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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.
From the vanguard of Modernism in Montreal, the Beaver Hall Group included painters who are now ranked among Canada's most distinguished artists. Evelyn Walters brings her extensive knowledge of the group to paint a picture of the artists' lives and their works in this two-book bundle. More than 130 reproductions bring to light paintings that have lain hidden for more than fifty years. Includes: The Beaver Hall Group and Its Legacy The Women of Beaver Hall
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.
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.”
Contient une biographie d'André Biéler (p. 187-200).
Après avoir cofondé la première revue homosexuelle canadienne, la poète Elsa Gidlow, 21 ans, décide de quitter Montréal en 1920, déçue par le manque de possibilités amoureuses que lui offre alors la ville. Le réseau d'amis masculins homosexuels qu'elle a intégré au cours des années précédentes ne manque toutefois pas d'occasions de trouver des partenaires. En effet, même si l'homosexualité est considérée comme un crime depuis l'époque coloniale, une culture gaie masculine, qui était pratiquement inexistante avant 1880, s'est largement épanouie depuis le début du siècle. Grossières indécences retrace les origines de cette culture clandestine complexe et fascinante. Dominic Dagenais a consulté à rebours des archives produites en grande partie par la surveillance et la persécution, soit des dossiers judiciaires, des articles de journaux, de la correspondance, des archives personnelles, des publications médicales et des dossiers d'enquêtes publiques pour mettre au jour le contexte répressif dans lequel les identités homosexuelles contemporaines se sont construites et pour découvrir les espaces publics investis par le monde homosexuel montréalais au tournant du XXe siècle. Dans une ville marquée par le fleurissement des loisirs commerciaux et les trépidations de son quartier chaud, des hommes, mais aussi quelques femmes, ont déployé diverses stratégies pour se rencontrer et pour nouer des relations. Des rencontres risquées surviennent ainsi dans les rues, ruelles, magasins, parcs, théâtres et toilettes publiques de la ville. Un monde homosexuel riche et diversifié prend forme à Montréal au tournant du XXe siècle, en dépit d'une surveillance policière de plus en plus élaborée et des lourdes sanctions pénales auxquelles s'exposent les individus se livrant à des rapports homosexuels, considérés alors comme une grossière indécence et comme le pire des vices. Ce livre documente son histoire inédite.
In the first part of the twentieth century few women in western Canada had careers as artists—Pauline Boutal had three: 23 years as a fashion illustrator for the Eaton’s catalogue for the graphic design company, Brigden’s of Winnipeg, 27 years as the Artistic Director at the Cercle Molière Theatre and 70 years as a visual artist. Born in Brittany in 1894, Boutal painted in a traditional style and trained at the Winnipeg School of Art, the Cape Cod School of Art, and at l'Academie de la Grande Chaumiere in Paris, France. She left an important legacy of portraits, landscapes, still lifes, and illustrations as well as theatre sets and costume designs. This English translation of Louise Duguay’s award-winning "Pauline Boutal: Destin d'artiste 1894–1992" shares the story of an important artist who lived an exceptional life. Today a great number of Boutal’s works can be found in major private and corporate collections across Canada. For her contribution to the French culture and theatre in Canada, Boutal was awarded numerous prestigious prizes, including the Order of Canada. In addition to thousands of sketches, illustrations, and paintings, Boutal also left a rich legacy of letters, speeches and interviews at the Centre du Patrimoine Canadien. Drawing on these sources, Louise Duguay has created a work that honours the best of biography and autobiography.