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GAUM (Galerie d'art Louise-et-Reuben-Cohen - Université de Moncton)
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The Women of Beaver Hall: Canadian Modernist Painters by Evelyn Walters
The Beaver Hall Group was an association of Quebec artists which officially began its existence in 1920. Under the leadership of A.Y. Jackson, the group attracted and fostered the work of artists interested in the newest European trends and unconcerned about the consequences of cold-shouldering traditional approaches to subject representation. Remarkably, unlike its Ontario counterpart, the Group of Seven, the Beaver Hall Group had a large contingent of female artists, and though the Group prided itself on its eschewal of any bias-related to class, gender, or artistic preference-it seems to have been especially hospitable to women and proved an excellent springboard for their careers.
The work of ten of its most successful women is celebrated in this book with colour plates and short but not uninformative biographies. The book is therefore of some historical value in addition to being a beautifully produced "art book" richly exhibiting works that deserve to be known and admired. The ten women on view here are Nora Collyer, Emily Coonan, Prudence Heward, Mabel Lockerby, Henrietta Mabel May, Kathleen Morris, Lilias Torrance Newton, Sarah Robertson, Anne Savage, and Ethel Seath.
All ten were born in the last quarter of the 19th century. Kathleen Morris was the last to pass away in 1986. The Art Association of Montreal, which evolved into the Montreal Museum of Fine Arts, was the art school of note in early 20th-century Montreal, and provided a thorough grounding in drawing and painting, supplementing technical studies with frequent lectures and a library of books and catalogues.
The Beaver Hall elite begun their education there, but were later encouraged to break free of conventional ideas concerning both art and the role of women in society and the professions. I'm greatly taken with the portraits of Emily Coonan (Italian Girl, c. 1921, Girl in Dotted Dress, c. 1923), Prudence Heward (At the Theatre, 1928, Girl in the Window, 1941, and At the CafT, n.d.), and Lilias Torrance Newton (Portrait of Madame Lily Valty, n.d.), Self-Portrait, c. 1929, Lady in Black, c. 1936). These works are phenomenal-timeless, existing outside of any period or style, despite the modernist label. Coonan's and Heward's work is often haunting; the women portrayed are in a space of their own, looking inward and sad. Lilias Torrance Newton's models are beautiful, confident, and look to be nearly within reach of the personal liberty and independence North American women enjoy today. There are superb landscapes here. When Henrietta Mabel May didn't allow herself to be overly influenced by European impressionists, she did unique work (In the Laurentians, n.d., Melting Snow, c. 1925, Summertime, c. 1935). Every reproduction of Anne Savage's work in this book is gorgeous and original (Yellow Days, Lake Wonish, 1960, La Maison Rouge, Dorval, c. 1928, Northern Town, Banff, c. 1938). The same can be said of the distinctive, illustrative paintings of Ethel Seath (The White Barn, Eastern Townships, c. 1941, Pears in a Window, before 1944, Undergrowth, 1954).
I don't have room here to prTcis the careers or personal histories of these talented, dedicated women, many of whom served their communities as volunteers or educators, and accomplished a great deal besides their art. I would encourage readers interested in fine Canadian art to seek this book out and get to know the works and the women who painted them.
Olga Stein (Books in Canada)
Review
The Women of Beaver Hall: Canadian Modernist Painters... is a handsome book in the finest coffee-table tradition, its pages thick and glossy, its more than 65 plates in full colour. But it's much more than that, too.
Striding far beyond the narrow borders usually associated with coffee tables, The Women of Beaver Hall is at once exposition, homage and feminist celebration of 10 remarkable artists.
Janice Kennedy, Ottawa CitizenTen Canadian women, counterparts of the Group of Seven, are finally being given their due. Long overlooked by critics and historians, their works are today among the most sought-after Canadian paintings. The Beaver Hall women ventured into a male-dominated art world, lived remarkable lives and produced exceptional work. Engaging and beautifully designed, The Women of Beaver Hall portrays the lives and works of Nora Collyer, Emily Coonan, Prudence Heward, Mabel Lockerby, Henrietta Mabel May, Kathleen Moir Morris, Lilias Torrance Newton, Sarah Robertson, Anne Savage and Ethel Seath. With its clear, concise style and more than 65 colour plates, this important reference book is a work of art in itself.
The Record
A Fredericton Alphabet
by John Leroux
John Leroux has captured some of the treasures of Fredericton's architectural heritage with this creative combination of his own architectural perspective and his Artist's vision. This book invites us to look at architecture in a new way and helps us to recognize anew the rich texture that this resource lends to the everyday ambience in our wonderful city. The idea of a new book with a new look at Fredericton architecture has long been overdue.... This volume is an exciting first step in the process and it is designed to appeal to a wide range of readers: both the aficionado of built heritage and the student, layman or neophyte, who wants to see clearly and with fresh eyes. Here also are some prime examples of an array of the elements that add to the unique style of old Fredericton. - Peter Pacey, President, Fredericton Heritage Trust Fredericton is celebrated as a city of poets, but is it too far-fetched to speculate that maybe there is a deeper connection to the ornamental alphabet which graces our buildings and our illustrious literary past? Perhaps, but we cannot deny that our region is rich with craftspeople and artists - poets of materials as adept at working wood and stone as anywhere in North America. If you immerse yourself in the historic neighbourhoods of Fredericton, you will be astounded not only by their vibrant expression and material quality, but by their humanity; they are mirrors to our own virtues ... our historic buildings exude life. - John Leroux, from the Introduction A Fredericton Alphabet is a black & white photographic exploration of Fredericton's rich heritage buildings, captured in a unique manner that illustrates the ties between architectural ornament and the letters of the alphabet.
Aquarelle la lumière de l''eau
de Ewa Karpinska
L'aquarelliste qui travaille en humide sur humide entretient un dialogue incessant avec l'eau : il tente de saisir le " tempo " de l'aquarelle, d'accorder ses gestes et la densité de ses couleurs à l'état d'humidité du papier. Ce livre éclaire d'un jour nouveau cet échange, en proposant une véritable grammaire de l'aquarelle : par une lecture approfondie d'œuvres d'exception et de nombreux pas à pas, il permet au peintre de mieux comprendre chacune des ses actions, et donc de maîtriser plus facilement les effets d'une technique à la richesse incomparable. Car l'aquarelle est une eau sensible comme une plaque photographique, elle fixe sur le papier un moment de lumière. L'ambition de cet ouvrage est que chacune de vos créations en soit un.
