The First World War did more to disrupt lives and reshape Canadian communities than any event in the short history of that country. Out on the prairies, cities and towns sent volunteer citizens to fight for Canada and...The First World War did more to disrupt lives and reshape Canadian communities than any event in the short history of that country. Out on the prairies, cities and towns sent volunteer citizens to fight for Canada and the British Empire with memorable success in the Great War. By the 1920s, the communities of Saskatchewan looked to mark the achievements of their soldiers overseas, who did not come home, with war memorials. These cenotaphs or ＂empty tombs＂ developed from Boer War models and London＇s Whitehall cenotaph completed for Armistice Day, 1920. The projects varied from simple cement plinths produced by prairie, stone workshops to the architect-commissioned memorial at Victoria Park, Regina. By the second half of the decade, cities from Saskatoon to Estevan, and towns soon to become cities, decorated their parks and streets with monuments that would become a focus of their community life and remembrance ceremonies for years to come. This paper will document those aspects of the city cenotaph in southern Saskatchewan in terms of community support, site and form selection and aspects of maintenance and the ongoing problem of vandalism, which frustrates city officials and Legion societies to this day.展开更多
A method for placing oil paint in metal tubes occurred in the early 1840s, which facilitated artists taking their materials out of doors to paint nature directly. In France in the 1860s, we know of painters like Claud...A method for placing oil paint in metal tubes occurred in the early 1840s, which facilitated artists taking their materials out of doors to paint nature directly. In France in the 1860s, we know of painters like Claude Monet were working on beaches and port cities to capture the effect of scenes under natural light. By 1874 the Anonymous Society of Painters, Sculptors, Engravers, etc. （Impressionists） offered their first public exhibition to much criticism. A common complaint of the new work was that it lacked finish to be considered as a completed work for sale. It is the view of this paper that outdoor, or plein air painting, developed because of the circumstances this type of work developed in the artist naturally. I focus on two areas that outdoor painting forced the artist to consider： incidents and accidents. The incidents refer to the varied weather the painter had to deal with and the accidents identify the intuitive methods the plein air painters fell practice to when confronted by difficult passages or situations in nature. These experiences would shift the focus of the Impressionists from recording nature in a naturalistic way to self-expression, which would become a key idea in early modem painting. The finish the detractors of Impressionism called for would be replaced by an appreciation for the personal in painting as exacting images of landscape became predictable and lacked the vitality of the intuitive picture that could offer something new to art.展开更多
文摘The First World War did more to disrupt lives and reshape Canadian communities than any event in the short history of that country. Out on the prairies, cities and towns sent volunteer citizens to fight for Canada and the British Empire with memorable success in the Great War. By the 1920s, the communities of Saskatchewan looked to mark the achievements of their soldiers overseas, who did not come home, with war memorials. These cenotaphs or ＂empty tombs＂ developed from Boer War models and London＇s Whitehall cenotaph completed for Armistice Day, 1920. The projects varied from simple cement plinths produced by prairie, stone workshops to the architect-commissioned memorial at Victoria Park, Regina. By the second half of the decade, cities from Saskatoon to Estevan, and towns soon to become cities, decorated their parks and streets with monuments that would become a focus of their community life and remembrance ceremonies for years to come. This paper will document those aspects of the city cenotaph in southern Saskatchewan in terms of community support, site and form selection and aspects of maintenance and the ongoing problem of vandalism, which frustrates city officials and Legion societies to this day.
文摘A method for placing oil paint in metal tubes occurred in the early 1840s, which facilitated artists taking their materials out of doors to paint nature directly. In France in the 1860s, we know of painters like Claude Monet were working on beaches and port cities to capture the effect of scenes under natural light. By 1874 the Anonymous Society of Painters, Sculptors, Engravers, etc. （Impressionists） offered their first public exhibition to much criticism. A common complaint of the new work was that it lacked finish to be considered as a completed work for sale. It is the view of this paper that outdoor, or plein air painting, developed because of the circumstances this type of work developed in the artist naturally. I focus on two areas that outdoor painting forced the artist to consider： incidents and accidents. The incidents refer to the varied weather the painter had to deal with and the accidents identify the intuitive methods the plein air painters fell practice to when confronted by difficult passages or situations in nature. These experiences would shift the focus of the Impressionists from recording nature in a naturalistic way to self-expression, which would become a key idea in early modem painting. The finish the detractors of Impressionism called for would be replaced by an appreciation for the personal in painting as exacting images of landscape became predictable and lacked the vitality of the intuitive picture that could offer something new to art.
