O’Neill highlights individual works that illustrate her survey of 250 years of history at Halifax... more O’Neill highlights individual works that illustrate her survey of 250 years of history at Halifax Harbour, while indicating the evolution of the city’s art history. Historical and contemporary artworks are divided into six sections: the first two respectively feature Mi’kmaq and British art from the time of Halifax’s foundation in 1749; the rest mark intervals of approximately 50 years, from the early 19th century to the late 20th. List of works. 37 bibl. ref.
Gray discusses this exhibition by 17 contemporary Mi'kmaq and Maliseet artists in the context... more Gray discusses this exhibition by 17 contemporary Mi'kmaq and Maliseet artists in the context of current events and with reference to the concept of "Indian art." O'Neill examines the works as "stories told" about the land, family ties, the real and the stereotypical past, the present, and the future. Artists' statements. Biographical notes.
O'Neill uses musical analogies and fractal geometry theory as a means of describing Patterson... more O'Neill uses musical analogies and fractal geometry theory as a means of describing Patterson's photographs of Nova Scotia's natural environment, which she compares to paintings; the artist's environmental awareness and loyalty to his native province are cited. Biographical notes. 7 bibl. ref.
This catalogue takes the form of an extended essay whose thesis concerns the fluctuating social p... more This catalogue takes the form of an extended essay whose thesis concerns the fluctuating social position of women over the past 300 years as reflected in painting. O'Neill considers painting as both aesthetic object and social artifact, and carries on a complementary analysis which arrives at the conclusion in the current "age of fragmentation". 29 bibl. ref.
O'Neill introduces Vernon's paintings with a discussion of the history of the Halifax Pub... more O'Neill introduces Vernon's paintings with a discussion of the history of the Halifax Public Gardens and its Victorian symbolism. Biographical notes. 10 bibl. ref.
O'Neill presents 17 works from Hain's collection as a "capsule survey" of the e... more O'Neill presents 17 works from Hain's collection as a "capsule survey" of the evolution of landscape painting in Canada since the Group of Seven. 1 bibl. ref.
Theatre Research in Canada Recherches Theâtrales Au Canada, Jun 1, 1997
... Notes. 1. In correspondence, Gill credits Forshaw Day as having the greatest influence upon h... more ... Notes. 1. In correspondence, Gill credits Forshaw Day as having the greatest influence upon his training. Day had studied architecture and design at the Royal Dublin Society, and served as a draughtsman in the Halifax Naval Yards, 1862-1879. ...
Examining Edell's paintings, drawings and hooked rugs, O'Neill notes the artist's use... more Examining Edell's paintings, drawings and hooked rugs, O'Neill notes the artist's use of folk art traditions and art historical references; the author elaborates on the images as fictions that explore the nature of the creative act. Biographical notes. 4 bibl. ref.
O’Neill highlights individual works that illustrate her survey of 250 years of history at Halifax... more O’Neill highlights individual works that illustrate her survey of 250 years of history at Halifax Harbour, while indicating the evolution of the city’s art history. Historical and contemporary artworks are divided into six sections: the first two respectively feature Mi’kmaq and British art from the time of Halifax’s foundation in 1749; the rest mark intervals of approximately 50 years, from the early 19th century to the late 20th. List of works. 37 bibl. ref.
Gray discusses this exhibition by 17 contemporary Mi'kmaq and Maliseet artists in the context... more Gray discusses this exhibition by 17 contemporary Mi'kmaq and Maliseet artists in the context of current events and with reference to the concept of "Indian art." O'Neill examines the works as "stories told" about the land, family ties, the real and the stereotypical past, the present, and the future. Artists' statements. Biographical notes.
O'Neill uses musical analogies and fractal geometry theory as a means of describing Patterson... more O'Neill uses musical analogies and fractal geometry theory as a means of describing Patterson's photographs of Nova Scotia's natural environment, which she compares to paintings; the artist's environmental awareness and loyalty to his native province are cited. Biographical notes. 7 bibl. ref.
This catalogue takes the form of an extended essay whose thesis concerns the fluctuating social p... more This catalogue takes the form of an extended essay whose thesis concerns the fluctuating social position of women over the past 300 years as reflected in painting. O'Neill considers painting as both aesthetic object and social artifact, and carries on a complementary analysis which arrives at the conclusion in the current "age of fragmentation". 29 bibl. ref.
O'Neill introduces Vernon's paintings with a discussion of the history of the Halifax Pub... more O'Neill introduces Vernon's paintings with a discussion of the history of the Halifax Public Gardens and its Victorian symbolism. Biographical notes. 10 bibl. ref.
O'Neill presents 17 works from Hain's collection as a "capsule survey" of the e... more O'Neill presents 17 works from Hain's collection as a "capsule survey" of the evolution of landscape painting in Canada since the Group of Seven. 1 bibl. ref.
Theatre Research in Canada Recherches Theâtrales Au Canada, Jun 1, 1997
... Notes. 1. In correspondence, Gill credits Forshaw Day as having the greatest influence upon h... more ... Notes. 1. In correspondence, Gill credits Forshaw Day as having the greatest influence upon his training. Day had studied architecture and design at the Royal Dublin Society, and served as a draughtsman in the Halifax Naval Yards, 1862-1879. ...
Examining Edell's paintings, drawings and hooked rugs, O'Neill notes the artist's use... more Examining Edell's paintings, drawings and hooked rugs, O'Neill notes the artist's use of folk art traditions and art historical references; the author elaborates on the images as fictions that explore the nature of the creative act. Biographical notes. 4 bibl. ref.
Uploads
Papers by Dianne O'Neill