Documents found
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211.More information
In Saint-Jean-Port-Joli, a non-profit organization has a mission to keep alive the legacy of Médard Bourgault (1897-1967), the wood carver who made the municipality famous as a «handcraft capital». Administered mostly by descendants of Bourgault, some of whom are sculptors themselves, the organization leads us to question the relationship between the heirs and their ancestor. This article looks at both the dual identity of the parent as artist and the intergenerational transmission of works and knowledge, in order to come to grips with the notion of a legacy that goes beyond family inheritance, embracing the notion of collective cultural heritage.
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214.More information
The Cree Hunters and Trappers Income Security Program (ISP) was established to support the traditional way of life. However, many Iiyiyuu-Iinuu women are dissatisfied with how the program is managed, saying it does not properly take into account their realities. This project aimed at documenting land use by Iiyiyuu-Iinuu women, their perceptions of the ISP, and their suggestions to improve it. Iiyiyuu-Iinuu women play a key role in the traditional way of life and the activities they practice on the land are far from being incidental. They are particularly active in the transmission of knowledge and culture, which are pillars of identity. They raised several criticisms, notably with regard to eligibility criteria, management rules and the level of allowances. They suggested improvements to the program to recognize their role on the land at its true value.
Keywords: culture crie, femmes autochtones, mode de vie traditionnel, sécurité du revenu, utilisation du territoire
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215.More information
Cette recherche porte sur l'évolution des pratiques professionnelles en métiers d'art et en céramique de la ±renaissance de l'artisanat» dans les années 1930, jusqu'à aujourd'hui. Les pratiques sont analysées selon le modèle sociologique de Pierre Bourdieu, prenant appui sur l'évolution des lieux et événements de diffusion qui, à partir des expositions commerciales du début du siècle jusqu'aux manifestations artistiques et à la reconnaissance institutionnelle des arts visuels, est située dans les contextes socio-économique, éducatif et artistique des relations des producteurs culturels avec le marché. Une attention particulière est portée aux questions de l'identité et de la définition des métiers d'art vis-à-vis des arts visuels en tant que catégories voisines dans la hiérarchie des arts, ainsi qu'aux tensions internes entre artisanat et métiers d'art modernes, à …
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L'Encyclopédie canadienne (1842) highlights the importance of sign painters between 1820 and 1860, essential to the modern city but often overlooked. The practice of sign painting, dating back to the Middle Ages and evolving through the 19th century, played a crucial role in urban visual communication. Recognized as a skilled craftsman, the sign painter had to acquire a high level of artistic skill, distinguishing him from the simple house painter. Knowledge was passed on from master to apprentice, often within families in Montreal and Quebec City. Although this work was not claimed to be an art form, it did require complex techniques, such as gilding and texture imitation. This article aims to shed light on the history of sign painters, whom we consider to be the precursors of the applied arts in Quebec.