Gallery Exhibit and Review Early 20th century Canadian art has a fascinating and intertwining past, which is explored and discovered through guest curator Robert Amos’ exhibition Harold Mortimer- Lamb: The Art Lover at the Art Gallery of Greater Victoria (AGGV). The exhibit explores the life and activities of photographer, writer, painter, art patron, promoter and collector, Harold Mortimer-Lamb (Amos, Print, 2). He was a man of many parts in Canadian Art and this exhibit explores his influence by utilizing artworks and writings from Harold and Vera Mortimer-Lambs’ estate of over one hundred and ninety two pieces donated to the AGGV in 1978. Over two hundred and sixty of his photographs were donated to BC Archives some of which Amos includes in the exhibit. The exhibit also borrowed from the Vancouver Art Gallery, the National Gallery of Canada (NGC), and Mortimer-Lamb’s daughter’s, Molly Lamb-Bobak’s collection. Since the donation of the Mortimer-Lambs’ estate, Robert Amos has been dedicated to researching his story and as a result, this exhibition, as well as the book of the same name, has graced the world. The exhibition features Mortimer-Lamb’s photographs and paintings, and works by the many artists in his life. The exhibit takes a chronological approach to Mortimer-Lamb’s life beginning with his 1889 arrival to British Columbia from Surrey, England and his involvement with the BC and Canadian Mining Institute to his final years as a husband and painter. Amos begins with Mortimer- Lamb’s first Pictorial photographs of his daughter Dolly in the early 1900s. These photographs, specifically Dolly, around 1905, helped to form his status as the leading “artistic photographer” in Canada (Amos, Exhibit Panel, Dolly, around 1905... ... middle of paper ... ...enowned artists. By including pieces from outside Mortimer- Lamb’s collection, like Varley’s Vera from the NGC, Amos emphasizes Mortimer-Lamb’s prominence within Canadian art, as he is associated with such iconic images. Through his balanced and extensive survey of the activities, collection and works of this remarkable man, Amos brings Mortimer- Lamb the status of importance he deserves and provides a detailed history of the Canadian art world of the 20th century. Works Cited Amos, Robert. Harold Mortimer-Lamb: the art lover. Art Gallery of Greater Victoria, Victoria, BC. Exhibit. 18 February 2014. Amos, Robert. Harold Mortimer- Lamb: the art lover. Victoria, BC: TouchWood Editions, 2013. Print. Art Gallery of Greater Victoria. “Harold Mortimer-Lamb “The Art Lover” by Robert Amos”. YouTube. ExhibitVic, 16 December 2013. Web. 18 February 2014.
In her second year, Vera became one of Varley’s drawing students. The two became close over the years, but it wasn’t until her postgraduate years at VSDAA that their relationship flourished. As a “shy and beautiful” young woman who “moved with a grace” similar to that of a Japanese Tea party, Molly Bobak Lamb remarks that it was easy for men to become infatuated with Vera’s. Varley’s Vera paintings success as a Willingdon Prize winner, a collection piece at the National Gallery of Canada, and eventually praised with its creation into a postage stamp only confirms Molly’s suggestion of Vera’s enchanting capabilities.
· 1999: Private commissions (2). Continues to work on paintings for traveling exhibition, Visual Poems of Human Experience (The Company of Art, Chronology 1999).
The 'Secondary' of the 'Secondary' of the 'Secondary' of the 'Secondary' of the Library and Archives Canada, Inc. 29 May 2011 http://www.collectionscanada.gc.ca/023/013/023013-6000-e.html>. James White, Don. Opinions of the Legacies of Sir John A Macdonald. 03 Mar. 2005. The 'Secondary' of the 'Secondary' of the 'Secondary' of the Canadian Broadcasting Corporation.
Rathnasambhava, the Transcendent Buddha of the South and Madonna Enthroned are very similar images that were produced by very different cultures. Both images were produced during the 13th Century. The image of Rathnasambhava, the Transcendent Buddha of the South was produced in Tibet during an interesting period of the country’s religious history. The branch of Tibetan Buddhism is led by a religious and sometimes political leader called the Dalai Lama. It was during the 13th Century during the reign of Kublai Khan, around the time of the production of this painting, that Tibet experienced the first incarnation of the Dalai Lama. One has to wonder if this painting is somehow related to that occurrence. According to one source, the reincarnation system for the Living Buddhas is the main point distinguishing Tibetan Buddhism from other forms of Buddhism.
The notable French-Canadian abstract expressionist Jean-Paul Riopelle is known for his signature large-format mosaic composition to establish explosive engagement. The monumental Chevreuse II (Figure 1) in his Mosaiques series was created during 1953 to 1954, measured in 3m x 3m. This work is currently on exhibit at the Art Gallery of Ontario (AGO). The AGO decided to put up a co-exhibition of Riopelle and his romantic partner Joan Mitchell’s works, and titled the exhibition Nothing in Moderation.
Lawson, Mary. The Other Side of the Bridge. Vintage Canada ed. Toronto: Vintage Canada, 2007. Print.
Osborne, Harold. The Oxford Companion to Twentieth Century Art. New York: Oxford University Press, 1981.
Arts Council of Great Britain. The Real Thing: An Anthology of British Photographers 1840-1950. Netherlands: Arts Council of Great Britain. 1975.
Gardner, Helen, and Fred S. Kleiner. Gardner's Art Through the Ages: The Western Perspective. N.p., 2014. Print.
In the poem “One Art” the thesis statement declared in the first stanza, on the first line as “The art of losing isn’t hard to master” also repeating it again in line 6 and 12. The statement is better interpreted as “The skill of losing is not hard to attain”. Bishop speaks in the poem as if she has successfully mastered the skill of losing. She also goes around in circles admitting that the art of losing is not hard to master as if that is what she is making herself believe is true. She is also helping the reader create a habit as the reader reads and repeats the refrain of “The art of losing isn’t hard to master” not to mention the line 4 where she tells the reader to make it a habit to, “Lose something every day”.
This painting by Vincent Van Gogh is on display at the Art Institute of Chicago Museum, in the Impressionism exhibit. There are many things going on in this painting that catch the viewer’s eye. The first is the piece’s vibrant colors, light blues and browns, bright greens, and more. The brush strokes that are very visible and can easily be identified as very thick some might even say bold. The furniture, the objects, and the setting are easy to identify and are proportioned to each other. There is so much to see in this piece to attempt to explain in only a few simple sentences.
The artwork I chose for the art criticism project was ‘The Survivors’ by Kathe Kollwitz. The piece was created in 1923 in Berlin, Germany, where she resided with her husband. She and her husband resided in a poorer area, and it is believed to have contributed too much of her artwork style. ‘The Survivors’ is currently displayed in two museums, the MoMA and the Kathe Kollwitz Museum. In the piece there is a woman directly in the middle, with sunken in cheek bones is draped in a black cloak. Her arms are around three small children, who look very frightened. On each side of her body there are an additional four small children who convey sadness upon their innocent faces. Also, they are outstretching their arms as if they are begging for her to give them something. In the background, on the top left side, there are two elderly men with their heads down, looking as if they are very sad and
Ed. W. Gordon West and Ruth Morris. Toronto, Canada: A Canadian Scholar? Press, 2000. 89-99.
Kleiner, Fred S. Gardner’s Art through the Ages: The Western Perspective. Vol 2.13th ed. Boston: Wadsworth/ Cengage Learning, 2010.
Christina Rossetti's poem, “In An Artist’s Studio”, explores how men foster a need for control by creating unrealistic expectations for women through their fantasies. Through the use of repetition, contrast of imagery, and symbolism, Rossetti guides us through the gallery inside of an artist’s mind, portraying the fantasies that give him a sense of control over the women he creates.