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Representative works by Canada's war artists have been gathered into the extensive collection of the Canadian War Museum.In the First World War, Canada developed an official art program under the influence of Lord Beaverbrook.
The Beaverbrook Art Gallery (French: Musée des beaux-arts Beaverbrook) commonly referred to simply as The Beaverbrook, is a public art gallery in Fredericton, New Brunswick, Canada. It is named after William Maxwell "Max" Aitken, Lord Beaverbrook , who funded the building of the gallery and assembled the original collection.
Canadian Headquarters Staff, 1918 Canadian War Museum, Beaverbrook Collection of War Art. From about 1900, Nicholson concentrated on painting, encouraged by Whistler. He first exhibited as a painter at the International Society, of which Whistler was President.
Alfred Bastien. Canadian Gunners in the Mud, Passchendaele, 1917 In July/August 1918, Lieutenant Bastien was attached as a war artist to the Canadian 22nd Battalion.Some of the work he created in this period is part of the Beaverbrook Collection of War Art at the Canadian War Museum in Ottawa.
The museum's military art collection takes its name from Max Aitken, 1st Baron Beaverbrook, who established the art collection that later became the Canadian War Records. [71] Although the museum's war art collection included over 13,000 works, only 64 of these pieces depicted a dead body as of 2017. [61]
In the 1970s, he produced a series of watercolour paintings and coloured pencil sketches of the Royal Military College of Canada in Kingston, Ontario. These paintings, which are currently in the Beaverbrook Collection of War Art at the Canadian War Museum include scenes of officer cadets in various activities: [4] Land Survey Crew
The collection of the Royal Military College of Canada includes Hyndman's works. He also passed on his love of painting to others as a teacher. He taught at the Banff School of Fine Arts for eight summers (1964–1972), at Elmwood School (Ottawa) (1966–71) and at the Ottawa School of Art (1971–2007).
If Beaverbrook wanted the BWMC to continue beyond the war as a private charity then it would have to become independent of the Ministry and then appeal directly to the public for funds. [3] Beaverbrook abandoned the scheme and the war art collection was brought under the direct control of a new "Pictorial Propaganda Committee" within the Ministry.
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