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Voici l'histoire d'une colonie d'artistes, présente à Beaupré entre 1896 et 1904, qui a profondément marqué son époque. Bien que les oeuvres produites pendant cette période figurent aux cimaises des grands musées, les circonstances entourant leur production étaient jusqu'à maintenant méconnues. Cet ouvrage fait le point sur la question, cherchant à comprendre les motivations qui ont poussé des artistes anglophones à converger vers Beaupré, avec le pressentiment que ce coin de pays habité depuis près de trois siècles représentait l'essentiel de l'identité nationale qu'ils cherchaient tant à exprimer dans leur peinture. Les activités du Pen and Pencil Club of Montreal, un club fréquenté par les peintres du groupe de Beaupré, deviennent un fascinant miroir du tournant du XXe siècle et permettent de mieux comprendre les idées et les mentalités du temps. De même, des textes de l'écrivain qui accompagnait les artistes à Beaupré apportent un nouvel éclairage sur leur esthétique. Des oeuvres remarquables de William Brymner, Maurice Cullen, James Wilson Morrice, William Cruikshank, Edmund Morris et Edmond Dyonnet illustrent le propos et mettent en lumière l'importance de cette production réalisée à Beaupré, à 40 kilomètres en aval de Québec, dans une effervescence créatrice hors du commun.

Landscape painting, Canadian --- Peinture de paysages canadienne

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It can be easy to consider landscape painting as cliche, an art form whose time has passed. David Alexander's vibrant, large-scale works show the wonder and possibility that remain undiminished in paintings of the natural environment and breathe new life into the landscape tradition.

Landscape painting, Canadian. --- Painting, Canadian --- Regina Five (Group of painters) --- Canadian landscape painting --- Alexander, David, --- Criticism and interpretation. --- 1900 - 1999

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Landscape painting, Canadian --- Painting, Canadian --- Painters --- Nature (Aesthetics) --- Peinture de paysages canadienne --- Peinture québécoise --- Peintres --- Nature (Esthétique) --- Biography --- Biographies

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"The great purpose of landscape art is to make us at home in our own country" was the nationalist maxim motivating the Group of Seven's artistic project. The empty landscape paintings of the Group played a significant role in the nationalization of nature in Canada, particularly in the development of ideas about northernness, wilderness, and identity. In Beyond Wilderness contributors pick up where the Group of Seven left off. They demonstrate that since the 1960s a growing body of both art and critical writing has looked "beyond wilderness" to re-imagine landscape in a world of vastly altered political, technological, and environmental circumstances. By emphasizing social relationships, changing identity politics, and issues of colonial power and dispossession, contemporary artists have produced landscape art that explores what was absent in the work of their predecessors. Beyond Wilderness expands the public understanding of Canadian landscape representation, tracing debates about the place of landscape in Canadian art and the national imagination through the twentieth century to the present. Critical writings from both contemporary and historically significant curators, historians, feminists, media theorists, and cultural critics and exactingly reproduced artworks by contemporary and historical artists are brought together in productive dialogue. Beyond Wilderness explains why landscape art in Canada had to be reinvented, and what forms the reinvention took. Contributors include Benedict Anderson (Cornell), Grant Arnold (Vancouver Art Gallery). Rebecca Belmore, Jody Berland (York), Eleanor Bond (Concordia), Jonathan Bordo (Trent), Douglas Cole, Marlene Creates, Marcia Crosby (Malaspina), Greg Curnoe, Ann Davis (Nickle Arts Museum), Leslie Dawn (Lethbridge), Shawna Dempsey, Christos Dikeakos, Peter Doig, Rosemary Donegan (OCAD), Stan Douglas, Paterson Ewen, Robert Fones, Northrop Frye, Robert Fulford, General Idea, Rodney Graham, Reesa Greenberg, Gu Xiong (British Columbia), Cole Harris (British Columbia), Richard William Hill (Middlesex), Robert Houle, Andrew Hunter (Waterloo), Lynda Jessup (Queen's), Zacharias Kunuk (Igloolik Isuma Productions), Johanne Lamoureux (Montréal), Robert Linsley (Waterloo), Barry Lord (Lord Cultural Resources), Marshall McLuhan, Mike MacDonald, Liz Magor (ECIAD), Lorri Millan, Gerta Moray (Guelph), Roald Nasgaard (Florida State), N.E. Thing Company, Carol Payne (Carleton), Edward Poitras, Dennis Reid (Art Gallery of Ontario), Michel Saulnier, Nancy Shaw (Simon Fraser), Johanne Sloan (Concordia), Michael Snow, Robert Stacey, David Thauberger, Loretta Todd, Esther Trépanier (Québec), Dot Tuer (OCAD), Christopher Varley, Jeff Wall, Paul H. Walton (McMaster), Mel Watkins (Toronto), Scott Watson (British Columbia), Anne Whitelaw (Alberta), Joyce Wieland, Jin-me Yoon (Simon Fraser), Lawrence Paul Yuxweluptun, and Joyce Zemans (York).

Landscape painting, Canadian --- Nationalism and art --- Art and nationalism --- Art --- Canadian landscape painting --- Canada --- Canada (Province) --- Canadae --- Ceanada --- Chanada --- Chanadey --- Dominio del Canadá --- Dominion of Canada --- Jianada --- Kʻaenada --- Kanada (Dominion) --- Ḳanadah --- Kanadaja --- Kanadas --- Ḳanade --- Kanado --- Kanakā --- Province of Canada --- Republica de Canadá --- Yn Chanadey --- Καναδάς --- Канада --- קאנאדע --- קנדה --- كندا --- کانادا --- カナダ --- 加拿大 --- 캐나다 --- Lower Canada --- Upper Canada --- Kaineḍā