Patterns in space : a regional study of motif in Minoan wall painting

This thesis consists of a quantitative analysis of the regional prevalence of certain artistic motifs as they appear in Minoan wall painting of the Neopalatial period. This will help to establish the relative degree of artistic autonomy exercised by each of the sites included in this study. The results show that the argument for itinerant artists during this time period is a strong one, but the assumption that these travelling artists were being controlled by any one palace-centre is erroneous. Rather, the similarities and differences seen suggest that the choices were predicated either by the specific patrons, or by the function of the associated building or room. Thus, the motifs found within this study should be understood as constituting a cultural identity, with greater or lesser degrees of regional homogeneity, which act as one facet of a number of cultural indicators that can be used to better understand the role of artists and regional dynamics on the island during the Bronze Age.

Watercolour painting, Trees

A watercolour painting of trees, 15cm x 10com, signed by Margaret Woodruff.

Letter to Mr. William Leary, steward of the Long Point Company, from S.D. Woodruff regarding the painting of the new building at Long Point

Letter to Mr. William Leary, steward of the Long Point Company, from S.D. Woodruff regarding the painting of the new building at Long Point (2 ½ pages, handwritten), June 11, 1875.

Receipt from George Begy for painting

Receipt from George Begy for painting.

Watercolour painting of the Woodruff coat of arms on paper

Watercolour painting of the Woodruff coat of arms on paper. This measures 43 cm. x 31 cm., n.d.

Guy Ducornet

Guy Ducornet with the Primalphabet-Geographics paintings in 1976. The painting to the left is now situated in the Tower lobby.

Brock vs Concordia

Marty Calder of Brock wrestles Anthony Merlo of Concordia. This photograph has been translated into a painting which can now be seen just outside the Ian D. Beddis Gymnasium.

Why do some adults change their minds about what is important in the visual arts? : a case study

This-~-case study used ethnographic-methodo-logy. --The research project was an introductory study of one adult's present and past experiences with the visual arts, exploring, in particular, the causes and processes that were related to the individual's changes of mind in order to develop an understanding of why that individual had changed her mind about what was significant in the visual arts. The individual who provided the data was a solid supporter of art galleries: female, middle-aged, graduate of university and college, married with two children, and living in an urban community. The data were collected from two informal conversational interviews and from a written description of one change experience selected by the participant. The individual had positive experiences with art during early childhood, in elementary and secondary school, during university, in avocational drawing and painting studio courses, and in aesthetic experiences. All of these experiences have had individual effects and, together, they have had a cumulative effect on the development of the participant's opinions and ideas about the visual arts. The experiences which had the most effect on the development of the individual's perspectives on the visual arts were handson studio, educational, and aesthetic experiences. Further research is suggested to investigate why some adults change their minds about the visual arts.

Margaret Glassford fonds, 1941, 1951, 1961, 1971, 1973-1975, 1977-1984, 1986-2000, 2002, 2005, n.d.

Margaret was an only child who grew up on a farm just east of Cayuga, Ontario. After high school, Margaret attended Hamilton Teacher’s College and took a position with Grantham Public School Board and taught at Power Glen school. Margaret was married in 1962 and had 2 children, a daughter and a son in 1963 and 1964, respectively. Margaret left her teaching job to raise her children. Margaret was very creative and artistic and during this time, focused on these talents, which included painting, graphic arts and sewing. Margaret was also an accomplished pianist. In her 40’s, Margaret enrolled at Brock University and in 1989 obtained a Honors Bachelor of Arts degree with First-Class Honors in Sociology. In partial fulfillment of her Honors B.A. she completed her thesis that is entitled ; The State and Liberal Feminism: The Ontario Government’s “Business Ownership For Women Program”. While living in St. Catharines, Margaret attended York University and graduated with a Master of Arts in Sociology in 1992 where her studies focused on women’s issues. Margaret received a scholarship from York University and was a teaching assistant. Margaret stayed on at York University and completed her academic requirements for a Doctorate degree in Sociology. Her dissertation was on self employed women in St. Catharines at the beginning of WWII -- not the” Rosie the Riveters” who took over jobs formerly held by men who had to go off to fight World War II, but women who ran their own businesses when that was still unusual. Margaret completed the research for her thesis but did not complete her written thesis as she made a difficult decision to put her academic work on hold in the mid-1990’s and she returned to her love for the arts, although she always remained a voracious reader and interested in women’s issues. In the last decade of her life, she took up quilting with a passion, which she referred to as fabric arts. Margaret loved colour and being non-traditional. Margaret had been a quilting instructor at the Flemington College for Fine Arts in Haliburton. In 1997, Margaret founded Project Smile in the St. Catharines region, a non-profit group who make quilts for children with cancer. Margaret was also the President of the Niagara Heritage Quilters’ Guild in 2006-2007 and was very involved with the Local Council of Women.

Photograph of Rev. and Mrs. Wright and Family signed to Mrs. Mary Bell [n.d.]

An undated black and white studio portrait of Rev. and Mrs. Wright and family presented to Mrs. Mary Bell. The photograph is mounted in a decorative board frame and bears the handwritten inscription "Mrs. Mary Bell from Mrs. and Rev. Wright" on the reverse. This photograph was included in memorabilia owned by the Richard Bell family of St. Catharines, Ontario.

Tintype of African American Woman Standing with Book [n.d.]

A woman standing with a book beside a table covered with a decorative cloth is featured in this small black and white tintype photograph. The tintype has been mounted in a paper slip frame with gold edging. There is a small area of red, hand-colored highlighting on the tablecloth. The backdrop appears to be a painted landscape scene. The tintype is undated and there is no indication of the identity of the woman in the photo or the photographer. This tintype was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Sloman - Bell families have relatives who are former slaves from the United States who later settled in southern Ontario."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html

Tintype of Seated African American Gentleman [n.d.]

An unidentified young African American gentleman sits cross-legged on a decorative wooden stool in this small black and white tintype photograph. The date and name of the photographer are unknown. Hand-colored red detailing is visible on the curtain cord and the tablecloth. This tintype was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. Relatives of the Sloman - Bell families were former American slaves who settled in Canada."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html

"Where Gen. Brock died. Queenston. Oct. 13, 1812." by Clara Mason

[from back of painting] "The old house faced the river, and the artist has sketched the trees and old fences as they might have been at the time. The remains of the old well were found, and so the path from the house is represented as it probably appeared, together with the old fashioned well cover, common at that period. The artist has suggested a sunset background, in harmony with the evening of life of the old home and the passing of the great General. The house faced the east, so the western glory of the setting sun is most appropriate." The painting was done on paper and the frame is wooden. The artist's signature is located at the lower right. "House where General Brock died, Queenston, Ont."

Welland County Records, 1961-1989

The origins of the Welland County Fair date back to the founding of the County of Welland in 1852. A provincial charter was issued in 1853 to create the Welland County Agricultural Society that was to operate the Fair. In 1970, the Welland County Fair became the Niagara Regional Exhibition, and the Society became known as the Niagara Regional Agriculture Society. The Society seeks to “encourage interest, promote improvements in and advance the standards of agriculture, domestic industry and rural life”. The Welland Festival of Arts was developed in 1986 in order to revitalize the town’s economy. An “outdoor art gallery” was created by painting murals on buildings that depicted the town’s heritage, a concept successfully adopted by the town of Chemainus, B.C. The first mural was completed in the summer of 1988, and by 1991 there were a total of 28 murals around the city. The endeavour proved successful: in the years that followed the creation of the Festival, two new hotels were constructed, a third was expanded, and there was an addition to the Seaway Mall to accommodate the increased tourist traffic. Optimist International is a non-profit organization that strives to “bring out the best in kids” . The first Canadian club was formed in Toronto in 1924. The Welland branch of the Optimist Club was founded in 1937. The first Welland County General Hospital opened in 1908. As the population increased, it became necessary to expand the existing facilities. Additions were made to the original structure with an East wing in 1930 and a children’s ward in 1931. However, in the 1950’s, the hospital was operating beyond optimum capacity and the need for a larger facility was clear. It was decided that a new hospital would be built, which opened in April 1960. The new hospital had 259 beds and 51 bassinets. Further additions were made in 1967 and 1978. The County of Welland was formed in 1850 when it was officially separated from Lincoln County, however, the two counties continued to operate together until 1856 when a new County building and jail for Welland County were completed. That same year, the first meeting of the Council of the Corporation of Welland County took place. The final meeting of the Council took place on December 18, 1969. The following year, the County of Welland merged with Lincoln County to form the Regional Municipality of Niagara. The Welland Mills in Thorold, Ont., was built in 1846-1847 by Jacob Keefer and is thought to have been one of the largest flour mills in Upper Canada. Ownership of the mill changed several times over the years and previous owners include the Howland family, the Hedley Shaw Milling Company and the Maple Leaf Milling Company. In 1986, the building received a heritage plaque from the Ontario Heritage Foundation, an agency of the Ontario Ministry of Culture and Recreation. At this time, the mill was no longer in operation and was being used for storage by Fraser, Inc. By 2006, the dilapidated building had been redeveloped into18 apartments and 2 floors of commercial space, while maintaining many heritage features. The building is currently known as the Welland Mills Centre.