At a time of disdain for modern art and widespread discrimination against women artists, Prudence Heward challenged the conventional in portraits that capture subtleties of emotion and often reflect her own struggles against illness and family tragedy. As A.Y. Jackson, founding member of the Group of Seven and the Beaver Hall Group, claimed, “[Heward] was the very best painter we ever had in Canada and she never got the recognition she richly deserved in her lifetime.”

Ten women artists, counterparts of the Group of Seven, are finally being given their due. Long overlooked by critics and historians, they are today amongst the most sought-after Canadian painters. The Beaver Hall Group ventured into a male-dominated art world, lived remarkable lives, and produced exceptional work. This beautifully produced book portrays the life and work of Emily Coonan, Nora Collyer, Prudence Heward, Mabel Lockerby, Mabel May, Sarah Robertson, Anne Savage, and Ethel Seath. Long-lost catalogues, old newspaper reviews, and personal papers document their story, and more than 60 reproductions bring to light paintings that have lain hidden for more than fifty years.

Taking their name from the downtown street in Montreal where members shared a studio in the early 1920s, The Beaver Hall Group were early adopters of new modernistic approaches to painting and explored their potential within a variety of genres, including portrait, still life, landscape and prescient scenes of urbanity. As well as providing an artistic window into the modern lives of Canadians during this transformational period of history, as a collective The Beaver Hall Group are exceptional for their inclusion of female artists as core members. Initially comprising of both genders, the group would become an all-female collective that includes some of Canada's most celebrated modern painters. Through a series of comprehensive contextual essays The Beaver Hall Group: 1920s Modernism in Montreal interweaves the work of this pioneering artistic collective within a broader narrative of the arts in the first half of the twentieth century. Exploring the groups' greater role in the modernity of Canada--and more specifically the cultural context of Montreal--the book takes on core themes such as the rise of the metropolis, juxtapositions between economic progress and cultural development, and the impact of gender on critical approaches to both artists and their work. The Beaver Hall Group: 1920s Modernism in Montreal sits alongside a major exhibition and is published in partnership with the Montreal Museum of Fine Art.

- Approximately 125 masterworks by some 35 artists situate Canadian art within the global phenomenon of Impressionism- A detailed chronology explores the multifaceted ways in which Canadians contributed to the evolution of ImpressionismFollow these Canadian artists as they travel abroad and return home again, over a series of journeys taking place during the last decades of the nineteenth century to the turn of the twentieth. Approximately 125 masterworks by some 35 artists situate Canadian art within the global phenomenon of Impressionism and present a fresh perspective on its reception in the arts of Canada. Adopting a thematic approach, comprehensive essays demonstrate the commitment of these pioneering artists to an innovative interpretation of foreign and familiar surroundings, imbued with an Impressionist vocabulary. A detailed chronology explores the multifaceted ways in which Canadians contributed to the evolution of Impressionism and to the advent of modernity in their homeland. This book accompanies exhibitions at the Kunsthalle der Hypo-Kulturstiftung, Munich (DE), July - November 2019; Fondation de l Hermitage, Lausanne (CH), January - May 2020; Musée Fabre, Montpellier (FR), June - September 2020; and the National Gallery of Canada, Ottawa (CA), November 2020 - April 2021.

In The Cinnamon Shops and Other Stories, Bruno Schulz describes in fantastical, mythologised terms the cloth merchant's shop where he grew up and the bizarre antics of his father, such as turning the attic into an aviary and expounding strange theories on mannequins. Two sides of the Galician town of Drohobycz are seen: the old town full of ancient mystery is contrasted with newer districts that have sprung up in response to oil mining in the area. The language is poetic, heady and oneiric, employing a rich system of imagery incorporating books and labyrinths.

A vision of architecture that transcends concerns of form and function and finds the connections between the architect's wish to design a beautiful world and architecture's imperative to provide a better place for society. The forced polarity between form and function in considerations of architecture—opposing art to social interests, ethics to poetic expression—obscures the deep connections between ethical and poetical values in architectural tradition. Architecture has been, and must continue to be, writes Alberto Pérez-Gómez, built upon love. Modernity has rightly rejected past architectural excesses, but, Pérez-Gómez argues, the materialistic and technological alternatives it proposes do not answer satisfactorily the complex desire that defines humanity. True architecture is concerned with far more than fashionable form, affordable homes, and sustainable development; it responds to a desire for an eloquent place to dwell—one that lovingly provides a sense of order resonant with our dreams. In Built upon Love Pérez-Gómez uncovers the relationship between love and architecture in order to find the points of contact between poetics and ethics—between the architect's wish to design a beautiful world and architecture's imperative to provide a better place for society. Eros, as first imagined by the early lyric poets of classical Greece, is the invisible force at the root of our capacity to create and comprehend the poetic image. Pérez-Gómez examines the nature of architectural form in the light of eros, seduction, and the tradition of the poetic image in Western architecture. He charts the ethical dimension of architecture, tracing the connections between philia—the love of friends that entails mutual responsibility among equals—and architectural program. He explores the position of architecture at the limits of language and discusses the analogical language of philia in modernist architectural theory. Finally, he uncovers connections between ethics and poetics, describing a contemporary practice of architecture under the sign of love, incorporating both eros and philia.

Reflecting a rethinking of the making of modern Canada, this well- illustrated anthology of 85 essays reaches beyond ivory tower images and taken for granted assumptions of women's roles. This sampling by primarily women contributors, drawn from personal and organizational records, emphasizes the experiences of diverse women engaged in all spheres of private and public life: from a vignette of Native community life, to profiles of innovators in many fields. Includes a cross-referenced essay index. 10 x 9.5 " format. Cook is a professor of education at the U. of Ottawa. c. Book News Inc.

Originally published in 1988, this book analyses the effect of public boarding school on those boys who grew to manhood under its influence. With access to over 2000 letters written by parents to the Head Master and governors of Ellesmere College in the period 1929-50, it raises issues about the construction of masculinity in the mid-twentieth century. The author demonstrates from these candid letters the concerns of a small group of parents bringing up their sons: their aspirations, plans, fears and problems. She shows how parents’ plans changed, sometimes very dramatically, due to the Second World War, and demonstrates the differences between social groups as diverse as clergy, widows and farmers in bringing up their sons. The author also presents fascinating and elusive evidence about the sons themselves and the effects of their schooling on their models of masculinity, sexuality and attitudes to women. This book places the particular concerns of a relatively small group within the much wider contexts of education, social and gender structure.