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"He never held down a job for long. Although a fine portrait painter, he could not bring himself to curry favour with the powerful people who might have given him a living as a portraitist."--BOOK JACKET. "He was, above all, a committed bohemian who put his art before friends, family, and conventional appearances."--BOOK JACKET.
Frederick Horsman Varley was unique among the members of the Group of Seven. One of the greatest Canadian portraitists of the twentieth century, he is an intriguing example of an artist who, despite his fame as a portrait painter, remains better known for his landscapes. This is due mainly to his position as one of the founding members of the Group of Seven and their deliberate attempt to raise awareness of our national identity by depicting the Canadian landscape. Even though many public collections across the country, including the National Gallery of Canada, the Art Gallery of Ontario, and the Vancouver Art Gallery, display some of Varley's best-known portraits, these works do not easily fit into the conventional mould of the Group of Seven. Nearly four decades after his death, Varley's portraits are still not fully acknowledged. The release of this beautifully illustrated bilingual volume coincides with the opening of an unprecedented exhibition of his portraiture.
History books typically show Vancouver as a pioneer city built on forestry, fisheries, and tourism, but behind the snow-capped mountains and rain forests, the Vancouver of the first half of the 20th century was a seething mass of corruption. The top job at the Vancouver Police Department was a revolving door with the average tenure for a police chief of just four years.In those early years, Detective Joe Ricci's beat was the opium dens and gambling joints of Chinatown, while LurancyHarris-the first female cop in Canada-patrolled the high-end brothels of Alexander Street. Later, proceeds from rum running produced some of the city's iconic buildings, cops became robbers, and the city reeled from a series of unsolved murders.But Vancouver is more than bookies, brothels, and bootleggers-the city also produced legendary women, world-class entertainers and ground-breaking architecture.Sensational Vancouver is a fully illustrated popular history book about Vancouver's famous and infamous, the ordinary and the extraordinary, filtered through the houses in which they lived. Sensational Vancouver covers legendary women including Elsie MacGill, Phyllis Munday, Nellie Yip Quong and Joy Kogawa; high-end brothels, unsolved murders, and the homes and buildings of artists, architects and entertainers including Frederick Varley, Arthur Erickson, Bryan Adams, and Michael Bublé.Includes a Walking Tour map of historic Strathcona and Chinatown.Praise for At Home with History:"You might call her the Sherlock Holmes of home history. Lazarus's stories bring Vancouver's past back to life." -the Outlook"A mix of old black-and-white street-scene photos, jovial stories, and unique neighbourhood profiles, the book crushes the idea that Vancouver is a city without history." -The Georgia Straight"...exceptional incidents in ordinary houses and ordinary people in exceptional houses." -The Vancouver Sun"Lazarus reveals the hidden stories of a number of Vancouver's heritage homes, setting each within the larger context of its neighbourhood ... bootleggers rub shoulders with financiers, prostitutes with police, murderers with mayors." -The Vancouver Courier
Art Et Architecture Au Canada by Loren Ruth Lerner,Mary F. Williamson Pdf
Identifies and summarizes thousands of books, article, exhibition catalogues, government publications, and theses published in many countries and in several languages from the early nineteenth century to 1981.
Frederick Horsman Varley was unique among the members of the Group of Seven. One of the greatest Canadian portraitists of the twentieth century, he is an intriguing example of an artist who, despite his fame as a portrait painter, remains better known for his landscapes. This is due mainly to his position as one of the founding members of the Group of Seven and their deliberate attempt to raise awareness of our national identity by depicting the Canadian landscape. Even though many public collections across the country, including the National Gallery of Canada, the Art Gallery of Ontario, and the Vancouver Art Gallery, display some of Varley's best-known portraits, these works do not easily fit into the conventional mould of the Group of Seven. Nearly four decades after his death, Varley's portraits are still not fully acknowledged. The release of this beautifully illustrated bilingual volume coincides with the opening of an unprecedented exhibition of his portraiture.
Author : Ian A. C. Dejardin Publisher : Philip Wilson Publishers Page : 0 pages File Size : 44,9 Mb Release : 2012-06-13 Category : History ISBN : 0856676861
Published to accompany exhibition organized by Dulwich Picture Gallery and the National Gallery of Canada, in collaboration with the National Museum of Art, Architecture and Design, Oslo, and the Groninger Museum.
Harold Mortimer-Lamb’s name is in the index of almost every book written on the history of Canadian art, yet his place in that world has never been clear. Photographer, writer, painter, promoter—he was a man of many parts and the ideal patron and friend to some of Canada's most famous artists, including A.Y. Jackson, Emily Carr, and Jack Shadbolt. At the centre of his story are his relationships with painter Frederick Varley and young student Vera Weatherbie, whom Mortimer-Lamb, at the age of seventy, eventually married, when she was just thirty. Profusely illustrated with his photos, paintings, and the art he collected, Harold Mortimer-Lamb: The Art Lover brings into focus an unknown chapter in Canadian art history.
Beginning in 1912, Defiant Spirits traces the artistic development of Tom Thomson and the future members of the Group of Seven, Franklin Carmichael, Lawren Harris, A. Y. Jackson, Franz Johnston, Arthur Lismer, J. E. H. MacDonald, and Frederick Varley, over a dozen years in Canadian history. Working in an eclectic and sometimes controversial blend of modernist styles, they produced what an English critic celebrated in the 1920s as the “most vital group of paintings” of the 20th century. Inspired by Cézanne, Van Gogh and other modernist artists, they tried to interpret the Ontario landscape in light of the strategies of the international avant-garde. Based after 1914 in the purpose-built Studio Building for Canadian Art, the young artists embarked on what Lawren Harris called “an all-engrossing adventure”: travelling north into the anadian Shield and forging a style of painting appropriate to what they regarded as the unique features of Canada’s northern landscape. Rigorously researched and drawn from archival documents and letters, Defiant Spirits constitutes a “group biography,” reconstructing the men’s aspirations, frustrations and achievements. It details not only the lives of Tom Thomson and the members of the Group of Seven but also the political and social history of Canada
The Group of Seven and Tom Thomson by David P. Silcox Pdf
This book celebrates the artisitic legacy of eleven artists who broke with tradition and established a new way of painting Canada. Although they called themselves the Group of Seven, the members eventually numbered ten. Tom Thompson, who died before the group was established, was always present in spirit and in the public mind--Page 4 of cover.
A monument to the talent of Canadian women artists in the interwar period. this book provides a full and diverse cross-country survey of the art made by women during this pivotal time, incorporating the work of both settler and Indigenous visual artists in a stirring affirmation of the female creative voice. Residence: Ontario. Print run 2,500.
This book reveals the magnificent landscape paintings of the Group of Seven and their associates and explores how they contributed to Canada's modern cultural identity. The early decades of the 20th century were marked by artistic, economic, and social transformation in Canada and around the world. Starting in Toronto, a group of young modern artists, including Tom Thomson and Lawren S. Harris, and Emily Carr in British Columbia, desired to create a new painting vocabulary for the young nation coming into its own cultural identity. They turned away from city life and explored Canada's landscape, painting sublime vistas, monumental rivers, ancient forests around the great lakes, the mighty Rocky Mountains, and the arctic tundra, determined to break away from European stylistic traditions. Together, their paintings imagined a mythical Canada, expansive and rugged, that added to their country's growing sense of national pride. Featuring paintings, sketches, photographs, film stills, and documentary material, this catalog examines the language of Canadian modernism. It also includes essays and interviews that offer contemporary indigenous perspectives on the impact of industry on nature, issues surrounding national identity, and modern Canadian landscape painting. This generously illustrated book critically reviews Canada's modernism in art history.