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In the tradition of the distinguished Douglas & McIntyre art program, this lavishly illustrated and superbly printed book is a rich, readable history of abstract painting in Canada. The story begins in the 1920s with the sometimes eccentric but remarkable work, rooted in symbolism and theosophy, of pioneers such as Kathleen Munn, Bertram Brooker and Lawren Harris. Two decades later the Automatistes-Canada's first truly independent avant-garde art movement-burst onto the scene in Montreal. After the Second World War, the urge to abstraction spread across Canada, manifesting itself in significant regional movements. Vancouver painters retained a British flavour, while in Toronto, the Painters ...
Transatlantique considers the development of the Art Deco aesthetic in Paris and Halifax evidenced in prints and drawings of fashion and costume designs from both cities, with particular attention given to the work of George Barbier. A special feature of this publication is the eight images of works in the exhibition that have been printed on high-quality paper for possible removal and framing. Thoughtful essays by Arthur M Smith, former Head Librarian, Royal Ontario Museum, and author of Chevalier du Bracelet - George Barbier and His Illustrated Works, and by Mora Dianne O'Neill, Associate Curator, Historical Prints and Drawings, consider the work of George Barbier and his colleagues in Paris, and that of Alice Egan Hagen, Marjorie Tozer, and Robert Doyle in Halifax.
This book begins with an introduction charting the history of the Art Gallery of Nova Scotia from its beginnings as a dispersed collection held under the name of the Nova Scotia Museum of Fine Arts to the present Gallery housed in a historic building. The main section presents photographs of 134 key works in the Gallery's collection along with essays about the art & artists. The works are arranged under the following categories: Canadian historical painting, contemporary art, First Nations & Inuit art, folk art, ceramics, historical prints & drawings, and international painting & sculpture. Includes index of artists.
The most in-depth guide available to Nova Scotia, from picture-postcard favorites to hidden treats.
There may be many folk artists in Canada, but there is only one integrated folk art scene: the one in Nova Scotia. Classic folk art is the work of artists who did not think of themselves as artists, who made art that they never considered to be art at all. There were no festivals, no galleries, and no touring exhibitions when they started--just a sign by the side of the road, a painted house, or colourful sculptures in the yard to attract the attention of passers-by. Today in Nova Scotia, contemporary folk art has become a distinct style, one which stresses individual creativity over collective utility. The maker, and their stories, is central to the appeal. Written by former Art Gallery of ...
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A radical re-examination of art in Nova Scotia and the place of folk art in the cultural hierarchy of the twentieth century.
A pioneering study of a unique narrative form, Words about Pictures examines the special qualities of picture books--books intended to educate or tell stories to young children. Drawing from a number of aesthetic and literary sources, Perry Nodelman explores the ways in which the interplay of the verbal and visual aspects of picture books conveys more narrative information and stimulation than either medium could achieve alone. Moving from "baby" books, alphabet books, and word books to such well-known children's picture books as Nancy Ekholm Burkert's Snow White and the Seven Dwarfs, Gerald McDermott's Arrow to the Sun, Maurice Sendak's Where the Wild Things Are, and Chris Van Allsburg's The Garden of Abdul Gasazi, Nodelman reveals how picture-book narrative is affected by the exclusively visual information of picture-book design and illustration as well as by the relationships between pictures and their complementary texts.
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.
For many years, Maud Lewis was one of Nova Scotia's best-loved folk painters. In the 1990s she was embraced by the rest of the country when the landmark exhibition of her work The Illuminated Life of Maud Lewis travelled across Canada. By the time the tour was over, half a million people had become acquainted with her delightful work. Between 1938, when she married Everett Lewis, until her death in 1970, Maud Lewis lived in a tiny one-room house near Digby, Nova Scotia. Over the years, she painted the doors inside and out, the windowpanes, the walls and cupboards, the wallpaper, the little staircase to the sleeping loft, the woodstove, the breadbox, the dustpan, almost everything her hand to...