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Système de gestion de base de données d’œuvres d'art et ou de collections fonctionnant en local sur Windows. Possiblement personnalisable, avec engin d'exportation de données sous forme de document, mais en anglais seulement. Licence à prix fixe raisonnable (99 $). Développeur basé à Calgary (www.datavillage.com).
Plateforme en ligne de gestion d’œuvres d'art et/ou de collections. Interfaces et soutien technique en anglais seulement. Paiement mensuel (à partir de 29 USD par mois).
Très bonne photo noir et blanc qui peut être stylisée
La meilleure source - Larges citations de l'article de 1937 sur le rôle social de l'artiste (voir partie II du texte). En voici un court résumé:
Sculptor Elizabeth Wyn Wood, herself a regular contributor to The [Canadian] Forum, assailed Underhill for the way in which he erroneously applied political theory to the function of the arts in society. (...) Wyn Wood was convinced that Canadian artists must respond contextually to the conditions of their own time and geographies. “If a great art is to grow up in Canada,” she noted, “it is likely to come from our natural lives as from hysteria.” She pointed out that Canadian artists weren’t necessarily “unaware” of the world around them and the conditions that often beset it, but chose to reside in the “deep passion for the slow and solid life this continent gives.” She reminded Underhill that “Canadian artists are mostly sons of pioneers who left the old lands with their unhappy civilizations, outworn customs, hatreds, oppressions, and prestige manias to come to a wilderness, free and hopeful, and who have found peace and some measure of fulfilment along with the half–civilization they have made.” Finally, she noted:
I proclaim the long stride, the far vision, the free spirit...let us have criticism that is sound and technical, let us have sincere, understanding receptivity. Let us not fear simplicity. Some day we may have to take in the refugees from a smouldering civilization. We may have to offer them more than bread. We may have to offer them the spiritual sustenance of an art which grows on the bare rock and bare chests.
Wyn Wood was adamant that art would survive and flourish under any conditions.
Sculptor Elizabeth Wyn Wood, herself a regular contributor to The [Canadian] Forum, assailed Underhill for the way in which he erroneously applied political theory to the function of the arts in society. (...) Wyn Wood was convinced that Canadian artists must respond contextually to the conditions of their own time and geographies. “If a great art is to grow up in Canada,” she noted, “it is likely to come from our natural lives as from hysteria.” She pointed out that Canadian artists weren’t necessarily “unaware” of the world around them and the conditions that often beset it, but chose to reside in the “deep passion for the slow and solid life this continent gives.” She reminded Underhill that “Canadian artists are mostly sons of pioneers who left the old lands with their unhappy civilizations, outworn customs, hatreds, oppressions, and prestige manias to come to a wilderness, free and hopeful, and who have found peace and some measure of fulfilment along with the half–civilization they have made.” Finally, she noted:
I proclaim the long stride, the far vision, the free spirit...let us have criticism that is sound and technical, let us have sincere, understanding receptivity. Let us not fear simplicity. Some day we may have to take in the refugees from a smouldering civilization. We may have to offer them more than bread. We may have to offer them the spiritual sustenance of an art which grows on the bare rock and bare chests.
Wyn Wood was adamant that art would survive and flourish under any conditions.
Bio complète en anglais de Elizabeth Wyn Wood, avec citation, dates et lieu de décès, etc.
Elizabeth Wyn Wood, citation de son article 'Art and the Pre-Cambrian Shield' dans la revue "The Canadian Forum", vol. XVI, no. 193 (février 1937) - page 17 du PDF + note 38.
"In his essay 'Art and Society,' in Yearbook of the Arts in Canada (1936), Brooker again decried the 'demand for meaning or moral in a work of art' as well as 'propagandists art in the service of a cause.' He reaffirmed his belief that art's concern was solely with perfection and 'the holiness of beauty.'
Reviewing the Yearbook in The Canadian Forum, Frank Underhill, the Forum's editor, criticized this attitude, commenting, 'European artists have been compelled to rethink the whole question of the relation of the artist to society, and the finer spirits among them are deciding one after another that in our troubled generation the artist must be red or dead.'
This review raised a blistering attack from the sculptor and Group associate Elizabeth Wyn Wood, who characterized Underbill's attitude as a 'mild epidemic of the Early Christian Martyr – Communist – Oxford Group fever which demands the consecration of all talent to the services of a readily recognizable cause... What should we do instead? Paint castles in Spain – crumbling? Paint the Russian proletariat standing on the fallen Cossack, a modern Saint George and the Dragon?... Such things are not authentic stimuli to the Canadian Artist... Let us [instead] camp for a while on our northern pre-Cambrian shield... [so that] we may offer [the refugees from a smouldering civilization] the spiritual sustenance of an art which grows on the bare rock and bare chests.'
To this, Paraskeva Clark cried, 'Come out from behind the Pre-Cambrian Shield,' denouncing Elizabeth Wyn Wood's 'exaltation of the individual [which blinds] an artist to the forces which approach to destroy that relative security in which he is permitted to exercise his individuality.' She affirmed that 'those who give their lives, their knowledge and their time to social struggle have the right to expect great help from the artist,' and finished with an impassioned plea that artists leave the unreality of the barren rocks and identify with the struggle of their fellow men."
"In his essay 'Art and Society,' in Yearbook of the Arts in Canada (1936), Brooker again decried the 'demand for meaning or moral in a work of art' as well as 'propagandists art in the service of a cause.' He reaffirmed his belief that art's concern was solely with perfection and 'the holiness of beauty.'
Reviewing the Yearbook in The Canadian Forum, Frank Underhill, the Forum's editor, criticized this attitude, commenting, 'European artists have been compelled to rethink the whole question of the relation of the artist to society, and the finer spirits among them are deciding one after another that in our troubled generation the artist must be red or dead.'
This review raised a blistering attack from the sculptor and Group associate Elizabeth Wyn Wood, who characterized Underbill's attitude as a 'mild epidemic of the Early Christian Martyr – Communist – Oxford Group fever which demands the consecration of all talent to the services of a readily recognizable cause... What should we do instead? Paint castles in Spain – crumbling? Paint the Russian proletariat standing on the fallen Cossack, a modern Saint George and the Dragon?... Such things are not authentic stimuli to the Canadian Artist... Let us [instead] camp for a while on our northern pre-Cambrian shield... [so that] we may offer [the refugees from a smouldering civilization] the spiritual sustenance of an art which grows on the bare rock and bare chests.'
To this, Paraskeva Clark cried, 'Come out from behind the Pre-Cambrian Shield,' denouncing Elizabeth Wyn Wood's 'exaltation of the individual [which blinds] an artist to the forces which approach to destroy that relative security in which he is permitted to exercise his individuality.' She affirmed that 'those who give their lives, their knowledge and their time to social struggle have the right to expect great help from the artist,' and finished with an impassioned plea that artists leave the unreality of the barren rocks and identify with the struggle of their fellow men."
Courte bio -- Elizabeth Wyn Wood, sculpteure (Orillia, Ont., 8 oct. 1903 -- Toronto, 27 janv. 1966), contribue de manière importante à la vie culturelle au Canada, d'abord par son interprétation moderniste du paysage canadien en sculpture, mais aussi par son enseignement à la Central Technical School, à Toronto, et par son rôle à la Federation of Canadian Artists et au Conseil des Arts du Canada (elle est secrétaire de 1944 à 1945, présidente de l'International Relations Committee de 1945 à 1948 et vice-présidente de 1945 à 1948). Au moment où le GROUPE DES SEPT (dont plusieurs membres lui ont enseigné au Collège des beaux-arts de l'Ontario dans les années 20) traduit son expérience du paysage canadien en peinture, Wyn Wood innove en exprimant des propos artistiques similaires avec des matériaux de modelage modernes (notamment l'étain) qu'elle transforme en créations dépouillées, composées de masses juxtaposées dans l'espace. Ses dernières oeuvres témoignent davantage de préoccupations sociales alors qu'elle se tourne vers des sujets figuratifs et qu'elle reçoit un grand nombre de commandes publiques majeures en Ontario, telles que le Welland-Crowland War Memorial (1934-1939), des fontaines et des panneaux pour les Rainbow Bridge Gardens (1940-1941), un monument au roi George VI (1963) à Niagara Falls, et le Simcoe Memorial à Niagara-on-the-Lake, en Ontario (1953).
Citation de Elizabeth Wyn Wood, née à Orillia: "Sculptural form is not the imitation of natural form any more than poetry is the imitation of natural conversation... While a piece of sculpture may contain visual forms with which we are acquainted by daily experience, it is essentially a design worked out by means of the juxtaposition of masses in space, just as poetry is a design wrought by the sounds of words in time." (1935)