-
-
-- Rémanences :2002., Concordia University Institute for Canadian Jewish Studies Call No: 700.458 L616a Availability:1 of 1 At Your Library
-
-
-- Art and history from 1868 to today.2008., Montreal Museum of Fine Arts ; Prestel Art Call No: 709.729 C962c Availability:2 of 2 At Your Library
-
-
1964., General, Published for the trustees of the National Gallery of Canada [by the] Queen's Printer Call No: 709.71 H8765d Availability:1 of 1 At Your Library
-
-
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.
-
-
c2010., HarperCollins Canada Call No: Fic Gov Availability:1 of 1 At Your Library Summary Note: In an art gallery in Washington, Rebecca is accosted by the ghost of O-Ei. From modern-day Washington, DC, to colourful 19th-century Japan, this breathtaking work of imagination takes readers on a journey into the hidden life of one of the world's great "lost" artists: O-Ei, the daughter of the great Japanese printmaker Hokusai. The novel shines light on contemporary issues of authorship and masterworks, as well as the tender and ambiguous love between a father and daughter.
-
-
-- Urban street furniture in Canada.c2004., Canadian Museum of Civilization Call No: 383.4971 G325m Availability:1 of 1 At Your Library Series Title: Mercury series
-
-
1968., University of Toronto Press Call No: 630.11 G958p Availability:1 of 1 At Your Library Series Title: Canadian university paperbacks, 73.
-
-
2018., McGill-Queen's University Press Call No: 741.56971 H268s Availability:1 of 1 At Your Library Summary Note: "Canadian readers have enjoyed their own graphic satire since colonial times and Canadian artists have thrived as they took aim at the central issues and figures of their age. Graphic satire, a combination of humorous drawing and text that usually involves caricature, is a way of taking an ethical stand about contemporary politics and society. First appearing in short-lived illustrated weeklies in Montreal, Quebec City, and Toronto in the 1840s, usually as unsigned copies of engravings from European magazines, the genre spread quickly as skilled local illustrators, engravers, painters, and sculptors joined the teams of publishers and writers who sought to shape public opinion and public policy. A detailed account of of Canadian graphic satire, Sketches from an Unquiet Country looks at a century bookended by the aftermath of the 1837-38 Rebellions and Canada's entry into the Second World War. As fully fledged artist-commentators, Canadian cartoonists were sometimes gently ironic, but they were just as often caustic and violent in the pursuit of a point of view. This volume shows a country where conflicts crop up between linguistic and religious communities, a country often resistant to social and political change for women, and open to the cross-currents of anti-Semitism, xenophobia, and fascism that flared across Europe and North America in the early twentieth century. Drawing on new scholarship by researchers working in art history, material culture, and communications studies, Sketches from an Unquiet Country follows the fortunes of some of the artists and satiric themes that were prevalent in the centres of Canadian publishing."--
