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Full Space
Paintings made in Canada between 1930 and 1975 that address urban themes, architecture, social spaces, and modern spatial paradigms. At the turn of the century, Canadian painters organized their compositions according to renaissance perspective, realistic representation, and the notion that space was a vacuum containing objects. In the 1920s, Canadian artists influenced by modernism began emphasising spatial relativity, subjective feeling, movement and process, thus privileging theories of 'full' instead of 'empty' space.
Full Space
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Becoming Figures
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Canadian Art in the Twentieth Century
Joan Murray discusses social and political events in combination with the movements, ideas, attitudes, styles, and important groups in Canadian art of this century.
Canadian Art
Together with important First Nations material, the Thomson Canadian Collection is the largest of all private holdings of Canadian art. There are rare and incomparable examples of Northwest Coast Aboriginal art. Krieghoff's inspired accounts of life in the Canadas, prior to Confederation, bring the light and atmosphere of history fully into the present. A staggering power to capture the fleeting and the fugitive in paint still distinguishes the work of the early 20th-century painter Morrice.
Art Et Architecture Au Canada
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.
National Visions, National Blindness
In the early decades of the twentieth century, the visual arts were considered central to the formation of a distinct national identity, and the Group of Seven's landscapes became part of a larger program to unify the nation and assert its uniqueness. This book traces the development of this program and illuminates its conflicted history. Leslie Dawn problematizes conventional perceptions of the Group as a national school and underscores the contradictions inherent in international exhibitions showing unpeopled landscapes alongside Northwest Coast Native arts and the "Indian" paintings of Langdon Kihn and Emily Carr. Dawn examines how this dichotomy forced a re-evaluation of the place of First Nations in both Canadian art and nationalism.
