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-- Nineteen twenties modernism in Montreal - The Beaver Hall Group2015., General, Montreal Museum of Fine Arts ; Black Dog Publishing Call No: NEW 759.11 B759m Availability:1 of 1 At Your Library Summary Note: Taking their name from the downtown street in Montreal where members shared a studio in the early 1920s, The Beaver Hall Group were early adopters of new modernistic approaches to painting and explored their potential within a variety of genres, including portrait, still life, landscape and prescient scenes of urbanity. As well as providing an artistic window into the modern lives of Canadians during this transformational period of history, as a collective The Beaver Hall Group are exceptional for their inclusion of female artists as core members. Initially comprising of both genders, the group would become an all-female collective that includes some of Canada's most celebrated modern painters. Through a series of comprehensive contextual essays The Beaver Hall Group: 1920s Modernism in Montreal interweaves the work of this pioneering artistic collective within a broader narrative of the arts in the first half of the twentieth century. Exploring the groups' greater role in the modernity of Canada--and more specifically the cultural context of Montreal--the book takes on core themes such as the rise of the metropolis, juxtapositions between economic progress and cultural development, and the impact of gender on critical approaches to both artists and their work.
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-- Rémanences :2002., Concordia University Institute for Canadian Jewish Studies Call No: 700.458 L616a Availability:1 of 1 At Your Library
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c1996., Douglas & McIntyre ; University of Washington Press Call No: 759.11 C311b Availability:1 of 1 At Your Library
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2016., General, McGill-Queen's University Press Call No: 745.097 M889f Availability:1 of 1 At Your Library Series Title: McGill-Queen's/Beaverbrook Canadian Foundation studies in art history.Summary Note: "Folk art emerged in twentieth-century Nova Scotia not as an accident of history, but in tandem with cultural policy developments that shaped art institutions across the province between 1967 and 1997. For Folk's Sake charts how woodcarvings and paintings by well-known and obscure self-taught makers--and their connection to handwork, local history, and place--soothed the public's nostalgia for a simpler past. Addressing modernism as it pertains to the genealogy of folk art and late twentieth-century crises in capitalism, Erin Morton places artists like Maud Lewis and Collins Eisenhauer within histories of cultural and economic development in the province. Engaging the national and transnational developments that moulded public and academic criteria, she examines the ways in which a conceptual category took concrete, material form. As folk art entered the public collection of the Art Gallery of Nova Scotia and the private collections of professors at the Nova Scotia College of Art and Design, it evolved under the direction of collectors and curators who sought it according to a particular modernist aesthetic language. Illustrated with over seventy images, For Folk's Sake interrogates the emotive pull of folk art to radically reconstruct the relationships that emerged between relatively impoverished self-taught artists, a new brand of middle-class collector, and academically trained professors and curators in Nova Scotia's most important art institutions."--Provided by publisher.
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c2002., Key Porter Books in association with the Glenbow Museum Call No: 758.1 G882g Availability:1 of 1 At Your Library
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2015., Adult, Art Gallery of Ontario Call No: 759.11 H314i Availability:1 of 1 At Your Library Summary Note: "This generously illustrated book examines the most significant period in the work of Lawren Harris, who was central to defining a distinctive Canadian art in the 20th century. Sparse landscapes of Lake Superior's northern shores, bold visions of the Rocky Mountains and haunting landscapes from the Eastern Arctic are hallmark themes of Lawren Harris's paintings. He was a founding member of the renowned "Group of Seven" artists' group, who believed that the Canadian landscape was central to the foundation of a national identity. Focusing on Harris's most important work of the 1920s through the early 1930s, this monograph shows the artist's remarkable use of color, light, and composition resulting in powerful scenes that reflect his progress toward a universal vision of nature's spiritual power"--Provided by publisher.
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c1977., Art Gallery of Ontario ; distributed in Canada by Gage Pub. Call No: 758.1 L383 Availability:1 of 1 At Your Library