Tuesday, October 21, 2014
Kim Dorland
French River, n.d.

Kim Dorland

French River, n.d.

Monday, October 20, 2014
F.H. Varley
The Cloud, Red Mountain, 1927-28

F.H. Varley

The Cloud, Red Mountain, 1927-28

(Source: macleans.ca)

Sunday, October 19, 2014
David B. Milne
Black, 1914

David B. Milne

Black, 1914

(Source: macleans.ca)

Saturday, October 18, 2014
Arthur Lismer
Evening Silhouette, c.1926

Arthur Lismer

Evening Silhouette, c.1926

(Source: macleans.ca)

Friday, October 17, 2014
Tom Thomson
Black Spruce in Autumn, 1916

Tom Thomson

Black Spruce in Autumn, 1916

(Source: macleans.ca)

Thursday, October 16, 2014
Molly Lamb Bobak
Gas Drill, n.d.

Molly Lamb Bobak

Gas Drill, n.d.

(Source: blogs.ottawacitizen.com)

Wednesday, October 15, 2014
Richard Harrington
Noanighok, Mother of William Kakolak, 1949-1950

Richard Harrington

Noanighok, Mother of William Kakolak, 1949-1950

Tuesday, October 14, 2014
Clark Holmes McDougall
Drayton Roman Catholic Church, October, 1956

Clark Holmes McDougall

Drayton Roman Catholic Church, October, 1956

(Source: canadianart.waddingtons.ca)

Monday, October 13, 2014
David B. Milne
Kitchen Chimney, 1931

David B. Milne

Kitchen Chimney, 1931

(Source: gallery.ca)

Sunday, October 12, 2014 Saturday, October 11, 2014
Margaret Watkins
The Kitchen Sink, c.1919
From the National Gallery of Canada:

Her subject matter for this photograph, a kitchen sink with an unwashed jug, milk bottle and other crockery, was shockingly revolutionary for a work of art. Watkins was the first to turn a fundamental and once exclusively female issue, the responsibility for domestic household labour, into a still life. Her composition is equally innovative - the glass bottles, kettle, spout and tap repeat a rhythm of circular and tubular shapes which alternately cast shadows and reflect light, creating an abstract pattern of subtle greys. Watkins used palladium printing paper because it produced a wide range of soft greys (as opposed to the harder contrasts of the silver print). From the 1910s onward, women were encouraged to learn photography, especially commercial portrait photography, as it was considered a suitable female profession. The Clarence White School of Photography taught new theories of modern art, design and photography with emphasis on abstraction and formal composition. Most of the students were women. The importance of Watkins’s photographs has only recently been discovered. After 50 years of neglect, they were exhibited in New York in 1984, prompting a renewed assessment of her career and influence.

Margaret Watkins

The Kitchen Sink, c.1919

From the National Gallery of Canada:

Her subject matter for this photograph, a kitchen sink with an unwashed jug, milk bottle and other crockery, was shockingly revolutionary for a work of art. Watkins was the first to turn a fundamental and once exclusively female issue, the responsibility for domestic household labour, into a still life. Her composition is equally innovative - the glass bottles, kettle, spout and tap repeat a rhythm of circular and tubular shapes which alternately cast shadows and reflect light, creating an abstract pattern of subtle greys. Watkins used palladium printing paper because it produced a wide range of soft greys (as opposed to the harder contrasts of the silver print). From the 1910s onward, women were encouraged to learn photography, especially commercial portrait photography, as it was considered a suitable female profession. The Clarence White School of Photography taught new theories of modern art, design and photography with emphasis on abstraction and formal composition. Most of the students were women. The importance of Watkins’s photographs has only recently been discovered. After 50 years of neglect, they were exhibited in New York in 1984, prompting a renewed assessment of her career and influence.

(Source: gallery.ca)

Friday, October 10, 2014
Rafael Ochoa
7 Squashes, 2014

Rafael Ochoa

7 Squashes, 2014

(Source: angellgallery.com)

Thursday, October 9, 2014
A.J. Casson 
Leaf-Burning, Autumn in Ontario, 1947

A.J. Casson

Leaf-Burning, Autumn in Ontario, 1947

(Source: canadianart.waddingtons.ca)

Wednesday, October 8, 2014
A.Y. Jackson
Autumn, Combermere, October,1960

A.Y. Jackson

Autumn, Combermere, October,1960

(Source: canadianart.waddingtons.ca)

cuartgallery:

On View: Osuitok Ipeelee, Owl, Fox, and Hare Legend, 1959.
After seeing Japanese kappazuri prints, Cape Dorset printmakers began blending and grading colours through stencils using James Houston’s shaving brush, evident here. This stands in contrast to the artists’ first attempt at stencil (from 1957-58), in which they used a roller to apply colour.
You can check out this work as part of Inuit Prints: Japanese Inspiration, on now at CUAG until December 14th.

cuartgallery:

On View: Osuitok Ipeelee, Owl, Fox, and Hare Legend, 1959.

After seeing Japanese kappazuri prints, Cape Dorset printmakers began blending and grading colours through stencils using James Houston’s shaving brush, evident here. This stands in contrast to the artists’ first attempt at stencil (from 1957-58), in which they used a roller to apply colour.

You can check out this work as part of Inuit Prints: Japanese Inspiration, on now at CUAG until December 14th.