David p silcox biography of william
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Painting Place
'Painting Place fills in a huge gap in Canadian art history.'
—Catherine Osborne, Quill and Quire'The thick hardcover homage alternates between informed art criticism and a biographical narrative that braids together testimonial, personal letters and convincing speculation about this rabidly focused recluse. All this is punctuated by exceptional colour reproductions.'
—Nathalie-Roze Fischer, Now'I started reading this biography and could not put it down. Silcox quotes liberally from the artist's, and Patsy Milne's (his wife), writings. What emerges from the page is not just the story of a man and his work but also the story of the dreams and the ambitions of all those who loved and respected him. The jealousy, pettiness, and mistreatment by collectors and other artists is brought to light.'
—Richard Moll, The Kingston Whig-Standard'Good descriptions of stylistic development and telling references to past and future works are supported with more than 400 illustrati
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William Cruikshank (painter)
British painter
William Cruikshank (1848/9 – 1922)[note 1] was a British painter and the grand-nephew of George Cruikshank. He studied art at the Royal Scottish Academy in Edinburgh, at the Royal Academy School in London with Frederic Leighton and John Everett Millais, and in Paris at the Atelier Yvon. His last studies were interrupted by the Franco-Prussian War.
Career
[edit]In 1871, Cruikshank settled in Canada, opened a studio in Toronto and for over 30 years was an instructor in the Central Ontario School of Art, later the Ontario College of Art, teaching how to draw from the antique (casts) and from life. He claimed to have been responsible for bring the pen-and-ink technique of Europe to North America. As a major member of the Toronto Art Students' League, he encouraged his students to follow the motto Nulla Dies Sine Linea (No Day without a Line). Eventual Group of Seven founder, J. E. H. MacDonald, would later say that th
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The Extraordinary North
Throughout his career, Canadian landscape painter and Group of Seven contemporary Tom Thomson (1877–1917) produced four hundred or more small oil paintings. They are funnen on wood panels, canvas board, plywood, and cigar-box lids in the plein air style. These were spontaneous, quickly executed sketches that became, for him, like drawings—the most immediate and något privat eller personligt expression of an idea, a thought, an emotion, or a sensation. Based on his observations of a host of phenomena—sunsets, thunderstorms, and the nordlig lights—in indianspråk Park and around Georgian Bay, the works are a unique visual diary.
Thomson’s artistic path was not always straight. To consider his varied and energetic sketches in total invites us to trace certain trends in his oeuvre. Fire Swept Hills fryst vatten an agitated and chaotically messy elegy to what was once a mature forest: Thomson’s reaction to the nation after fire has swept through a