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English Reports
Document généré le 30 sept. 2021 22:07 Vie des arts English Reports Volume 44, numéro 177, hiver 1999–2000 URI : https://id.erudit.org/iderudit/53096ac Aller au sommaire du numéro Éditeur(s) La Société La Vie des Arts ISSN 0042-5435 (imprimé) 1923-3183 (numérique) Découvrir la revue Citer ce compte rendu (1999). Compte rendu de [English Reports]. Vie des arts, 44(177), 80–87. Tous droits réservés © La Société La Vie des Arts, 1999 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ LT In her recent publication the visual plane with a matter-of-fact MONTRÉAL LEON GOLUB: +•> Painting friends, the Beaver Hall self confidence, a directness that is i- Women Painters (1999), author disconcerting, as though the women WHILE THE CRIME PAINTING FRIENDS, Barbara Meadowcroft traces the portrayed are privy to some knowl IS BLAZING O THE BEAVER HALL lives and careers of these Montreal edge which eludes the viewer. Liane and Danny Taran Gallery, women artists whose life-long asso Saidye Bronfman Centre for WOMEN PAINTERS This book's strength lies pre ciation began when they met at art dominantly in its recognition of the Arts OJ Barbara Meadowcroft school in the early 1900s. -
NINA MAY (PICKEL) OWENS, 1869–1959: ENGLISH QUEBEC’S EARLY “INDEPENDENT” WOMAN/ARTIST1 Lesley Tarasoff Bishop’S University
JETS #32 Q8:text 23/04/09 12:38 PM Page 89 NINA MAY (PICKEL) OWENS, 1869–1959: ENGLISH QUEBEC’S EARLY “INDEPENDENT” WOMAN/ARTIST1 Lesley Tarasoff Bishop’s University Lesley Tarasoff is a fourth year student of History and Women’s Studies at Bishop’s University. She is the Students’ Representative Council’s Corporation Representative, the President of Bishop’s chapter of the Golden Key International Honors Society, and a key member of the Diversity Coalition. She is currently applying to graduate school in the field of Women’s and Gender Studies. Under the supervision of Bishop’s professors, Dr. Jean Manore and Dr. Cheryl Gosselin, and with the financial support of the Eastern Townships Research Centre, Ms. Tarasoff had the opportunity to delve into the Margaret Owens archival holdings, the Brome County Historical Association archives and the Montreal Museum of Fine Arts Library and Archives, in addition to having the chance to review archival material collected by Margaret Owens, Nina Owens’ granddaughter. Ms. Tarasoff’s spent a year exploring the life and work of Nina May (Pickel) Owens and it can clearly be seen in the article below that the young 21st century student connected and indeed fell in love with the 19th century Eastern Townships artist. —Editor ABSTRACT Nina May (PicKeL) Owens, one of Canada’s earLiest women artists, was born in BoLton Centre, Quebec, on June 16, 1869. Though few have heard her name and seen her work, Nina’s life and experiences as both a woman in the domestic sphere and as an artist provide a weaLth of KnowLedge about women and women artists of her time. -
On Art Clubs and Classrooms: Navigating Artist/Teacher Identities by Looking at Anne Savage and Arthur Lismer
On Art Clubs and Classrooms: Navigating Artist/Teacher Identities by Looking at Anne Savage and Arthur Lismer Joanna Black, University of Manitoba This article is dedicated to: students I have taught who are on the brink of pursuing careers in art education while desiring to foster their professional art practice, and Leah Sherman, and her part in the enriched experiences I had in the 1980s at Concordia University and the Museum of Fine Arts in Montreal. Through her, I was touched by the legacies of both Anne Savage and Arthur Lismer. “Do you think I can still ‘make’ my art when I teach?’ ask many soon to be teachers on the cusp of graduating from Bachelor of Education programs. They are uncertain about their ability to maintain their emerging artistic practice while teaching, and it is fitting to ask this key question given the two key role models seen by today’s graduates. On the one hand, their own university studio teachers are a dominant model representing the leading edge of art practice through the few tenure track positions at Schools of Art within higher education at the university. These young professional artists simultaneously maintain their ongoing artwork and exhibitions while having a career as a university art instructor/professor and it is expected and indeed vital that they continue art production. The second model, and the most immediate career path for most graduates in Art Education is within the kindergarten to grade twelve (K-12) public and alternative teaching profession, where there are few, if any professional expectations, pressures (or support) for K-12 art teachers to maintain a professional art practice. -
From Victorian Girl Reader to Modern Woman Artist
From Victorian Girl Reader to Modern Woman Artist: Reading and Seeing in the Paintings of the Canadian Girl by William Brymner, Emily Coonan, and Prudence Heward —Loren Lerner In the late-nineteenth and early-twentieth looking at images, and making art. centuries, “the girl reader” was a popular theme The subject of this essay is the representation for artists. Concurrently, what girls should read of the “girl reader” by these artists.1 The analysis and how this would affect their growth and considers the formal features of the images, development was the subject of numerous elements such as composition, colour, line, scale, advice manuals, novels, magazine articles, and and rhythm, to explain how the artists arrange and books written especially for and about girls (Flint use these aspects to communicate certain beliefs 71–136; Lyons; Bollman). Creating effective and ideas. The discussion focuses on the context in visual documents of the transformation of the which the artworks were produced and how and Victorian girl into the modern girl through reading why each work with the same subject is a variation and seeing were three Canadian artists: William on the theme. This encompasses the ways that Brymner (1855–1925), director and teacher for the paintings involve larger meanings like gender, thirty-five years at the Art Association of Montreal artistic creation, culture, art trends in which the (AAM); and two of his female students, Emily artists participated, and intellectual influences. Coonan (1885–1971) and Prudence Heward The interpretive approach is synthetic, taking into (1896–1947). Brymner’s depictions of late- account these factors and, more specifically, the nineteenth-century daughters, and the more biographies of the artists, the art education of girls, enlightened girls depicted by Coonan and Heward, and the books read by women during this era. -
Canadian, Impressionist & Modern
CanAdiAn, impressionist & modern Art Sale Wednesday, november 21, 2018 · 7 Pm · toronto Canadian, impressionist & modern art auCtion Wednesday, November 21, 2018 4 PM Post-War & Contemporary Art 7 PM Canadian, Impressionist & Modern Art Design Exchange The Historic Trading Floor (2nd floor) 234 Bay Street, Toronto Located within TD Centre previews Heffel Gallery, Calgary 888 4th Avenue SW, Unit 609 Friday, October 19 through Saturday, October 20, 11 am to 6 pm Heffel Gallery, Vancouver 2247 Granville Street Saturday, October 27 through Tuesday, October 30, 11 am to 6 pm Galerie Heffel, Montreal 1840 rue Sherbrooke Ouest Thursday, November 8 through Saturday, November 10, 11 am to 6 pm Design Exchange, Toronto The Exhibition Hall (3rd floor), 234 Bay Street Located within TD Centre Saturday, November 17 through Tuesday, November 20, 10 am to 6 pm Wednesday, November 21, 10 am to noon Heffel Gallery Limited Heffel.com Departments Additionally herein refered to as “Heffel” Fine Canadian art or “Auction House” [email protected] CONTACt appraisals Toll Free 1-888-818-6505 [email protected] [email protected], www.heffel.com absentee and telephone bidding toronto [email protected] 13 Hazelton Avenue, Toronto, Ontario M5R 2E1 Telephone 416-961-6505, Fax 416-961-4245 shipping [email protected] ottawa 451 Daly Avenue, Ottawa, Ontario K1N 6H6 subsCriptions Telephone 613-230-6505, Fax 613-230-8884 [email protected] montreal 1840 rue Sherbrooke Ouest, Montreal, Quebec H3H 1E4 Catalogue subsCriptions Telephone 514-939-6505, Fax 514-939-1100 Heffel Gallery Limited regularly publishes a variety of materials vanCouver beneficial to the art collector. -
Read Ebook {PDF EPUB} Short End of the Stick by Kathleen Morris Short End of the Stick
Read Ebook {PDF EPUB} Short End Of The Stick by Kathleen Morris short end of the stick. .) Why do I always get the short end of the stick? I want my fair share! She's unhappy because she has the short end of the stick again. short end of the stick, to get/have the. Link to this page: ▲ short end of the stick ▼ ▲ short end of the stick ▼ All content on this website, including dictionary, thesaurus, literature, geography, and other reference data is for informational purposes only. This information should not be considered complete, up to date, and is not intended to be used in place of a visit, consultation, or advice of a legal, medical, or any other professional. The meaning and origin of the expression: The short end of the stick. What's the meaning of the phrase 'The short end of the stick'? To get the short end of the stick is to come off worst in a bargain or contest. What's the origin of the phrase 'The short end of the stick'? The expression 'the . end of the stick' comes in many forms. The majority of these refer to getting the worse or, occasionally, the better part of a bargain. They inserted adjectives which indicate the bad outcome are ' short' , 'crappy' or 'blunt ' (or their synonyms or antonyms). There is also the phrase 'getting the wrong end of the stick', which has a different meaning, that is, 'having the facts wrong' or simply 'being mistaken'. Taking the occurrence of these in search engines as a guide, the four forms rank in popularity of current usage like this: 1. -
To Download the PDF File
NOTE TO USERS This reproduction is the best copy available. UMI* A New Matrix of the Arts: A History of the Professionalization of Canadian Women Artists, 1880-1914 Susan Butlin, M.A. School of Canadian Studies Carleton University, Ottawa A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements of the degree of Doctor of Philosophy. 2008 © Susan Butlin, 2008 Library and Archives Biblioth&que et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de ('Edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your Tile Votre r6f6rence ISBN: 978-0-494-60128-0 Our file Notre r6f6rence ISBN: 978-0-494-60128-0 NOTICE: AVIS: The author has granted a non- L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduce, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lntemet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimis ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Women Making Shells: Marking Women’S Presence in the Munitions Work 1914–1918: the Art of Frances Loring, Florence Wyle, Mabel May, and Dorothy Stevens
Canadian Military History Volume 5 Issue 1 Article 6 1996 Women Making Shells: Marking Women’s Presence in the Munitions Work 1914–1918: The Art of Frances Loring, Florence Wyle, Mabel May, and Dorothy Stevens Susan Butlin Canadian War Museum Follow this and additional works at: https://scholars.wlu.ca/cmh Part of the Military History Commons Recommended Citation Butlin, Susan "Women Making Shells: Marking Women’s Presence in the Munitions Work 1914–1918: The Art of Frances Loring, Florence Wyle, Mabel May, and Dorothy Stevens." Canadian Military History 5, 1 (1996) This Canadian War Museum is brought to you for free and open access by Scholars Commons @ Laurier. It has been accepted for inclusion in Canadian Military History by an authorized editor of Scholars Commons @ Laurier. For more information, please contact [email protected]. Butlin: Women Making Shells: Marking Women’s Presence in the Munitions Wo Women Making Shells Marking Wo111en's Presence in Munitions Work 1914-1918 The Art of Frances Loring, Florence Wyle, Mabel May, and Dorothy Stevens Susan Butlin n 1915, while working as a volunteer by Canadian women artists during the I in a munitions factory canteen, First World War, but is also significant Canadian artist Florence Carlyle as powerful expressions of Canadian described the munitions factory in home front activity during the war. 2 letters to her family as a "systematized This paper will examine this artistic hell." However, the atmosphere of the production with consideration of the factory made a deep impression on her, social context of the time, and in the for she continued: "what a picture for light of the contemporary critical an artist. -
Consignor Canadian Fine Art Auctioneers & Appraisers
CONSIGNOR CANADIAN FINE ART AUCTIONEERS & APPRAISERS Auction of Important Canadian Art May 25, 2017 SPRING AUCTION OF IMPORTANT CANADIAN ART LIVE AUCTION Thursday, May 25th at 7:00 pm Gardiner Museum 111 Queen’s Park (Queen’s Park at Bloor Street) Toronto, Ontario ON VIEW May 1st – 20th Monday to Friday: 9:00 am to 5:00 pm Saturdays: 11:00 am to 5:00 pm May 21st – 25th Sunday, May 21st: 11:00 am to 5:00 pm Monday, May 22nd: 11:00 am to 5:00 pm Tuesday, May 23rd: 9:00 am to 5:00 pm Wednesday, May 24th: 9:00 am to 5:00 pm Thursday, May 25th: 9:00 am to 1:00 pm Consignor Gallery 326 Dundas Street West (across the street from the Art Gallery of Ontario) Toronto, Ontario M5T 1G5 416-479-9703 / 1-866-931-8415 (toll free) [email protected] Consignor Canadian Fine Art presents an innovative partnership within the Canadian art industry. The venture acts to bridge the services of the retail gallery and auction businesses in Canada with a team of art industry professionals who not only specialize in consultation, valuation, and professional presentation of Canadian art, but who also have unparalleled reputations in providing exceptional service to the specialized clientele. Mayberry Fine Art partner Ryan Mayberry and auction industry veterans Rob Cowley and Lydia Abbott act as the principals of Consignor Canadian Fine Art, a hybridized business born in response to the changing landscape of the Canadian art industry. Apart from the sales of artwork through auction and private means, Consignor Canadian Fine Art also provides professional appraisal and consultation services, serving clientele through a wide range of purposes, including insurance, probate, and donation. -
Note to Users
NOTE TO USERS This reproduction is the best copy available UMI University of Aiberta Plurality and Agency: Portraits of Women by Prudence Heward Shirley Kathleen Emeny 8 A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillrnent of the requirements for the degree of Master of Arts History of Art and Design Department of Art and Design Edmonton, Alberta Spring 1999 National Library Bibliothèque nationale i+m of,, du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. me Wellington OttawaON K1AON.Q Ottawa ON KI A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence aJlowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loaq 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 otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract Plurality and Agency: Portraits of Wornen by Prudence Heward Shirley Kathleen Emeny This study focuses on the work of Prudence Heward (1 896-1947), a Canadian painter who worked in Montreal during the second quarter of the twentieth century. -
Canada and Impressionism New Horizons New Canada and Impressionism New Horizons
Atanassova Canada and Impressionism New Horizons Impressionism and Canada New Horizons Canada and Impressionism: New Horizons casts off the enduring notions asso- ciated with French Impressionism by shedding light on the contributions of Canadian artists to this widespread movement. The first of its kind, this publication adds a new chapter to the history of World Impressionism as it positions the work of the Canadian Impressionists within the cosmopolitan milieus of the late nineteenth and early twentieth centuries. Progressing from Impressionistic renderings of contemporary life to interpretations of reality through the lenses of Fauvism, Post-Impressionism, and subsequent modes of expression, Impressionism in Canada evolved into a form of modernity tailored to the spirit of a young nation. Canada and Impressionism New Horizons, 1880–1930 Katerina Atanassova Prologue by Adam Gopnik and essays by Tobi Bruce, Anna Hudson, Laurier Lacroix, Loren Lerner, Tracey Lock, Gerta Moray, Sandra Paikowsky National Gallery of Canada Arnoldsche Art Publishers Prologue: Canada and World Impressionism Adam Gopnik “As modern art becomes for us less a train racing forward than a many-sided landscape to be explored at leisure, and for pleasure, progress becomes a less certain term.” Impressionism is a misnamed French movement from the 1860s to the 1880s. Actualisme might have been closer to its true spirit, which was not to record a quick impression of a scene or place but to give permanent form to the ambivalent pleasures of modern life, and in a style shorn of rhetoric and the painstaking pomposity of official art. It was an art about light and life, and how each illuminates the other. -
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.