MARC Record from marc_columbia

LEADER: 02897pam a2200361 a 4500
001 5965739
005 20221121215329.0
008 060608t20062006bcca b 001 0deng
016 $a20069031657
020 $a0774812176 :$c$85.00
024 3 $a9780774812177
035 $a(OCoLC)OCM70130686
035 $a(NNC)5965739
035 $a5965739
040 $aNLC$cNLC$dBAKER$dC#P$dNNC$dOrLoB-B
043 $an-cn---
050 4 $aN6545$b.D39 2006
055 0 $aN6545$bD39 2006
082 0 $a709.7109/042$222
100 1 $aDawn, Leslie Allan,$d1950-$0http://id.loc.gov/authorities/names/n85238106
245 10 $aNational visions, national blindness :$bCanadian art and identities in the 1920s /$cLeslie Dawn.
260 $aVancouver :$bUBC Press,$c[2006], ©2006.
300 $aviii, 446 pages :$billustrations ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
504 $aIncludes bibliographical references (p. 408-424) and index.
505 00 $gCh. 1.$tCanadian art in England -- $gCh. 2.$tEngland in Canadian art -- $gCh. 3.$tCanadian art in Paris -- $gCh. 4.$tCanadian primitives in Paris -- $gCh. 5.$tBarbeau and Kihn with the Stoney in Alberta -- $gCh. 6.$tBarbeau and Kihn with the Gitxsan in British Columbia -- $gCh. 7.$tGiving Gitxsan Totem poles a new slant -- $gCh. 8.$tRepresenting and repossessing the picturesque Skeena Valley -- $gCh. 9.$tWest coast art, native and modern -- $gCh. 10.$tThe downfall of Barbeau -- $gCh. 11.$tRevisiting Carr.
520 1 $a"In the early decades of the twentieth century, Canada sought to define itself as an independent dominion with allegiance to the British Empire. The visual arts were considered central to the formation of a distinct national identity, and the Group of Seven's landscapes became part of a larger program to unify the nation and assert its uniqueness. National Visions, National Blindness traces the development of this program and illuminates its conflicted history." "Using newly discovered archival evidence, Leslie Dawn revises common interpretations of several well-known events and rescues others from obscurity. He problematizes conventional perceptions of the Group as a national school and underscores the contradictions inherent in international exhibitions showing unpeopled landscapes alongside Northwest Coast Native arts and the "Indian" paintings of Langdon Kihn and Emily Carr. Dawn examines how this dichotomy forced a re-evaluation of the place of First Nations in both Canadian art and nationalism."--BOOK JACKET.
650 0 $aNationalism and art$zCanada$xHistory$y20th century.
650 0 $aIndians in art.$0http://id.loc.gov/authorities/subjects/sh96011830
650 0 $aLandscapes in art.$0http://id.loc.gov/authorities/subjects/sh85074423
650 0 $aArt, Canadian$y20th century.$0http://id.loc.gov/authorities/subjects/sh2009115739
852 80 $bfax$hN6540$iD33