Now available in a paper-bound edition Nearly a century ago, a group of artists travelled into northern Ontario and farther afield to capture the raw, terrible beauty that lay just beyond the outskirts of Canada's cities and towns. Armed with sketchbooks, brushes, and paint boxes, they set off into the heart of the wilderness with the singular purpose of interpreting the landscape in a modern mode of artistic expression. In July 1977, Jim and Sue Waddington set off on their own expedition to discover the places that inspired these artists. Determined to locate, document, and photograph the actual landscapes that inspired A. Y. Jackson, Franklin Carmichael, Arthur Lismer, Lawren Harris, A. J. Casson, J. E. H. MacDonald, Tom Thomson, and Frederick Varley, the Waddingtons began a thirty-six-year journey - tracking down clues, deciphering bits of information, tracing ancient portage routes, and exploring hidden inlets - all with the purpose of finding the very spots that gave birth to the work of the Group of Seven. The result was an amazing story of discovery. In this paper-bound edition of their bestselling book, in which original paintings are paired with contemporary photographs of the locations where the original works were created, Jim and Sue Waddington invite their readers to come face to face with the elusive muses that enlightened and enriched this renowned group of artists.

This riveting inside story of the intense search for the Salt Lake City teenager who was kidnapped from her bed reveals never-before-told details of the largest investigation in Utah state history. Paced like a thriller, this true account moves between the parallel stories of the searchers and the abductor. The firsthand account of Tom Smart, Elizabeth's uncle and one-time suspect, reveals the details of the flawed police investigation, the media's manipulation of the family, and the eyewitness account of nine-year-old Mary Katherine Smart that went largely ignored by investigators. New research is presented on the family background of disturbed street preacher Brian David Mitchell, who kidnapped Elizabeth as part of a bizarre polygamous plot. Also examined is the critical role of the media, revealing the essential part played by John Walsh and others in facilitating Elizabeth's safe return, and the manipulative influence of Fox News and Bill O'Reilly. Going beyond a mere eyewitness account, the book includes information culled from interviews with more than 150 people involved in the search and investigation, notes from family meetings, and memos from law enforcement officials.

Miller Gore Brittain (1912-1968) had an unerring sense of structure and composition. In the early 1930s, at the Art Students' League in New York, he experienced the pivotal moment in American art: the shift from tradition to abstract expressionism. When he returned to Canada, the Group of Seven still defined Canadian art, and he burst upon the scene with emotion-filled drawings and paintings of the human form. Later, combining figuration and abstraction, he explored the limits of the body and the borderlands of sanity to express the depths of despair and the heights of ecstasy. World War II interrupted Brittain's career and on his bombing missions he carried William Blake's Songs of Innocence and Experience with him. Blake's poetry, particularly "The Tyger," inspired the pervasive motif of Brittain's later career. At first a description of searchlights and shot-down aircraft, the star and spear motif later developed into iconic flowers and stems, heads and necks, sunbursts and smoke. In this illuminating and provocative book, Tom Smart examines the sweep of Brittain's work, his progression from social realism to abstraction and surrealism, while Allen Bentley shows the profound influence of Blake's thought in Brittain's painting and drawings.

A fresh look at what is going on in the world of Atlantic Canadian art.Materiality and Perception in Contemporary Atlantic Art showcases over forty contemporary works of art from Atlantic Canada, from established artists such as Freeman Patterson, Gerald Beaulieu, Dawn MacNutt, and Alan Syliboy to emerging artists such as Emma Hassencahl-Perley, Ursula Johnson, and Marie Fox. This is art engaged with contemporary conversations: the frailty of bodies and land, the interactions between people and environment, Indigenous - Settler relations, and the inner and outer markings of identity.Focusing intently on the materiality of the objects themselves -- from jewellery to photographs, from carved paddles to video installations -- the works selected for this publication and the associated exhibition ask viewers to look again, challenging their initial perceptions about what they see and what they perceive about the context in which the work is made.Tom Smart's accompanying essay introduces each work and its context and discusses the role of the viewer in interpreting art objects and creating meaning, whether viewing works as discrete individual objects or as part of the larger, holistic whole.Materiality and Perception in Contemporary Atlantic Art accompanies the 2019 Marion McCain Exhibition of Atlantic Art at the Beaverbrook Art Gallery.

Dans Miller Brittain : Quand les etoiles jeterent leurs lances, Tom Smart demontre pour la premiere fois la cohesion de l'imagerie de Brittain et les liens entre le realisme social de ses premieres oeuvres ulterieures, des abstractions figuratives et des compositions d'inspiration surrealiste. Miller Brittain a fait irruption sur la scene artistique canadienne A la fin des annees 1930, avec ses dessins et ses peintures du corps humain temples d'emotion et admirablement executes. Pendant ses etudes A l'Art Students League, A New York, il avait interiorise un point tournant de l'art americain, alors que les modes realistes traditionnels etaient remis en question par une nouvelle generation d'artistes radicaux selon qui l'art se devait de refleter la vie de l'artiste et les conditions de vie des sujets representes. A une epoque ou les paysages du Groupe des Sept dominaient la peinture canadienne, Brittain defia l'establishment avec son sens infallible de la ligne et de la composition, et ses recits humains attrayants. Plus tard, alliant l'art figurative et l'art abstrait, il explora les limites du corps et les confines de la raison afin d'exprimer les profondeurs du desespoir et les sommets de l'extase. Au cours de la Seconde Guerre mondiale, Brittain s'enrola dans l'Aviation royale du Canada, fut decore de la Croix du service distingue dans l'Aviation et devint un artiste de guerre canadien. Quand il partait en mission de bombardement, il emportait avec lui un exemplaire des Chants d'experience, de William Blake. Dans Miller Brittain : Quand les etoiles jeterent leurs lances, Smart fait voir comment le celebre poeme " Le tigre ", de Blake, inspira le motif omnipresent dans les oeuvres de Brittain apres la guerre, c'est-A-dire la cominaison de l'etoile et de la lance. Ce qui au depart representait des faisceaux de projecteurs et des avions abattus devint au fil des annees des representationsiconiques de fleurs et de tiges, de tetes et de cous, de rayons de soleil et de fumee. Allen Bentley appuie les observations de Smart en montrant la profonde influence exercee par les theories de Blake sur l'oeuvre de Brittain dans l'apres-guerre.

""The delicacy and intelligence of George Walker's printmaking seems to have come to us from a bygone age. Fortunately, we have George with us now."" -- Neil Gaiman

A cold case from 1917, the tragic cost of the events of 9/11, and the rise and fall of a media baron. These are the themes as imagined by George Walker in his three wordless contemporary narratives -- "The Mysterious Death of Tom Thomson," "The Book of Hours" and "Conrad Black" -- told in wood engravings.

"The Mysterious Death of Tom Thomson " Thomson was a young Canadian artist of great promise. When his body was discovered in a lake in Algonquin Park in July 1917, Thomson had been missing for eight days. Although the official cause of death was accidental drowning, the corpse had fishing line wrapped around a leg and the head showed evidence of trauma. "The Mysterious Death of Tom Thomson" re-imagines in some 100 wood engravings the events leading up to Thomson's tragic death and the discovery of his body.

"Book of Hours " "Book of Hours: A Wordless Novel Told in 99 Wood Engravings" is a sequence of visual narratives chronicling the 24-hour period leading up to the attacks on the World Trade Center. The book charts the imagined lives of people who worked in the twin towers. Walker imbues his book with the specter of horror that the reader knows will shatter the lives of those involved and forever alter the course of world events.

"Conrad Black " Walker's "Conrad Black" imagines the life of this notorious, intellectually complex and fascinating business figure. Black's life is relayed in a sequence of events and episodes in no discernible pattern. Initial impulses set in motion in the early years tumble forward through the decades, culminating in downfall and catharsis.

Materialite et perception dans lart contemporain des provinces atlantiques presente une quarantaine duvres contemporaines realisees par des artistes canadiens renommes de la region, notamment Freeman Patterson, Gerald Beaulieu, Dawn MacNutt et Alan Syliboy, mais aussi par des artistes emergents comme Emma Hassencahl-Perley, Ursula Johnson et Marie Fox. Leur pratique est ancree dans des preoccupations actuelles : la fragilite des corps et du territoire, les interactions entre les humains et lenvironnement, les relations entre les Autochtones et les colons ou encore les marqueurs identitaires internes et externes. Les uvres selectionnees pour lexposition et cette publication bijoux, photographies, pagaies gravees ou installations video sont centrees sur la materialite des objets eux-memes. Elles interpellent le spectateur et linvitent a jeter un autre regard sur le contexte de leur creation, a remettre en question ce quil voit et percoit initialement. Lessai de Tom Smart presente chaque uvre dans son contexte, et traite du role du spectateur dans la creation de sens et linterpretation des objets dart, tant individuellement qua titre delements dun ensemble global plus vaste. Materialite et perception dans lart contemporain des provinces atlantiques accompagne lexposition Marion McCain dart de la region atlantique 2019 presentee a la Galerie dart Beaverbrook.

Painter Christopher Pratt is one of Canada's most prominent painters and printmakers, a reputation that has solidified since the celebrated retrospective of his work at the National Gallery of Canada in 2005. The intense realism of his work is, at first glance, deceptively simple; but behind the recognizable images lie deeper meanings. Pratt's search for reality that is magical and mysterious gives these paintings their uncanny and haunting qualities. Ever since the day in the mid-1950s when Pratt first saw the painting Early Sunday Morning by the renowned American realist, Edward Hopper, he has perfected his ability to represent the qualities of natural and artificial light, which figure so prominently in his paintings and prints. Pratt stands in the line of other great Canadian artists including Alex Colville, Lawren P. Harris, Jean Paul Lemieux, and Lionel LeMoine Fitzgerald, all of whom influenced him and the way he represents the land. Others who figured in his development as an artist include Americans Charles Sheeler, Winslow Homer, Edward Hopper and Thomas Eakins. The unique and beautiful island of Newfoundland, its culture, history, geography and its weather have also influenced his work. This book traces Pratt's development as a painter and printmaker from his first early watercolors in 1952 through to his iconic paintings of his mature years. It features more than 100 works, many of which have never been reproduced before. Christopher Pratt was born in 1935 in St. John's Newfoundland and studied art at the Glasgow School of Art and Mount Allison University, in Sackville, New Brunswick. Universally acknowledged as one of the most important Canadian artists of the period, his work is included in the permanent collections of the National Gallery of Canada, the Vancouver Art Gallery, the Art Gallery of Ontario, the McMichael Canadian Art Collection, the Beaverbrook Art Gallery, the Musee d'Art Contemporain of Montreal, Memorial University of Newfoundland, as well as private and corporate collections in North America and around the world. He is represented by the Mira Godard Gallery in Toronto. Pratt lives and works in the village of St. Mary's Bay on the Salmonier River in Newfoundland. Over the years Pratt has exhibited both nationally and internationally, with exhibitions in New York (1976), at Canada House Cultural Centre Gallery in London that travelled to Paris, Brussels and Dublin from 1982-83, and the 49th Parallel Gallery in New York in 1988.