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Maud Lewis THE HEART ON THE DOOR is the first full-length biography of Maud Lewis (1901-1970), the famous Nova Scotia folk artist. It includes detailed accounts of her disabilities, including a childhood battle with the juvenile rheumatoid arthritis which twisted her hands and joints. Despite this deepening and painful affliction she completed and sold thousands of bright pictures and Christmas cards from her little one-room house in Marshalltown, Digby County, Nova Scotia, Canada. Throughout her marriage to the illiterate Poor Farm watchman, Everett Lewis, she suffered from poverty and loneliness, yet triumphed over all with her brilliant, colourful and happy paintings. Her husband would be murdered for his lockbox of savings taken from the sales of Maud's pictures, on New Year's Day of 1979. This book also gives a detailed account of the life of Everett Lewis and his incarceration as a child in the Digby County Poor Farm. This biography concludes that Maud Lewis, born Maud Catherine Dowley in Yarmouth, Nova Scotia in 1901, gave birth to a daughter, Catherine Dowley, in 1928, and traces the life of Maud's daughter until her passing. Catherine's attempts to contact and be accepted by her mother, Maud Lewis, are documented. Catherine's father, Emery Allen, the love of Maud's life, abandoned Maud to the scandal of small-town life and to her increasing disabilities and loneliness. Excerpts: "This is a story written in heartbreak. It is the story of a child's wish to be accepted as a human being. It is a story of murder, poverty and treasure. It is the story of the worth of art in the struggle against pain. This is a story of broken families, of lonely lives, of a lost love and abandonment. It is a story of murder and a lockbox treasure. It is the story of a man who made a woman pay for his own frailties. All must be taken together. They belong to each other." "Many of the famous of our time - the actor Peter Falk, Premier Robert L. Stanfield, the actor Judy Dench - would come to admire Maud's pictures. Her pictures cheered them up. As with many, however, who came to visit with Maud in her crooked little house, these famous would never know the strange secrets of this difficult life. Lance Woolaver, Digby County, Nova Scotia, 2016
Maud Lewis (1903-1970) was recognized and revered in her own lifetime. She offered her endearing images to the passing world through her roadside sign, Paintings for Sale, and was rewarded by the enthusiastic response she received from both the community and tourists as well as from art collectors. The Illuminated Life of Maud Lewis is an invitation to share once again with the world the perceptions of this celebrated Nova Scotia folk artist in prose, photographs, and reproductions of her works.
Maud Lewis was born into a loving Nova Scotia family who accepted her physical limitations. When her parents died and she was forced to find her own way in the world, she married and set up a modest household in a small cabin. Despite the hardships she faced, she was able to find joy in her life, a joy that she expressed through her art. She painted canvases of animals, children, and her surroundings. Her art spilled over into everything from dust pans to the walls of her house. Maud Lewis died in 1970, but her wonderful, life-affirming art lives on and is treasured by people who understand and appreciate folk art all over the world.
Folk art emerged in twentieth-century Nova Scotia not as an accident of history, but in tandem with cultural policy developments that shaped art institutions across the province between 1967 and 1997. For Folk’s Sake charts how woodcarvings and paintings by well-known and obscure self-taught makers - and their connection to handwork, local history, and place - fed the public’s nostalgia for a simpler past. The folk artists examined here range from the well-known self-taught painter Maud Lewis to the relatively anonymous woodcarvers Charles Atkinson, Ralph Boutilier, Collins Eisenhauer, and Clarence Mooers. These artists are connected by the ways in which their work fascinated those active in the contemporary Canadian art world at a time when modernism – and the art market that once sustained it – had reached a crisis. As folk art entered the public collection of the Art Gallery of Nova Scotia and the private collections of professors at the Nova Scotia College of Art and Design, it evolved under the direction of collectors and curators who sought it out according to a particular modernist aesthetic language. Morton engages national and transnational developments that helped to shape ideas about folk art to show how a conceptual category took material form. Generously illustrated, For Folk’s Sake interrogates the emotive pull of folk art and reconstructs the relationships that emerged between relatively impoverished self-taught artists, a new brand of middle-class collector, and academically trained professors and curators in Nova Scotia’s most important art institutions.
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 touched. Her house was a joy to behold, and it became a magnet for tourists as well as a focal point in her village. In 1979, after Everett Lewis died, the Maud Lewis Painted House Society worked diligently to raise funds to acquire, preserve, and display the house as part of the cultural heritage of the area as well as a memorial to their beloved artist. In 1984, the house and its contents were purchased by the Province of Nova Scotia for the Art Gallery of Nova Scotia. In The Painted House of Maud Lewis, Laurie Hamilton, the conservator at the Art Gallery of Nova Scotia, shows how all the different parts of the house -- the building itself, the painted household items, even the wallpaper -- were catalogued, conserved, and prepared for exhibition. The preliminary stages of conservation treatment began in 1996 in a most unusual location: the Sunnyside Mall in Bedford, just outside Halifax, where conservators worked in full view of the public. The conservators used established techniques and invented new ones to complete their unique project and documented every stage of the restoration photographically. The book also features more than sixty-five colour photos including several taken by noted photographer Bob Brooks in 1965 for the Star Weekly. Today, anyone can visit the tiny house that has become a folk art phenomenon. The restoration story spans two decades, but the story of the Painted House continues as each new visitor to the Art Gallery of Nova Scotia finds delight and inspiration in Maud Lewis's joyous vision.
Hilarious and heartbreaking, Creepy & Maud charts the relationship between two social misfits, played out in the space between their windows. Creepy is a boy who watches from the shadows keenly observing and caustically commentating on human folly. Maud is less certain. A confused girl with a condition that embarrasses her parents and assures her isolation. Together Creepy and Maud discover something outside their own vulnerability — each other's. But life is arbitrary; and loving someone doesn't mean you can save them. Creepy & Maud is a blackly funny and moving first novel that says; 'You're ok to be as screwed up as you think you are and you're not alone in that.'
One man must save the human race from total destruction when a small British village is invaded by a terrifying host of archetypal creatures released from the spiritual world In the small English town of Smetham on the outskirts of London, a wall separating two worlds has broken down. The meddling and meditations of a local mage, Mr. Berringer, has caused a rift in the barrier between the corporeal and the spiritual, and now all hell has broken loose. Strange creatures are descending on Smethem—terrifying supernatural archetypes wreaking wholesale havoc, destruction, and death. Some residents, like the evil, power-hungry Mr. Foster, welcome the horrific onslaught. Others, like the cool and intellectual Damaris, refuse to accept what her eyes and heart tell her until it is far too late. Only a student named Anthony, emboldened by his unwavering love for Damaris, has the courage to face the horror head on. But if he alone cannot somehow restore balance to the worlds, all of humankind will surely perish in the impending apocalypse. An extraordinary metaphysical fantasy firmly based in Platonic ideals, The Place of the Lion is a masterful blending of action and thought by arguably the most provocative of the University of Oxford’s renowned Inklings—the society of writers in the 1930s that included such notables as C. S. Lewis, J. R. R. Tolkien, and Owen Barfield. With unparalleled imagination, literary skill, and intelligence, the remarkable Charles Williams has created a truly unique thriller, a tour de force of the fantastic that masterfully engages the mind, heart, and spirit.
One of G. K. Chesterton’s finest collection of essays, The Well and the Shallows, explore more controversial themes than typically seen in the work of the English writer. Written with Chesterton’s biting wit, he touches on various cultural, social and moral issues from birth control to Catholicism. Chesterton’s perceptive analysis of core issues within modern society remains startling relatable nearly 100 years since its publication. Written shortly after his conversion to Catholicism, he writes with tremendous foresight focusing on subjects like Catholicism, Reformation and Protestantism, and other profound writings on political and social issues based around the central theme of religion. Essays in this volume include: My Six Conversions The Return to Religion The Higher Nihilism The Ascetic At Large Babies and Distribution A Century of Emancipation Trade Terms Shocking the Modernists Sex and Property Why Protestants Prohibit Where is the Paradox? The Well and the Shallows is an insightful collection of essays on some of the most important ideas of the modernist era written by one of the greatest English writers of the 20th century. It is a perfect read for those interested in the work of G. K. Chesterton or any with a broader interest in historical, social analysis from a religious perspective.
When Bobby Langford arrives in Digby, Nova Scotia, looking for work as a cook on a fishing boat, he finds himself renting a room from Walter Letteney, a nervous eccentric and ne'er-do-well who occupies an old warehouse on the waterfront. What follows is a comic, compelling portrait of two men attempting to reconcile the contradictions of community life. The third play in his Digby County trilogy, Brindley Town continues Woolaver's investigation of our society's racial and economic barriers and of the way in which the human spirit sometimes manages to overcome them.