Showing posts with label Canadian. Show all posts
Showing posts with label Canadian. Show all posts

Tuesday, October 30, 2007

Frederick Horsman Varley (1881-1969)


Canadian painter and a founding member of the Group of Seven. As Varley and Arthur Lismer were schoolmates, the early history of their lives is very similar. Like Lismer, Varley was born in Sheffield, studied at the Sheffield School of Art and later, the Antwerp Academy, in Antwerp, Belgium. At Antwerp, Varley had a reputation of being a heavy drinker and leading a rather bohemian life. From Antwerp, he returned to London, where he almost starved trying to support himself as an illustrator. Four years later, on his return to Yorkshire, he married and fathered two children. In 1912, Lismer once again met up with Varley - who this time was depressed and struggling to support his family. Lismer persuaded him to come to Canada, where he found work at Grip.

In Toronto, Varley soon became friendly with the other artists at Grip. He was often a difficult person to get along with because of his temperamental moods and rather unconventional ways. He did however find a close friend in Tom Thomson, who was like him in spirit. They went on weekend excursions, but rarely sketched together, as Varley preferred people to trees for subject matter.

At first, Varley concentrated mainly on portraits and established himself as a painter of Toronto's elite society. Although this brought him much needed income, he disliked painting to order, and his ways soon upset his clients. At one sitting with Vincent Massey, magnate of the Massey-Harris fortunes, the client arrived an hour late. Once he had taken his seat, Varley put down his brushes and walked away saying "You wait there. Now I'm going out for an hour." Despite these disturbances, Varley was respected as a great painter, and when the World War One broke out, he was sent to France as a Canadian War Artist. At this point, he did very poignant work. Perhaps his most famous painting is entitled, For What?. He returned from the war matured both as an artist and as an individual. At this point, his interest in painting the Canadian north was awakened, and he began painting landscapes such as Stormy Weather, Georgian Bay. Varley's concern with the world of feelings and emotions was always relayed through his work.
Adapted from Canadian Government Group of Seven Web Site


Books from Alibris: Frederick Horsman Varley

Monday, October 8, 2007

Stan Rogers (1949-1983)


God damn them all! / I was told we'd cruise the seas for American gold / We'd fire no guns-shed no tears / Now I'm a broken man on a Halifax pier / The last of Barrett's Privateers. - from Barrett's Privateers

Sheet music: Stan Rogers

Albert H. Robinson (1881-1956)


Albert Robinson sent two canvasses to the first Group of Seven exhibition in 1919, neither of which has been possible to locate. The painting shown here Noontime, Longue Pointe Village had been exhibited the month before. This work is a strong and expressive painting and marked Robinson as one of the boldest innovators working in Montreal at that time. (The Group of Seven: Art for a Nation, National Gallery of Canada, Charles C. Hill, McClelland & Stewart, p.312, 1995) - Malaspina Biography

Books from Alibris: Group of Seven

Sarah Robertson (1891-1948)


Sarah Robertson was member of the group of women painters, the Beaver Hall Hill group and the Canadian Group of Painters. She painted landscapes and worked with A. Y. Jackson during sketching trips. She was also influenced in her later work by Lawren Harris. - Malaspina Biography

Books from Alibris: Canadian Art

Mordecai Richler (1931-2001)


Coming from Canada, being a writer and Jewish as well, I have impeccable paranoia credentials.

Books from Alibris: Mordecai Richler

Tuesday, September 18, 2007

Bill (William) Russell McNeil II (1924-2003)

Sierra Club

Quotation

We were used to sudden death in Glace Bay. Men were frequently getting killed in the mines, but we wern't used to having our young people die on distant shores so that we couldn't mourn at a wake and a funeral. If this was war we didn't like it, but we would certainly get used to it. Again and again and again. - from Voices of a War Remembered

Books

Please browse our Amazon list of titles about Bill McNeil. For rare and hard to find titles we recommend our Alibris list of titles about Bill McNeil.

AlibrisResearch

COPAC UK: Bill McNeil
Library of Canada Search Form
Library of Congress: Bill McNeil
Audio: Bill McNeil interviews Ernie Smith

Biographical

Born Glace Bay, Nova Scotia, May 30, 1924; died Toronto, Ontario Jan 29, 2003; Broadcaster and author. McNeil was host of CBC's Fresh Air, CBC News Roundup and CBC Assignment and several other CBC Network Radio programs over the period 1952-1992. McNeil's literary output includes: Voices of a War Remembered: An Oral History of Canadians in World War Two; and Signing on: The Birth of Radio in Canada; and Voice of the Pioneer. [Image and Text Prepared by William Russell McNeil III]

Books from Alibris: Bill McNeil

Norman McLaren (1914-1987)

Sierra Club

Quotation

I like black and white films. I don't exactly know why - probably because there is a stylization which is removed from actual life, unlike a color film.

Books

Please browse our Amazon list of titles about Norman McLaren. For rare and hard to find works we recommend our Alibris list of titles about Norman McLaren.

AlibrisResearch


Films: Norman McLaren
COPAC UK: Norman McLaren
Library of Canada Search Form
Library of Congress: Norman McLaren
Other Library Catalogs: Norman McLaren

Biographical

Norman McLaren (1914-1987) was one of the great animation pioneers, and one of the first film-makers to approach the medium as a serious art form. Born in Scotland, he moved to London in the 1930s to work on documentaries, and then to Canada in 1941, to join the newly-credited National Film Board of Canada, where he founded and ran the animation unit.

For the next four decades McLaren produced dozens of short animated films, using a remarkable variety of techniques (many of which he pioneered), including drawing directly onto film (a technique developed years earlier, when he had access to a projector but not a camera), pixilation (manipulating live actors as though they were inanimate objects). [Adapted from Michael Brooke]

Books from Alibris: Norman McLaren