Search results for ""Author Sarah Milroy""

Over three generations, the Sobey family of Nova Scotia has demonstrated their discerning and enthusiastic commitment to Canadian art. Accompanying a major exhibition at the McMichael Canadian Art Collection and timed to coincide with the 20th anniversary of the prestigious Sobey Art Award, Generations tells the story of a visionary family and their engagement with Canadian and Indigenous art.This sweeping survey encompasses works by the beloved leaders of Canadian 20th-century art — the Group of Seven, Tom Thomson, David Milne, and Emily Carr — as well as offering a rich display of works by Cornelius Krieghoff, the Quebec Impressionists, Automatiste painters Jean Paul Riopelle and Paul-Émile Borduas, and Ukrainian Canadian artist William Kurelek, before moving onward to showcase leading contemporary artists. Among them are international artist Peter Doig, whose works draw on the legacies of Canadian art, and Indigenous artists Brenda Draney, Ursula Johnson, Kent Monkman, and Brian Jungen.Featuring more than 200 full-colour images, Generations includes an introduction by McMichael Chief Curator Sarah Milroy, essays by McMichael Executive Director Ian A.C. Dejardin, art historians Jocelyn Anderson, John Geoghegan, and Michèle Grandbois, and an interview with contemporary artist Kent Monkman.

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William Kurelek (1927–1977) is a beloved figure in Canadian art, a revered Ukrainian-Canadian painter whose works express his deeply felt immigrant experience and his compassionate vision of humanity. In 1975, he created a suite of 16 jewel-toned paintings titled Jewish Life in Canada in homage to his Jewish art dealer and friend Avrom Isaacs and as a gesture across the cultural divide. Relying on archival documents and photographs from communities across the country, Kurelek foregrounded the role of tradition, community, and family at the core of the Jewish experience in mid-twentieth century Canada. He portrayed Prairie farm colonies; businesses and schools in Montreal, Toronto, and Winnipeg; and celebrations of festivals and community events at home and in the synagogue. William Kurelek: Jewish Life in Canada includes essays by McMichael Chief Curator Sarah Milroy considering Kurelek’s articulation of the Canadian ideal of multiculturalism and by Executive Director Ian A.C. Dejardin exploring Kurelek’s distinctive framing strategies. The book also includes pieces by David S. Koffman on Jewish life in 1970s Canada and John Geoghegan on Kurelek’s use of photographic sources, as well as an artistic response by Ukrainian Canadian artist Natalka Husar. The volume features more than 50 images, including reproductions of the full suite of Kurelek paintings as well as previously unpublished archival source material, offering a complete record of Kurelek’s working process.

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From black cats to iconic snowscapes, Maud Lewis paints our waking dreams.One of Canada's most beloved folk artists, Maud Lewis was famous in her lifetime for her brightly coloured and endearing paintings of rural Nova Scotia. Working from her tiny, road-side house in Marshalltown, she produced hundreds of small works that captured aspects of rapidly changing country life. Until now, the story of her difficult life has dominated the discussion of her art: her triumph over her physical disabilities and poverty, the harsh treatment she received at the hands of her family, and her alliance by chance with her husband Everett Lewis, who enabled her successful painting career over many decades.This book, accompanied by an exhibition at the McMichael Canadian Art Collection, will examine the aesthetic achievements of Maud Lewis's paintings — her serial repetition of images and motifs and the dizzying variety that she brought to the problems of picture making. From her black cats and kittens, to her cart horses and oxen hauling logs, to her quayside scenes of ships in port and the Maritime landscape in all seasons, Maud Lewis made paintings that still delight in their optimism and buoyant vitality.Featuring a comprehensive selection of paintings drawn from leading Maud Lewis collectors in Nova Scotia, Maud Lewis: Paintings for Sale offers a unique opportunity to experience the range and depth of her work.

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"The light in Pratt's paintings seems sentient, a living thing, a pulsation or emission, imbuing the paintings with an erotic and almost mystical desire." — Canadian Art Following a stunningly successful national touring exhibition and a sold-out hardcover edition of the accompanying book, Mary Pratt is available once again in this elegant paperback edition. Says the Globe and Mail, Mary Pratt's "gorgeous, brutal vision of the world is the best revenge against anyone who ever sought to define her." There's something deeply resonant about Pratt's painting for contemporary audiences — particularly for those that are food obsessed. The dark light of a jelly jar, the slippery weight of filleted cod, the dark drippings of a bloody roast, the wet yellow yolk of a cracked egg. Pratt takes these seemingly mundane subjects and fills them with light, giving them a monumental quality, making them seem luminous, signifiant, memorable. For many, they have become seared into memory, iconic in the best sense of the word. Mary Pratt, a career retrospective, features five major essays by columnist and art critic Sarah Milroy, Catharine Mastin of the Art Gallery of Windsor, Mireille Eagan and Caroline Stone of The Rooms Provincial Art Gallery, Sarah Fillmore of the Art Gallery of Nova Scotia, and art critic and curator Ray Cronin as well as 75 colour reproductions of Pratt's most renowned work, including Eggs in an Egg Crate, Salmon on Saran, Eviscerated Chickens, and Cod Fillets on Tin Foil.

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A stunning display of the vibrant and wide-ranging talent of Vanessa Bell in the first catalogue devoted to the artist. Vanessa Bell (1879–1961) has been known as the still, quiet centre around which the Bloomsbury Group revolved,. She was renowned for her beauty, her complex romantic entanglements and, later, her domestic gravitas – and as the sister of Virginia Woolf. But Bell was also one of the most advanced British artists of her time, with her own distinctive vision, boldly interpreting new ideas about art which were brewing in France and beyond. This publication beautifully showcases Bell’s pioneering oil paintings, photographs, ceramics, fabrics, decorative screens and works on paper in a revelatory affirmation of her vibrant and wide-ranging talent. Including more than 180 colour plates, Vanessa Bell is a definitive record of Bell’s accomplishments. The book is enhanced with photography of Charleston, the Sussex farmhouse that she occupied with creative flair alongside Duncan Grant and the rest of her unconventional family. With sections devoted to portraiture, landscape, still life, design, domestic scenes and female subjects, the book gathers together a rich chorus of voices – from renowned Bloomsbury scholars to emerging experts – delivering a fresh view of an intrepid modern artist seen clearly on her own terms at last.

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A landmark publication bringing together more than seventy voices illuminating the rich array of Indigenous art held by the McMichael Canadian Art Collection.Under the editorial direction of Anishinaabe artist and scholar Bonnie Devine, Early Days gathers the insights of myriad Indigenous cultural stakeholders, informing us on everything from goose hunting techniques, to the history of Northwest Coast mask making, to the emergence of the Woodland style of painting and printmaking, to the challenges of art making in the Arctic, to the latest developments in contemporary art by Indigenous peoples from across Turtle Island.Splendidly illustrated, Early Days not only tells the story of a leading collection but traces the emergence and increasing participation of many Indigenous artists in the contemporary art world. This publication will be the largest in the history of the McMichael, and represents a vital acknowledgment of the place of Indigenous art and ways of knowing in global art history.Featured contributors: Barry Ace, Pierre Aupilardjuk, Leland Bell, Dempsey Bob, Violet Chum, Hannah Claus, Dana Claxton, Taa.uu ‘Tuuwans Nika Collison, Alan Ojiig Corbiere, Marcia Crosby, Ruth Cuthand, Mique'l Dangeli, Sarah Florence Davidson, Robert Davidson, Blake Debassige, Bonnie Devine, Tarralik Duffy, Norma Dunning, David Garneau, John Geoghegan, Janice Grey, Haay'uups (Ron Hamilton), Jim Hart, Emma Hassencahl-Perley, Emily Henderson, Lynn Hill, Richard William Hill, Maria Hupfield, Heather Igoliorte, Luis Jacob, Gayle Uyagaqi Kabloona, William Kingfisher, Jessica Kotierk, Robin Laurence, Duane Linklater, Ange Loft, Tanya Lukin Linklater, Jean Marshal, Michael Massie, Kaitlin McCormick, Gerald McMaster, Ossie Michelin, Sarah Milroy, Antoine Mountain, Nadia Myre, Wanda Nanibush, Jeneen Frei Njootli, Ruth B. Phillips, Jocelyn Piirainen, Ryan Rice, Carmen Robertson, Paul Seesequasis, Leanne Betasamosake Simpson, Wedlidi Speck, Michelle Sylliboy, Snxakila Clyde Tallio, Drew Hayden Taylor, Nakkita Trimble, Jesse Tungilik, Camille Georgeson-Usher, William Wasden Jr., Jordan Wilson, Jessica Winters.

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Tom Thomson is the undisputed master of the oil sketch. A towering figure in the history of Canadian art after just five years of professional practise, he stunned audiences with his fresh and avant-garde experimentation, evoking his experience of the Ontario landscape in dozens of dazzling miniature masterworks. Thomson’s death in 1917 triggered the formation of the Group of Seven and the ascendancy of landscape painting as a national preoccupation. Tom Thomson: North Star is the first book to focus on Thomson’s small-scale sketches and brings together a variety of voices to interpret his legacy with fresh eyes. Among them are the McMichael’s Executive Director Ian A.C. Dejardin, historian Douglas Hunter, and Algonquin knowledge-keeper and cultural activist Christine McRae Luckasavitch, as well as a number of contemporary Canadian artists from all parts of Canada. The essays in combination with more than 150 reproductions of Thomson’s painted sketches cast new light on the enduring influence of one of Canada’s most iconic artists.

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Winner, Canadian Museums Association’s Outstanding Achievement in Research Award and IPPY Awards Silver Medal (Fine Art)A Toronto Star Holiday Gift Guide SelectionA Like Vision is a lavish celebration of the legacy of Tom Thomson and the Group of Seven, Canada’s canonical landscape painters. The Group’s depiction of the rugged beauty of the Canadian landscape — from the coastal mountains of British Columbia to the north shore of Lake Superior, the villages of rural Quebec, and the rocky, windswept coves of Newfoundland — charged Canadians to experience their country in a bold new light and changed the face of Canadian art forever. Through their vigorous and expressive painterly style and vibrant colours, the Group of Seven significantly contributed to Canada’s sense of autonomy and identity as a modern state in the aftermath of the First World War.Featuring three hundred full-colour images, A Like Vision includes a lead essay by Ian A.C. Dejardin, Executive Director of the McMichael Canadian Art Collection, and contributions by a host of artists, curators, and writers. Among them are Indigenous art historian and curator Gerald McMaster, filmmaker Jennifer Baichwal, novelists David Macfarlane and Jane Urquhart, painters John Hartman and Robert Houle, and Inuk writer Tarralik Duffy.One hundred years on from the Group’s first exhibition in 1920, A Like Vision is both a chance to review the Group’s legacy and a tribute to these giants of Canadian art and culture.

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This beautifully illustrated book documents the life and work of one of Canada's greatest modern painters. David Milne's (1882-1953), vast body of work shows him to be an artist of true originality and vision. Like the members of the Group of Seven, Milne primarily chose landscape as his subject matter. However, his true subject was the process of perception and representation, reducing his painting to its essentials and infusing it with his own distinctive modern sensibility. Drawing on paintings in Canadian public and private collections and on photographs and on Milne's own writings, the book presents an account of one man's spiritual and emotional voyage into modernity - from the bustling sidewalks of New York to the war-torn landscapes of northern France as an official war artist and back again to the woods, lakes, fields and skies of north-eastern USA and Canada. Pivoting on Milne's war art, the aftermath of which he recorded to sensitively and which brought a heightened sense of formal discipline to his work, the book follows the change in Milne's approach from the Post-Impressionist style of his New York years, with its vivid colours dynamic brushstrokes, to the more distilled visual language of his later work. With more than one hundred works in oil and watercolour, never-before-published photographs and drawings by the artist, this book provides unique and personal insights into this innovative artist and an appreciation of one of Canada's most sophisticated modern painters.

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