Painting Friends: The Beaver Hall Woman Painters

Montreal, Quebec, Canada: Véhicule Press, 1999. Soft cover. As New. As New Condition. Presentation Copy (See Images).- May Have Minor Shelf Wear To Edges and/or Turned Corners. - For More Information On Condition. Please See All Photos. "Painting Friends: The Beaver Hall Women Painters". Tells the story of ten Montreal women who met at an art school in the early 1900s and formed lifelong friendships. These artists, namely Nora Collyer, Emily Coonan, Prudence Heward, Mabel Lockerby, Mabel May, Kathleen Morris, Lilias Torrance Newton, Sarah Robertson, Anne Savage, and Ethel Seath, had successful professional careers, exhibiting with the Group of Seven and at international exhibitions during the 1920s and 1930s. The book discusses their paintings in the context of the social and political circumstances of the period. Among the most famous was Heward, who painted exquisite portraits, as did Newton, who is probably best known as a commissioned portraitist. In Newton's more personal paintings, like "Self-Portrait" (c. 1929), it is evident that she was a woman of exceptional grace, determined not to sacrifice her femininity despite her independent mind. Meadowcroft's aim was not to reassess their accomplishments from a feminist angle, but to fill the gap in Canadian art history with the first thorough chronology of their works and friendship. The book is academic, but Meadowcroft's writing is never dry. It is a very readable book about how our modernist painters were determined to express a sense of Canadian identity.t tells the story of ten Montreal women who met at an art school in the early 1900s and formed lifelong friendships. These artists, namely Nora Collyer, Emily Coonan, Prudence Heward, Mabel Lockerby, Mabel May, Kathleen Morris, Lilias Torrance Newton, Sarah Robertson, Anne Savage, and Ethel Seath, had successful professional careers, exhibiting with the Group of Seven and at international exhibitions during the 1920s and 1930s. The book discusses their paintings in the context of the social and political circumstances of the period2. Among the most famous was Heward, who painted exquisite portraits, as did Newton, who is probably best known as a commissioned portraitist1. In Newton's more personal paintings, like "Self-Portrait" (c. 1929), it is evident that she was a woman of exceptional grace, determined not to sacrifice her femininity despite her independent mind1. Meadowcroft's aim was not to reassess their accomplishments from a feminist angle, but to fill the gap in Canadian art history with the first thorough chronology of their works and friendship1. The book is academic, but Meadowcroft's writing is never dry. It is a very readable book about how our modernist painters were determined to express a sense of Canadian identity1.