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The Life and Art of Mildred Valley Thornton
Short-listed for the 2012 Roderick Haig-Brown Regional Prize Mildred Valley Thornton (1890 1967) (HON. CPA, FRSA) was born in Ontario. Portraits of the First Nations peoples of Western Canada became the genius loci of her oeuvre. During the Depression, her family moved to Vancouver. She became an advocate for First Nations peoples and made important historical contributions to British Columbian art and culture. Thornton was also a noted journalist, Vancouver Sun art critic(1944 1959), book reviewer and published poet. Before she died, Thornton unsuccessfully tried to interest Canadian institutions in purchasing her collection of approximately 300 portraits of First Nations peoples of Canada....
Swinging the Maelstrom
Sherrill Grace's introductory essay describes the influence of Lowry's work on artists working in other media. She also includes an important letter from Lowry to the Norwegian writer Nordahl Grieg, published here, with annotations, for the first time. Jan Gabrial, Lowry's first wife, provides an intimate glimpse of Lowry in a biographical story which has been out of print for more than forty years, Hallvard Dahlie documents the connection between Lowry and Nordahl Grieg, and David Falk conjures up an image of Lowry "groping his way through a labyrinth of paper" in an attempt to salvage himself and his texts. Christine Pagnoulle considers the major Volcano translations, Hilda Thomas astutely...
Harold Mortimer-Lamb
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.
The Logic of Ecstasy
None of these painters was motivated solely by mystical concerns; each of them also painted works which were of a secular or non-spiritual nature. None the less, they were all deeply interested in and concerned about matters mystical. Through a careful examination of the primary documentation Ann Davis looks at the sources of their beliefs in Christianity, transcendentalism, and theosophy and theories of the fourth dimension, and attempts to put some of their major works into new contexts so that familiar paintings can be seen in a new and revealing mystical way.
F.H. Varley
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.
Finding Nothing
Experimental literature accelerated dramatically in Vancouver in the 1960s as the influence of New American poetics merged with the ideas of Marshall McLuhan. Vancouver poets and artists began thinking about their creative works with new clarity and set about testing and redefining the boundaries of literature. As new gardes in Vancouver explored the limits of text and language, some writers began incorporating collage and concrete poetics into their work while others delved deeper into unsettling, revolutionary, and Surrealist imagery. There was a presumption across the avant-garde communities that radical openness could provoke widespread socio-political change. In other words, the interme...
The Making of Malcolm Lowry's Under the Volcano
Ten years in the making, Under the Volcano is the best-known work of writer Malcolm Lowry. Published first in 1947, it is a brilliant, moving, and complex novel, perhaps the last fictional masterpiece to emerge from the modernist movement. As the years went by, Lowry's obsessive rewriting took him further and further into his book, which changed relatively little in the outer semblance of action and main characters but became utterly transformed in texture from the thin and mediocre version of 1940 to the rich tapestry of 1947. The numerous manuscripts allow a look at the processes by which Lowry created not only his masterwork but also his own reputation as a modernist genius. This study offers an extended examination of individual drafts as the novel slowly developed and, in a final chapter, an appraisal of the implications of Lowry's revisions for the book as published, an appraisal that suggests bases for new readings of Under the Volcano.
Houses for All
Houses for All is the story of the struggle for social housingin Vancouver between 1919 and 1950. It argues that, however temporaryor limited their achievements, local activists pplayed a significantrole in the introduction, implementation, or continuation of many earlynational housing programs. Ottawa's housing initiatives were notalways unilateral actions in the development of the welfare state. Thedrive for social housing in Vancouver complemented the tradition ofhousing activism that already existed in the United Kingdom and, to alesser degree, in the United States.
Between Shadows
12-year-old Ari inherits his grandfather’s unspoiled lakeside land and cabin. But his aunt and father want to sell it all to luxury hotel developers.
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