St. Catharines St. Paul Street - Postcards

Board of six postcards of St. Catharines. First postcard, St. Paul Street, St. Catharines, Ont., Canada. Second postcard, St. Paul Street, looking west from N. St. C. and T. Depot, St. Catharines, Ont. Third postcard, St. Paul Street, St. Catharines, Ont. Fourth postcard, St. Paul Street, St. Catharines, Canada. Fifth postcard, St. Paul Street Square, St. Catharines, Ont. Sixth postcard, Shipman's Gore, St. Catharines, Ont.

Thorold Industry - Postcards

Board of six postcards of Thorold. First postcard, Unloading pulpwood at Ontario Paper Mill on Welland Canal, Thorold, Ontario. Second postcard, Ontario Paper Mill, Thorold, Ont. Third postcard, Birdseye view showing Stone Road, Near Ontario Paper Mill, Thorold, Ontario. Fourth postcard, View on Old Welland Canal, Showing Power House, Thorold Ontario. Fifth postcard, Beaver Board Plant, Thorold Ontario. Sixth postcard, On the Old Welland Canal and Penman's Knitting Mill, Thorold, Ont., Canada.

Welland Industry - Postcards

Board of five postcards of Welland. First postcard, Welland Riverside Mills. Second postcard, Plymouth Cordage Co., Welland, Ont. Third postcard, Ship Yard, Welland Canal, Welland, Ont. Fourth postcard, Welland Cordage Co., Fifth postcard, Cordage St.., Welland, Ont.

Fonthill to Fenwick - Postcards

Board of six postcards of Fonthill to Fenwick. First postcard, "The parting of the ways", Fonthill. Second postcard, Canboro Road, looking west, Fonthill. Third postcard, unknown caption, Fenwick. Fourth postcard, Dominion Canners, Factory No. 50, Fonthill, Canada. Fifth postcard, Street Scene, Ridgeville. Sixth postcard, Post Office, Ridgeville.

Niagara Falls Stereo Cards collection, 1885-1903, n.d.

This collection contains 40 stereo cards of Niagara Falls and the Niagara River. Images include Niagara Falls in winter (the ice bridge); Prospect Point; the Whirlpool Rapids and the Whirlpool; the Upper River rapids; the Maid of the Mist; and Dixon crossing the Niagara River on a tightrope below the Great Cantilever Bridge. Twenty of the cards were published by Underwood & Underwood. The remaining cards are from various publishers including Keystone View Company, American Stereoscopic, Griffith & Griffith, H.C. White Company, E. & H.T. Anthony & Company, and Realistic Travels Publisher. George E. Curtis and Geo. Barker are listed as photographers on a few of the cards.

House in the Shape of a Stretcher

In an essay from 1910 the architect and critic Adolf Loos distinguishes between buildings that are for everyday practical use and buildings made for contemplation. The latter type he asserts may be considered as both architecture and works of art. He refers to only two types of contemplative architecture namely the tomb and the monument. There are certain paintings made in the early part of the twentieth century that do not observe this separation such as certain works by Hopper and de Chirico. Here the commonplace is simultaneously experienced in the way a tomb might be. This mortifying gaze condemns building by inducing a sense that space has become inhospitable and alienating. It could be argued that these and other paintings made around this time such as Carlo Carra The Abandoned House 1916 are like premonitions of what will occur when building observes the prescription laid down by Loos and omit an aesthetic dimension. However it might also suggest that buildings need their tombs or at least some space that is not completely assimilable by the daily, practical and functional needs of an inhabitant.

Semiologia e pintura segundo René Passeron

Trata-se de uma síntese das principais idéias de René Passeron a propósito da fundamentação de uma análise lingüístico-semiótica das obras pictóricas. em que medida um quadro pode ser considerado um texto? Quais seriam os elementos básicos de uma pintura? Podemos falar em articulações de unidades no campo visual definido por uma obra dessa natureza? E quais os repertórios e as regras combinatórias? O artigo propõe a discussão destes problemas a partir das rigorosas e oportunas colocações do importante teórico, crítico e historiador da arte, infelizmente quase desconhecido entre nós.

Salomé et Jean Baptiste. Réinvestissements symboliques et récritures d'un mythe dans la littérature et dans l'art (1870-1914)

La publication de nombreuses œuvres, à la fois littéraires et picturales, entre 1870 et 1914, inspirées par l’épisode biblique du meurtre de Jean Baptiste par Salomé, s’inscrit dans une crise qui touche à cette époque, en Europe, aussi bien le sujet que la notion de représentation. Le mythe de Salomé permet de poursuivre une réflexion de nature littéraire, historique et esthétique concernant le processus d’autonomisation de l’art. À partir des sources bibliques et antiques, dans lesquelles Salomé et Jean Baptiste incarnent respectivement le monde païen en conflit avec le monde chrétien, ces deux personnages font graduellement leur entrée dans l’univers de la fiction. Ils sont au cœur de la transition d’une lecture transcendante — reliée particulièrement à la tradition catholique — de l’épisode tragique qui les unit, à une lecture immanente qui en fait deux instances purement esthétiques. La danseuse et le dernier des prophètes émergent dans la littérature et dans l’art occidentaux comme deux pôles symboliques, liés l’un à l’autre par différents types de relation, susceptibles d’être librement réinvestis par de nouvelles significations et à l’écart des conventions. Si, dans la première partie du XIXe siècle, Salomé et Jean Baptiste sont encore liés à leur sens orthodoxe, au tournant du siècle ils finissent par s’autonomiser de l’Écriture et donnent lieu à de multiples récritures et à des adaptations inattendues. Celles-ci ressortissent alors moins du blasphème à proprement parler que d’un témoignage emblématique d’une transformation du rapport que l’artiste entretient avec son œuvre. Celui-ci, en s’identifiant avec le prophète décollé, se mesure à l’œuvre d’art, qui est incarnée par Salomé. La relation entre Salomé et Jean Baptiste, dans ces diverses représentations, exprime et reflète le moment où art et littérature se reconnaissent comme fictions.

Essai sur la physionomie des serpens / par H. Schlegel.

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Iconographie générale des ophidiens / par M. le Professeur Jan.

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Iconographie générale des ophidiens / par M. le Professeur Jan.

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Iconographie générale des ophidiens / par M. le Professeur Jan.

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