60x65 in. / 152x165 cm.
    [Show full text]
  • Reproductions Of' Pictures Illustrated in This
    R E P R O D U C T I ON S O F' P I C T U R E S I L LU S T R A T E D I N T H I S C AT A L O G U E O R E ' H I B I T E D I N T H E G A L L E R Y M AY N O T B E M A D E W I T H OU T P E R M I S S I ON O F T H E A R T I S T ONTARIO SOCIETY OF ARTISTS I n s ti tu ted 1 872 - I ncor po r a ted 1 877 R e l ncorporated 1898 HONORA RY PATRON - s bl L . Honora e ieut . Col H Cock hutt OFFI CERS Robert Holmes , R . F . Gagen . P resident Secretary s Fred . S . Haine V ice -Pres ident and Treasu rer D R . J . ilworth Auditor E'ECU TI V E COU NCI L Sam on W inch . s s s . r W . Jeffery Mary E J Erne t p l . s M acD ona d . J . E . H . T W M itchell Arthur Li mer F . H Brigden Canadian National Exhibition Representatives G . s . A Reid , Fred S Haine MEM BERS Au s tin D orothy Stevens 3 | Aylmer Ave Toronto 25 S n St . Beatty , J . W ever . Toronto - 336 s Bell Smith , F . M Jarvi St Toronto 160 n F . Brigden . H Richmo d St W Toronto L n s .
    [Show full text]
  • Le Art Building De Sherbrooke 1887-1927
    UNIVERSITÉ DU QUÉBEC À MONTRÉAL UN ESPACE ET UN LIEU DE CULTURE LE ART BUILDING DE SHERBROOKE 1887-1927 TOME II THÈSE PRÉSENTÉE COMME EXIGENCE PARTIELLE DU DOCTORAT EN HISTOIRE DE L'ART PAR MONIQUE NADEAU-SAUMIER AOÛT 2007 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de cette thèse 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.» Table des mati ères Tome II ANNEX E I L'hi stoire de la SLA U ( 1890), les di x premi ères années 465 ANNEX E Il Lettre de Samuel F.
    [Show full text]
  • Images of Girlhood
    Picturing Her: Images of Girlhood The complete texts of the exhibition Presented at the McCord Museum From November 25, 2005 to March 26, 2006 Table of Content Introduction 3 1. Myths and Allegories 4 2. Spaces and Places 8 2.1 Domestic Spaces 9 2.2 Reading at Home 11 2.3 Play Spaces 14 2.4 At School 17 2.5 At the Orphanage 20 2.6 Work Spaces 22 2.7 Contemporary Spaces 24 3. Minds and Bodies 26 4. Autobiographical Expressions 31 2 Picturing Her! Images of Girlhood. McCord Museum of Canadian History, 2005. Introduction No longer children but not quite women, girls are at an in-between stage in life. How do artists depict these special years, and how have their depictions changed through time? The paintings, drawings, prints and photographs in this exhibition, which portray Canadian girls from the nineteenth century to the present, reveal how artists not only reflect ideas of what a girl is, but actively participate in creating new visions – some restrictive, some liberating. Ongoing changes in economic conditions, social attitudes and cultural trends influence the meaning of girlhood and, as a consequence, representations of girls. As society invests Her with new beliefs, desires, fantasies and expectations, both what it means to be a girl and artistic expressions of Her experience are constantly evolving. 3 Picturing Her! Images of Girlhood. McCord Museum of Canadian History, 2005. 1. Myths and Allegories Ideologies have always been expressed through images of the female body. In Canada, the idea of girls as inherently good, strong and capable of healthy growth has been particularly appealing.
    [Show full text]
  • Photographs of Canadian Art Collection CA OTAG SC039
    E.P. Taylor Research Library & Archives Description & Finding Aid: Photographs of Canadian Art Collection CA OTAG SC039 Prepared by Gary Fitzgibbon, 2013 Revised by Gary Fitzgibbon, 2016 317 Dundas Street West, Toronto, Ontario M5T 1G4, Canada Reference Desk: 416-979-6642 www.ago.net/research-library-archives Photographs of Canadian Art collection Photographs of Canadian Art collection Dates of creation: [189-?]–1985, predominant 1920–1965 Extent: 4,125 photographs 227 pictures Custodial history: Materials now constituting the Photographs of Canadian Art collection were obtained by curators at the Art Gallery of Toronto, now the Art Gallery of Ontario, between the 1920s and 1985 in the course of acquiring works of art and arranging exhibitions for the gallery. The photographs were assembled during this period by staff in the library and archives of the gallery as a curatorial resource. Scope and content: Collection consists of a single series of copy prints (of paintings, drawings and prints), and photos of sculptures and other works of art and architecture, chiefly by 19 th - and 20 th -century Canadian artists and architects, arranged in alphabetical order by surname, with photos of works by unknown artists at the end of the series. The collection comprises 646 artists and architects, and includes some reproductions of works of art, chiefly clippings. Many of the works of art reproduced in the photographs are in the permanent collection of the Art Gallery of Ontario. Notes: Source of title proper: Title of the collection is based on its contents. Titles of files and items (at the item level of description) are from envelopes in which the photos were originally contained.
    [Show full text]
  • 90 Treasures, 90 Stories, 90 Years
    90 Treasures, 90 Stories, 90 Years The complete texts of the exhibition Presented at the McCord Museum From March 18 to September 11, 2011. Introduction A treasure has value as an intimate and immediate reminder of the past, a world we no longer know, but which has shaped the one we live in. For 90 years, the McCord Museum has been collecting and preserving invaluable artifacts from the past, building a source of great wealth for present and future generations. This exhibition features a selection of our most treasured objects. Our curators have each chosen those objects from our collections which offer the richest stories. They uncover the hidden meanings and mysteries lying at the heart of their worth. We invite you to come unlock secrets of past lives, of events and circumstances, from the most momentous to the most everyday and personal. A veritable treasure trove awaits you. See nine Montreal artists' personal favourites and listen to curators' comments in the podcasts on the iPod. The iPod icon on a label indicates that A podcast is available. Artists − Marie Chouinard, Executive and Artistic Director, Compagnie Marie Chouinard − Choreographer, dancer and author − Claude Cormier, Landscape Artchitect and Principal, Claude Cormier architectes paysagistes inc, Montréal − Heidi Hollinger, Photographer and television host − Helmer Joseph, Fashion designer − Yves Léveillé, Pianist and composer − Melissa Mongiat and Mouna Andraos, Interactive designers − Lorraine Pintal, Artistic and general director, Théâtre du Nouveau Monde − Sylvain Rivard, Multidisciplinary artist, specialixing in First Nations art − Ricardo Trogi, Director and screenwriter Curators − François Cartier, Curator, History and Archives − Cynthia Cooper, Curator, Costume and Textiles − Guislaine Lemay, Curator, Material Culture − Hélène Samson, Curator, Notman Photographic Archives − Christian Vachon, Associate Curator, Paintings, Prints and Drawings 2 The McCord Museum was founded thanks to the vision of a collector with a passion for Canadian history, David Ross McCord.
    [Show full text]
  • Acquisitions Principales Des Musées Et Galeries Canadiens, 1977 Principal Acquisitions of Canadian Museums and Galleries, 1977
    Document generated on 10/01/2021 4:50 p.m. RACAR : Revue d'art canadienne Canadian Art Review Acquisitions principales des musées et galeries canadiens, 1977 Principal Acquisitions of Canadian Museums and Galleries, 1977 Volume 5, Number 2, 1978–1979 URI: https://id.erudit.org/iderudit/1077036ar DOI: https://doi.org/10.7202/1077036ar 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 document (1978). Acquisitions principales des musées et galeries canadiens, 1977 / Principal Acquisitions of Canadian Museums and Galleries, 1977. RACAR : Revue d'art canadienne / Canadian Art Review, 5(2), 153–182. https://doi.org/10.7202/1077036ar 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), 1979 (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/ ACQUISITIONS PRI1BÊSERÂLÊS / PRINCIPAL ÀÉQÜÜSmONS Acquisitions principales des wzuws M gzzZmks canadiens Principal Acquisitions of Canadian Muséums and Galleries 1977 PRINCE EDWARD ISLAND Charlottetown Confédération Centre Art Gallery and Muséum i 2 1 Robert Harris (Canadian, 1849- 2 Lindee Climo 3 Robert Young (Canadian, b.
    [Show full text]