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These are collections of Mike Fileys best work from his popular and long-running Toronto Sun column, "The Way We Were."
Mike Filey’s column "The Way We Were" first appeared in the Toronto Sunday Sun not long after the first edition of the paper hit the newsstands on September 16, 1973. Now, over four decades later, Filey’s column has enjoyed an uninterrupted stretch as one of the newspaper’s most popular features. In 1992 a number of his columns were reprinted in Toronto Sketches: "The Way We Were." Since then another ten volumes have been published. Each column looks at Toronto as it was and contributes to our understanding of how the city became what it is. Illustrated with photographs of the city’s people and places of the past, Toronto Sketches are nostalgic journeys for the long-time Torontonian and a voyage of discovery for the newcomer. This special bundle collects volumes four to six, packed with fascinating information about Toronto’s history. Includes Toronto Sketches 4 Toronto Sketches 5 Toronto Sketches 6
Lawren Stewart Harris' artistic career began in the first decade of our century. Well known for the nationalist-inspired landscapes that he painted between 1908 and 1932, Harris turned resolutely in 1934 to the painting of abstractions. He continued to create works that reflected his own modernist and mystical developments until the end of his life. Canadians praise Harris' landscapes and admire him as a planner of innovative and heroic-sounding sketching trips into the North. He is also recognized as the chief organizer of the Group of Seven. A long list of younger artists he considered creative greatly benefited from Harris' encouragement and often generous, practical help; many of them have been interviewed for this book. In the lives of some Canadians harris still functions as a gurulike guide – a role he was quite content to take on during his own lifetime – because of the spiritual content of his art and aesthetic writings and the example of his optimistic, vigorous and apparently untroubled life. But Harris' was not an untroubled life, and Light for a Cold Land examines his personal crises and difficulties, some of which caused important changes in his art. The book also uncovers the painting styles, artistic tensions and cultural dynamics of the German milieu in which Harris received his only formal art education. His student years in Berlin profoundly influenced not only his art but also his artistic politics and his philosophy. It is ironic that in the art of this most articulate of Canadian nationalist painters, there are extensive German influences. Light for a Cold Land is the first art-historical study of Lawren Harris that attempts to explore his life and all aspects of his career. It is based on extensive work in archives, libraries, public art galleries and private collections in Canada, as well as research in Germany and interviews with members of Harris' family and many of his friends, acquaintances, colleagues and critics.
Heritage Toronto Book Award — Shortlisted, Non-Fiction Book A popular history of the Riverdale area of Toronto, including Playter Estates north of the Danforth. In its first 50 years, the city of Toronto changed from a rough settlement to a booming city with a voracious appetite for land. The incorporated city of Toronto grew tenfold from 1834 to 1884 — partly through immigration, but also through the annexation of older communities. Among these were the former suburbs of Leslieville and Riverside, which were joined together in 1884 to become the new Toronto community of Riverdale. Later, the Playter Estates neighbourhood also became part of this community. Riverdale tells the history of the neighbourhood, starting with the Simcoe, Scadding, Playter, and Leslie families, who shaped the area throughout its early settlement, the American Revolution, and the War of 1812. It shows the waves of immigration from Britain, America, Italy, Greece, and China, that made Riverdale one of Toronto’s most diverse areas. And it tells the stories written into the map of the neighbourhood, revealing the history on display in its streets and historic buildings.
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.
Burke's career spanned a key period in Canadian architecture as the profession transcended its colonial beginnings to reach maturity with Canadian-born practitioners who converted both American architectural developments and European traditions into forms appropriate to the new Canadian federation. Burke's contributions to Canadian architecture include introducing the technology of the "Chicago men" to Canada and helping to establish a formal professional organization for architects in Ontario. Carr documents a comprehensive selection of Burke's works, including his firm's famous Robert Simpson store in Toronto, the first curtain-wall construction in Canada. She places Burke's life and career within the larger social context, addressing the influence of American architects and architecture, the sociology of professions, the organization of architectural offices, and the history of particular building forms. Toronto Architect Edmund Burke is not only a study of Burke's life and work; it is also an insightful look into the history of Canadian architecture.
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.