E J Hughes Life At The Lake

The latest instalment in the award-winning series on the life and work of E. J. Hughes brings the reader into this very private artist’s home and studio on Shawnigan Lake. In the most intimate volume yet about prolific Canadian painter E. J. Hughes, the artist’s official biographer Robert Amos brings us Life at the Lake, capturing the years Hughes and his wife Fern spent at their home on Shawnigan Lake, Vancouver Island. Following Hughes’s service as a war artist, in 1946 he and Fern looked for a place to buy in Victoria. Then, in 1951, they spotted an ad for a property on Shawnigan Lake, about 40 kilometres north of the city. The quiet lakeside existence he and Fern established suited his temperament and artistic needs perfectly. In addition to reproductions of all of his Shawnigan-themed oils and watercolours, the book includes dozens of sketches, colour notes, local news clippings, letters, and illuminating excerpts from recorded interviews with Pat Salmon, Hughes’s longtime friend and assistant. With a keen appreciation for the quotidian, Amos captures lakeside life at Shawnigan, with Hughes’s observations on birds and trees, and trips to local shops and restaurants. He tells of an unusually snowy winter that slowed the delivery of finished paintings to the post office and, on a more sombre note, the gradual progression of Fern’s muscular dystrophy. The book shares insights into the relationships—with Fern, Pat, and agent Max Stern—that allowed Hughes to achieve great success as an artist while living a quiet existence at Shawnigan Lake. For the Hughes fan and anyone who enjoys learning about the everyday lives of artists, this latest addition to the Hughes pictorial canon is a must.

Winner of the 2021 BC and Yukon Book Prizes' Bill Duthie Booksellers' Choice Award Boat lovers of all ages and people who enjoy the scenery of BC’s coast will delight in this charming gift book, a worthy addition to books about BC’s art history. In the course of his career, one of BC’s most beloved painters, E. J. Hughes (1913–2007), depicted paddle wheelers, steamships, fishing boats, and car ferries. Now The E. J. Hughes Book of Boats brings many of his coastal paintings of boats together in one handsome volume—a book for art lovers and boating enthusiasts alike. Robert Amos is the official biographer of E. J. Hughes, and works with the participation of the Estate of E. J. Hughes. The Book of Boats follows the success of his two geographically-based volumes, E. J. Hughes Paints Vancouver Island (2018) and E. J. Hughes Paints British Columbia (2019). This new compendium features never-before-seen sketches and photographs accompanying full-page illustrations of some of the artist’s finest works.

Now available in paperback, this handsome retrospective on one of BC's most beloved artists unveils photographs, sketches, and ephemera from the artist's estate. The reputation of E. J. Hughes in British Columbia is second only to that of Emily Carr. His paintings, collected by every major gallery in our country, fetch more than $1 million at auction. Yet Hughes lived a notoriously private life. Hughes painted scenes from all over BC, but he especially loved Vancouver Island, and lived most of his 93 years at Shawnigan Lake and Duncan. This book features paintings from his beloved island home--from Sidney, past Goldstream and the Malahat to Cowichan Bay, Genoa Bay, and Maple Bay. With stops along the way, he painted scenes from Ladysmith, Nanaimo, Comox, and Courtenay. Hughes recorded the passing of an era, capturing the coastal steamships, log booms, fishing boats, and the landscapes he treasured. This book includes a biography of the artist, highlights more than 60 of his finest works alongside sketches and photos revealing his studio methods, and shares his handwritten notes.

A retrospective on one of BC’s most famous artists that features beautifully reproduced landscape paintings from all over mainland BC, and unveils new photographs, sketches, and ephemera from the artist’s estate. E. J. Hughes (1913–2007) is British Columbia’s best-loved landscape painter. His unashamedly picturesque views of the province are appreciated by art professionals and the public alike. Following the success of his previous volume, E. J. Hughes Paints Vancouver Island, author and artist Robert Amos now follows the footsteps of the artist as Hughes travelled throughout mainland British Columbia from Stanley Park to Savary Island, from Fraser Valley to the Okanagan, and from the Kootenays to the Rockies between the 1930s and 1970s. Working the with Estate of E. J. Hughes, Amos has created a nuanced representation of the activities and life of this extraordinarily talented and very private man. Both biography and monograph, this book features full-page, full-colour reproductions of Hughes’s finest paintings, many of them published here for the first time. Each painting is accompanied by supporting sketches, drawings, and photographs from Hughes’s personal archive.

Harold Mortimer-Lamb’s name is in the index of almost every book written on the history of Canadian art, yet his place in that world has never been clear. Photographer, writer, painter, promoter—he was a man of many parts and the ideal patron and friend to some of Canada's most famous artists, including A.Y. Jackson, Emily Carr, and Jack Shadbolt. At the centre of his story are his relationships with painter Frederick Varley and young student Vera Weatherbie, whom Mortimer-Lamb, at the age of seventy, eventually married, when she was just thirty. Profusely illustrated with his photos, paintings, and the art he collected, Harold Mortimer-Lamb: The Art Lover brings into focus an unknown chapter in Canadian art history.

Scholarly essays on the achievements of female artists working in and inspired by the American South Looking back at her lengthy career just four years before her death, modernist painter Nell Blaine said, "Art is central to my life. Not being able to make or see art would be a major deprivation." The Virginia native's creative path began early, and, during the course of her life, she overcame significant barriers in her quest to make and even see art, including serious vision problems, polio, and paralysis. And then there was her gender. In 1957 Blaine was hailed by Life magazine as someone to watch, profiled alongside four other emerging painters whom the journalist praised "not as notable women artists but as notable artists who happen to be women." In Central to Their Lives, twenty-six noted art historians offer scholarly insight into the achievements of female artists working in and inspired by the American South. Spanning the decades between the late 1890s and early 1960s, this volume examines the complex challenges these artists faced in a traditionally conservative region during a period in which women's social, cultural, and political roles were being redefined and reinterpreted. The presentation—and its companion exhibition—features artists from all of the Southern states, including Dusti Bongé, Anne Goldthwaite, Anna Hyatt Huntington, Ida Kohlmeyer, Loïs Mailou Jones, Alma Thomas, and Helen Turner. These essays examine how the variables of historical gender norms, educational barriers, race, regionalism, sisterhood, suffrage, and modernism mitigated and motivated these women who were seeking expression on canvas or in clay. Whether working from studio space, in spare rooms at home, or on the world stage, these artists made remarkable contributions to the art world while fostering future generations of artists through instruction, incorporating new aesthetics into the fine arts, and challenging the status quo. Sylvia Yount, the Lawrence A. Fleischman Curator in Charge of the American Wing at the Metropolitan Museum of Art, provides a foreword to the volume. Contributors: Sara C. Arnold Daniel Belasco Lynne Blackman Carolyn J. Brown Erin R. Corrales-Diaz John A. Cuthbert Juilee Decker Nancy M. Doll Jane W. Faquin Elizabeth C. Hamilton Elizabeth S. Hawley Maia Jalenak Karen Towers Klacsmann Sandy McCain Dwight McInvaill Courtney A. McNeil Christopher C. Oliver Julie Pierotti Deborah C. Pollack Robin R. Salmon Mary Louise Soldo Schultz Martha R. Severens Evie Torrono Stephen C. Wicks Kristen Miller Zohn

Scores of talented and dedicated people serve the forensic science community, performing vitally important work. However, they are often constrained by lack of adequate resources, sound policies, and national support. It is clear that change and advancements, both systematic and scientific, are needed in a number of forensic science disciplines to ensure the reliability of work, establish enforceable standards, and promote best practices with consistent application. Strengthening Forensic Science in the United States: A Path Forward provides a detailed plan for addressing these needs and suggests the creation of a new government entity, the National Institute of Forensic Science, to establish and enforce standards within the forensic science community. The benefits of improving and regulating the forensic science disciplines are clear: assisting law enforcement officials, enhancing homeland security, and reducing the risk of wrongful conviction and exoneration. Strengthening Forensic Science in the United States gives a full account of what is needed to advance the forensic science disciplines, including upgrading of systems and organizational structures, better training, widespread adoption of uniform and enforceable best practices, and mandatory certification and accreditation programs. While this book provides an essential call-to-action for congress and policy makers, it also serves as a vital tool for law enforcement agencies, criminal prosecutors and attorneys, and forensic science educators.

What induced the British to adopt foreign coffee-drinking customs in the seventeenth century? Why did an entirely new social institution, the coffeehouse, emerge as the primary place for consumption of this new drink? In this lively book, Brian Cowan locates the answers to these questions in the particularly British combination of curiosity, commerce, and civil society. Cowan provides the definitive account of the origins of coffee drinking and coffeehouse society, and in so doing he reshapes our understanding of the commercial and consumer revolutions in Britain during the long Stuart century. Britain’s virtuosi, gentlemanly patrons of the arts and sciences, were profoundly interested in things strange and exotic. Cowan explores how such virtuosi spurred initial consumer interest in coffee and invented the social template for the first coffeehouses. As the coffeehouse evolved, rising to take a central role in British commercial and civil society, the virtuosi were also transformed by their own invention.

Artist Robert Amos gives readers a fascinating insider’s tour of studios on Vancouver Island and the Gulf Islands where some of Canada’s best-known artists create works. Spanning more than 15 years of interviews and photographs, Amos has created panoramic collages of these artists' creative spaces, and even more revealing images with his words. Not merely biography, Amos includes examples of completed works, and the insight that only another artist, and talented arts writer, can. Artists in Their Studios is both a stunning compilation of our Canadian artistic heritage, and proof that art work in progress is art in itself. Enter the studios of: Robert Amos, Colin Graham, Ron Parker, Sarah Amos, Ted Harrison, Myfanwy Pavelic, Nixie Barton, Harry Heine, Jerry Pethick, Robert Bateman, Martin Honisch, Geoffrey Rock, Pat Martin Bates, E.J. Hughes, Carole Sabiston, Maxwell Bates, Fenwick Lansdowne, Duncan Regehr, Maarten Schaddelee, Zhang Bu, Grant Leier, Phyllis Serota, Emily Carr, Miles Lowry, Godfrey Stephens, Pat Cook, Judy McLaren, Norman Yates, Len Gibbs, Wayne Ngan, Jimmy Wright, Jim Gordaneer, Peggy Walton Packard.