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Taking their name from the downtown street in Montreal where members shared a studio in the early 1920s, The Beaver Hall Group were early adopters of new modernistic approaches to painting and explored their potential within a variety of genres, including portrait, still life, landscape and prescient scenes of urbanity. As well as providing an artistic window into the modern lives of Canadians during this transformational period of history, as a collective The Beaver Hall Group are exceptional for their inclusion of female artists as core members. Initially comprising of both genders, the group would become an all-female collective that includes some of Canada's most celebrated modern painters. Through a series of comprehensive contextual essays The Beaver Hall Group: 1920s Modernism in Montreal interweaves the work of this pioneering artistic collective within a broader narrative of the arts in the first half of the twentieth century. Exploring the groups' greater role in the modernity of Canada--and more specifically the cultural context of Montreal--the book takes on core themes such as the rise of the metropolis, juxtapositions between economic progress and cultural development, and the impact of gender on critical approaches to both artists and their work. The Beaver Hall Group: 1920s Modernism in Montreal sits alongside a major exhibition and is published in partnership with the Montreal Museum of Fine Art.
An exploration of the lives and works of the members of the Beaver Hall Group. Founded in 1920, the group was in the vanguard of bringing Modernism to Canada and is notable for its inclusion of women who now rank among the country’s most outstanding painters.
Four artists who are today relatively or almost entirely unknown – one woman and three men – nevertheless played a part in the aesthetic upheavals that led to abstraction in 1940s Montreal. Very active in the art milieu throughout the decade, Marian Dale Scott, Fritz Brandtner, Henry Eveleigh, and Gordon Webber captured the attention of critics of the time, who employed the term “abstract art” to describe both non-objective works and bold formal explorations that retained some reference to visible reality. An examination of these artists’ practices reveals a remarkable openness to international contemporary art trends – French, German, British, and American. Their work and its critical reception conjure a complex picture of the debates on abstraction that took place in Montreal during the 1940s, so often reduced to the controversies surrounding the emergence of the Automatiste movement. The artistic innovations of Paul-Émile Borduas and his group and the radical tone of their 1948 manifesto Refus global cemented their status as Quebec’s abstract avant-garde but also had the effect of eclipsing other visions of abstraction being explored during the same period. This book reinstates the oeuvres of these forgotten protagonists in the narrative of abstract art, illustrating how their practices encompassed a variety of themes: emotion, science, human experience in the broadest sense – but also, as the Second World War unfolded, the violence that marked their era.
At a time of disdain for modern art and widespread discrimination against women artists, Prudence Heward challenged the conventional in portraits that capture subtleties of emotion and often reflect her own struggles against illness and family tragedy. As A.Y. Jackson, founding member of the Group of Seven and the Beaver Hall Group, claimed, “[Heward] was the very best painter we ever had in Canada and she never got the recognition she richly deserved in her lifetime.”
On the Other Side(s) of 150 explores the different literary, historical and cultural legacies of Canada’s sesquicentennial celebrations. It asks vital questions about the ways that histories and stories have been suppressed and invites consideration about what happens once a commemorative moment has passed. Like a Cubist painting, this modality offers a critical strategy by which also to approach the volume as dismantling, reassembling, and re-enacting existing commemorative tropes; as offering multiple, conditional, and contingent viewpoints that unfold over time; and as generating a broader (although far from being comprehensive) range of counter-memorial performances. The chapters in this volume are thus provisional, interconnected, and adaptive: they offer critical assemblages by which to approach commemorative narratives or showcase lacunae therein; by which to return to and intervene in ongoing readings of the past from the present moment; and by which not necessarily to resolve, but rather to understand the troubled and troubling narratives of the present moment. Contributors propose that these preoccupations are not a means of turning away from present concerns, but rather a means of grappling with how the past informs or is shaped to inform them; and how such concerns are defined by immediate social contexts and networks.
Tourism promoters strive to brand their destinations in anticipation of what they think travellers hope to experience. In turn, travel writers react in part to destinations in line with their expectations. While several scholars have documented such patterns elsewhere, these have remained understudied in the case of Quebec despite the frequency with which the province was branded and rebranded and its status as a major North American travel destination in the decades leading up to Expo 67. The first comprehensive history of Quebec tourism promotion and travel writing, From Old Quebec to La Belle Province details changing marketing strategies and shows how these efforts consistently mirrored and strengthened French Quebec's evolving national identity. Nicole Neatby also takes into account the contentious role of English-speaking promoters in Montreal, belying the view that Quebec was unvaryingly represented and appreciated for being "old." Taking a comparative approach, Neatby draws on books and a wide array of newspapers, popular and specialized magazines, and written and visual sources from outside the tourist genre to reveal how the distinct national and cultural identities of English Canadians, Americans, and French Quebecers profoundly shaped their expectations and reactions to the province. From Old Quebec to La Belle Province traces and explains shifting promotional priorities for tourism and travel writers' varying reactions over the course of four decades, and how these attitudes harmonized with evolving national identities.
The French edition of the The Beaver Hall Group: 1920s Modernity is co-published with Montreal Museum of Fine Art, coinciding with a major exhibition at the museum.
A captivating account of the formative years of one of Canada’s best-known artists, Jackson’s Wars follows A.Y. Jackson’s education and progress as a painter before he was a well-known artist and his time on the battlefield in Europe, before he cast his lot in with a group of like-minded Toronto artists. Jackson fought many battles: he was a feisty and opinionated combatant when he crossed swords with critics, collectors, museums, galleries, and fellow painters as an emerging artist. Moving from Montreal to Toronto in 1913, he became a key figure in a landscape movement that was determined to depict Canada in a bold new way, only to have a war dash the group's collective ambitions. Alone among his close associates, Jackson enlisted to fight with the 60th Infantry Battalion. Wounded at Sanctuary Wood in 1916, he returned to the field of combat as an official war artist – the first Canadian artist appointed, the only infantryman in the program – and militated for other Canadian appointments to what is now a storied moment of creation for such artists as F.H. Varley and Arthur Lismer. Jackson produced some of Canada’s most memorable depictions of the world’s first industrial-scale conflict, even as he reckoned with the anguish caused by the mysterious death of his close friend Tom Thomson. A life-changing event for soldiers, families, and nations alike, the First World War has been understood as a moment of stasis in the visual arts in Canada – the dead ground from which the Group of Seven emerged in the early 1920s. Douglas Hunter shows how Jackson’s war was a moment of intense transformation and artistic development on the canvas as well as an experience that tempered a young man into a constructive elder statesman for Canadian art. On his return home he was not only instrumental in the formation of the Group of Seven in Toronto, but a key figure for the Beaver Hall Group in Montreal. Jackson’s Wars is a story of brotherhoods of painters and soldiers, shot through with inspiration, ambition, trauma, and loss, on the home front as well as on the battlefield. Hunter widens and deepens A.Y. Jackson’s world of friends, family, and colleagues to capture the life of a complex man and the crucial events and relationships behind the creation of Canada’s best-known art collective.
This book examines Marius Barbeau’s career at Canada’s National Museum (now the Canadian Museum of History), in light of his education at Oxford and in Paris (1907–1911). Based on archival research in England, France and Canada, Marius Barbeau’s Vitalist Ethnology presents Barbeau’s anthropological training at Oxford through his meticulous course notes, as well as archival photographs at the Pitt Rivers Museum and the Bibliothèque et Archives nationales du Québec. It also draws upon Barbeau’s professional correspondence at Library and Archives Canada, the BC Archives, and, above all, the National Museum, where he worked for over four decades. The author, Frances M. Slaney, sheds light on the professional life of this founder of Canadian anthropology, exploring his difficult working relationships with Edward Sapir, his collaborations with Franz Boas, and his outstanding fieldwork in rural Quebec and with Indigenous communities on British Columbia’s Northwest Coast. Barbeau penned over 1,000 books and articles, in addition to curating innovative museum exhibitions and art shows. He invited Group of Seven artists into his field sites, convinced that their works could better capture the “vitality” of Quebec’s rural culture than his own abundant photographs. For these—and many other—contributions, the Historic Sites and Monuments Board of Canada recognized him as a “person of national historic importance” in 1985.
Deco dandy contests the supposedly exclusive feminine aspect of the style moderne (art deco) by exploring how alternative, parallel and overlapping experiences of decorative modernism, nationalism, gender and sexuality in the years surrounding World War I converge in the protean figure of the 'deco dandy'. The book suggests a broader view of art deco by claiming a greater place for the male body, masculinity and the dandy in this history than has been given to date. Important and productive moments in the history of the cultural life of Paris presented in the book provide insights into the changing role performed by consumerism, masculinity, design history and national identity.