Gerhard Richter: Paintings

Nasgaard, Roald

Danoff, I. Michael

Thames&Hudson

The Mystic North: Symbolist Landscape Painting in Northern Europe and North America, 1890-1940

Arts & Photography

Painting

University of Toronto Press

Based on an exhibition held at the Art Gallery of Ontario, Toronto, Ont., Jan. 13- Mar. 11, 1984, and the Cincinnati Art Museum, Cincinnati, Ohio, Mar. 31- May 13, 1984. Includes index.

Art Gallery Of Ontario

Glenbow Museum

Gaucher, Yves

Lawren S. Harris is best known for his iconic landscape paintings that declare a sense of cool Canadian resilience. Yet, in the 1920s, an audacious and more colourful interior world began to emerge in his work, and by 1934, the patriotic landscape painter had taken a seemingly unexpected turn toward a transnational career in abstract painting. The social, intellectual, and aesthetic milieu of American transcendentalism shaped a movement of abstract art across North America, seen in the paintings of Georgia O’Keeffe, Marsden Hartley, Katherine Dreier, Raymond Jonson, and Lawren Harris. Harris, in particular, made an impact on both sides of the border. Inspired by the ideas of Kandinsky and informed by the writings of Emerson and Whitman, Harris and his contemporaries turned to abstraction to express higher states of consciousness, creating work that was the very embodiment of the modern spirit. As Harris's career progressed, as he ascended from mountaintops to inner states of mind, he sought greater and more ethereal spiritual heights. This magnificent volume features reproductions of more than 75 paintings by Harris and his contemporaries. Two major essays by Roald Nasgaard and Gwendolyn Owens investigate Lawren Harris's exploration of modernity and the evolution of his work towards a form of abstraction that enthusiastically embraced the energies of the ambient visual culture. Higher States: Lawren Harris and His American Contemporaries accompanies an exhibition organized by the McMichael Canadian Art Collection that will open in February 2017, and travel to the Glenbow Museum in Calgary in October 2017.

Higher States: Lawren Harris and His American Contemporaries

Owens, Gwendolyn

History & Criticism

Goose Lane Editions

Lawren S. Harris doit sa renommée À ses paysages emblématiques pénétrés d'un force tranquille résolument canadienne. Dans les années 1920, un monde intérieur audacieux et coloré commence À se manifester dans son oeuvre, et en 1934, contre toute attente, il entreprend une carrière de peintre abstrait outre-frontière.Le milieu social, intellectuel et esthétique du transcendantalisme américain sert de modèle À un mouvement d'art abstrait en Amérique du Nord. Inspirés par les idées de Kandinsky et les écrits d'Emerson et Whitman, Harris et ses contemporains américains -- Georgia O'Keeffe, Marsden Hartley, Katherine Dreier et Raymond Jonson -- se tournent vers l'abstraction pour exprimer des états de conscience plus élevés.Aspirant À s'élever au-dessus des choses terrestres, Harris délaisse le paysage au profit du spirituel et de l'intériorité. Ce magnifique ouvrage reproduit plus de 75 peintures réalisées par Harris et ses contemporains. Les essais de Roald Nasgaard et Gwendolyn Owens analysent l'exploration de la modernité chez Lawren Harris et l'évolution de son oeuvre vers une abstraction qui se nourrit du dynamisme de la culture visuelle ambiante.Vers de nouveaux sommets : Lawren Harris et ses contemporains américains accompagne une exposition organisée par la Collection McMichael d'art canadien qui prendra l'affiche en février 2017. L'exposition sera présentée également au Musée Glenbow, À Calgary, dans le cadre d'une tournée canadienne.

Vers de nouveaux sommets: Lawren Harris et ses contemporains américains (French Edition)

STRUCTURES FOR BEHAVIOUR New Sculptures by ROBERT MORRIS, DAVID RABINOWITCH, RICHARD SERRA and GEORGE TRAKAS. Art Gallery of Ontario, 13 May - 9 July 1978. Roald Nasgaard, Curator, Contemporary Art. The Art Gallery of Ontario, 1978. ISBN # 0919876382. 132 PAGES. Illustrated in black and white.

Structures for behaviour: New sculptures by Robert Morris, David Rabinowitch, Richard Serra, and George Trakas : Art Gallery of Ontario, 13 May-9 July 1978

The Gallery

In the tradition of the distinguished Douglas &amp; McIntyre art program, this lavishly illustrated and superbly printed book is a rich, readable history of abstract painting in Canada.The story begins in the 1920s with the sometimes eccentric but remarkable work, rooted in symbolism and theosophy, of pioneers such as Kathleen Munn, Bertram Brooker and Lawren Harris. Two decades later the Automatistes-Canada's first truly independent avant-garde art movement-burst onto the scene in Montreal.After the Second World War, the urge to abstraction spread across Canada, manifesting itself in significant regional movements. Vancouver painters retained a British flavour, while in Toronto, the Painters Eleven looked south to New York. Montreal's Plasticiens launched their own razor-edged interpretation of the European tradition of geometric abstraction. In the sixties and seventies, the Prairies were influenced by Clement Greenberg's post-painterly abstraction, while Halifax be

ABSTRACT PAINTING IN CANADA

Douglas & McIntyre, Ltd

The Automatiste Revolution: Montreal, 1941-1960 accompanies the first exhibition in English Canada ever devoted exclusively to the Automatistes' works. An insightful essay by distinguished professor Ray Ellenwood sets the group's extraordinary accomplishments in a variety of disciplines in the context of the social and political events of the time. And a lively text by eminent historian and curator Roald Nasgaard chronicles the emergence of the Automatiste form of painting, the experimentation of its practitioners and its legacy. Throughout, the authors quote not only the artists themselves but the many reviewers, critics, curators and art historians who have commented on the importance of their art. Sumptuously illustrated with sixty full-colour paintings and twenty black-and-white archival images, this comprehensive introduction to the Automatistes and their work is a significant addition to any library. A fascinating mix of art, history and politics, The Automatiste Revolution: Montreal, 1941-1960 adds an important chapter to the history of Canadian art.

The Automatiste Revolution: Montreal 1941 - 1960

Douglas&McIntyre

In the tradition of the distinguished Douglas &amp; McIntyre art program, this lavishly illustrated and superbly printed book is a rich, readable history of abstract painting in Canada. The story begins in the 1920s with the sometimes eccentric but remarkable work, rooted in symbolism and theosophy, of pioneers such as Kathleen Munn, Bertram Brooker and Lawren Harris. Two decades later the Automatistes-Canada's first truly independent avant-garde art movement-burst onto the scene in Montreal. After the Second World War, the urge to abstraction spread across Canada, manifesting itself in significant regional movements. Vancouver painters retained a British flavour, while in Toronto, the Painters Eleven looked south to New York. Montreal's Plasticiens launched their own razor-edged interpretation of the European tradition of geometric abstraction. In the sixties and seventies, the Prairies were influenced by Clement Greenberg's post-painterly abstraction, while Halifax became a hub of conceptual art and concrete painting. The book continues through the eighties and nineties, during which critics largely denounced painting, and concludes in the twenty-first century, with abstract painting alive and well again in the studios of Canada's young artists. A monumental tome containing 200 color reproductions, it mines a rich vein of art history ripe for international discovery.

Abstract Painting in Canada

Eli Bornstein: Arctic Journals, 1986 and 1987

Bornstein, Eli

Figure 1 Publishing

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