摘要：Globalization is a topic much discussed today with the explosion of cell phones and instant messaging. This exchange of information causes the art historian to ponder the speed with which ideas spread in past centuries. The eighteenth was a century of colonial expansion made possible through the ships that sailed the great oceans Sea travel between Europe and North America drastically increased the spread of populations and their ideas between the old and new world. A good way to trace the exchange of ideas in picture painting in the eighteenth century would be to follow an artist like Benjamin West from his Quaker background in Pennsylvania to the center of the neoclassical style in Rome and a prolific career in London at the Royal Academy. West＇s travels and career offer an example of how an American pursued the artistic style of contemporary Rome to make images of North American history from a base in England. It was globalization eighteenth-century-style made possible by an ambitious artist connecting across the sea-lanes of international travel

摘要：As a study in art history critical theory, this paper looks at the appreciation and usage of art amongst interest groups at the time of the Great War and the subsequent legacy of the work of Canada＇s resident war artist Richard Jack. The Canadian War Museum＇s recent web page described Jack＇s standing officer in The Second Battle of Ypres 22 April to 25 May 1915 as one who ＂exemplifies the courage and resolve of the inexperienced Canadians in their first major battle＂. This comment showed a marked contrast to the contemporary art critic Richard Cork who described the first of the Canadian war memorials paintings as ＂a clich6-ridden bandaged officer ... shamelessly catering to public sentiment＂. Given these disparate positions, the author attempts to explain the gulf between these points of view and subsequently make the case that art has a broad application that might make us cautious of viewing a given work without due consideration of the context of its making and future merits.

摘要：The Fort Worth （Texas） exhibition/publication Poussin： The Early Years in Rome： The Origins of French Classicism （1988） proved to be a seminal event in Poussin scholarship. Over 200 works were put on display at the Kimbell Art Museum that revealed the formative years in the French painter＇s works. The drawings and paintings confirmed Poussin as the leading classicist in 17th century French art and expanded our appreciation of the flexibility of the artist to illustrate mythological narratives. Previous positions on the artist such as Anthony Blunt＇s, who viewed the painter as a strict classicist without a major interest in color, are now reevaluated after the Fort Worth show. The influence of the Venetian school, especially the work of Titian, emerged stronger into Poussin＇s oeuvre. It was under the classicist umbrella that the romantic verse of Ovid and the sensual color of Titian became forged into the pictures of Roman mythology. The leading source of inspiration for this work would be Ovid＇s Metamorphoses where figures change into flowers made timeless by the painter＇s brush. Just as the poet varied the structure of his narrative presentation, so too did the painter expand his approach to depicting scenes of change in a variety of formats. A key work for Poussin in these stories of change would be the Kingdom of Flora （1631） where Ovidian tales are posed as an eternal spring where the goddess distributes the flowers of the collective narrative in an olive green chitin. This paper will contribute to the position of viewing Poussin＇s art under a wider vision of classicism where flexible narrative design and sensuous color fit the mission to make art noble and timeless.

摘要：A method for placing oil paint in metal tubes occurred in the early 1840s, which facilitated artists taking their materials out of doors to paint nature directly. In France in the 1860s, we know of painters like Claude Monet were working on beaches and port cities to capture the effect of scenes under natural light. By 1874 the Anonymous Society of Painters, Sculptors, Engravers, etc. （Impressionists） offered their first public exhibition to much criticism. A common complaint of the new work was that it lacked finish to be considered as a completed work for sale. It is the view of this paper that outdoor, or plein air painting, developed because of the circumstances this type of work developed in the artist naturally. I focus on two areas that outdoor painting forced the artist to consider： incidents and accidents. The incidents refer to the varied weather the painter had to deal with and the accidents identify the intuitive methods the plein air painters fell practice to when confronted by difficult passages or situations in nature. These experiences would shift the focus of the Impressionists from recording nature in a naturalistic way to self-expression, which would become a key idea in early modem painting. The finish the detractors of Impressionism called for would be replaced by an appreciation for the personal in painting as exacting images of landscape became predictable and lacked the vitality of the intuitive picture that could offer something new to art.

摘要：The First World War did more to disrupt lives and reshape Canadian communities than any event in the short history of that country. Out on the prairies, cities and towns sent volunteer citizens to fight for Canada and the British Empire with memorable success in the Great War. By the 1920s, the communities of Saskatchewan looked to mark the achievements of their soldiers overseas, who did not come home, with war memorials. These cenotaphs or ＂empty tombs＂ developed from Boer War models and London＇s Whitehall cenotaph completed for Armistice Day, 1920. The projects varied from simple cement plinths produced by prairie, stone workshops to the architect-commissioned memorial at Victoria Park, Regina. By the second half of the decade, cities from Saskatoon to Estevan, and towns soon to become cities, decorated their parks and streets with monuments that would become a focus of their community life and remembrance ceremonies for years to come. This paper will document those aspects of the city cenotaph in southern Saskatchewan in terms of community support, site and form selection and aspects of maintenance and the ongoing problem of vandalism, which frustrates city officials and Legion societies to this day.

摘要：In Early 20th century,Canadian landscape painting had its roots in European art,especially in impressionism and subsequent *** Claude Monet took to working in a series to capture changing light,he sought to simplify his subject;the painter would focus on a motif:a passage of river,a tree,or a building *** editing out of landscape information led to a more abstract work where one might focus on the color or brushwork in the *** method led to a release from the task of measuring for accuracy for the *** became sensory and not imitative where one was free to enjoy pure painting that spoke directly to a sensation or a delight in an unsuspected *** the end of the 19th century,Art Nouveau designs were printed in international journals,like The Studio and were studied in commercial design shops,like Grip Ltd.,*** nucleus of Canada’s leading painting group―the Group of Seven,was formed out of commercial art and,to some extent,designs one could see reproduced in *** Thomson took these motifs;these abstracted forms and envisioned them in the landscape of Ontario through his plein air *** Harris stylized trees and mountain forms into abstractions of pure delight and *** set his hills in the landscapes of rural Quebec where repeating rhythms trumped topography *** paper will highlight these Canadian painters as they introduced the motif that moved landscape painting to decoration of the most satisfying kind.