Search results for ""Author Roslyn Rosenfeld""

Winner, Best Atlantic Published Book AwardShortlisted, New Brunswick Book Award for Non-FictionWriting early in 1962, Lucy Jarvis said she felt "just at the threshold of beginning." Jarvis had studied at the School of the Museum of Fine Arts in the 1920s, later becoming part of the social realist movement, committed to an art "of the people". In 1941, Jarvis co-founded the UNB Art Centre with Pegi Nicol MacLeod, and together, they turned it into a place of creative effervescence. Passionate and single-minded, Jarvis threw herself into everything that she did and the results were nothing short of astounding. In a few short years, she and MacLeod had transformed their environment. Yet, it wasn't until the early 1960s that the unstoppable Jarvis set out on her own. She left the art centre and headed for Paris. In four extended stays during the 1960s, she immersed herself completely, living in French, attending the open studios, and connecting with other artists. Her retreats to Pembroke Dyke near Yarmouth, Nova Scotia, during the summer months allowed her to digest her experiences, and her art took on new life. The influences of both impressionism and post-impressionism emerged in her work, and her paintings became more boldly colourful, freer — more completely her own. Lucy Jarvis: Even Stones Have Life is the first examination of Jarvis's considerable body of work — what she painted, how she rendered it, and how her art permeated her life and her life permeated her art.

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The art of Donald Andrus defies categorization. Although principally known for his abstract paintings, Andrus has, throughout his career, combined his first love — drawing — with a deep engagement with colour, a desire for experimentation, a keen interest in the physical qualities of his materials, and the sensory experience of the viewer. Donald Andrus: The Shape of Desire brings together four major essays, including one by the artist, and more than eighty full-colour reproductions to assess a body of work that extends from abstract paintings to portraits. Roslyn Rosenfeld writes about Andrus’s early abstract work, Ihor Holubizky considers Andrus’s portraits, and Pan Wendt revisits Andrus’s contemporary abstract paintings. Taken together, the essays and images take full measure of the entirety of Andrus’s career and influences — from the landscapes of Greece and the poetry of George Seferis to the cinematic works of Andrei Tarkovsky and the pioneering work of contemporary German artists Gerhard Richter and Anselm Kiefer. Donald Andrus has been painting for over thirty-five years. His work has been exhibited at galleries and museums throughout Canada and may be found in both private and public collections. He has previously worked as a curator at the Beaverbrook Art Gallery, as a lecturer at the University of New Brunswick, and as a professor of art history at Concordia University. Andrus now lives and works in Charlottetown, Prince Edward Island.

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