Drawing French AmericaThe historical illustrations of Francis Back
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This totally new exhibition will be the very first devoted to Francis Back, one of Quebec’s rare historical illustrators. A talented artist with his own personal style, Francis Back’s reputation is an enviable one among historical museums.
Using an approach both historical and esthetic, the exhibition that the Marguerite Bourgeoys Museum is devoting to him will be an evocative one, exploring the rich world of the artist, both creative and playful, and the various facets of his work. The unusual and colourful approach of this exhibit will fascinate both specialists and the public at large who will be able to see an exclusive selection of more than sixty works, outline drawings and sketches.
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Francis Back, illustrator
Francis Back was born in Montreal in 1959, the son of Ghylaine Paquin, teacher, and Frédéric Back, painter and animated-film director. From childhood, Francis Back showed a passion for both drawing and history.
Pictures, then, have become Francis Back’s craft. For over thirty years, he has created illustrations for museums, national parks, articles and historical publications. This illustrator has distinguished himself in a number of fields of interest and competencies: the history of New France, First Nations culture, military and naval history and costume history. His drawings also illustrate the pages of many novels, children’s books and works of Canadian, American and British publishing houses.
Opening Hours
Tuesday to Sunday
May 1 to October 7, 2012: 10 a.m. to 6 p.m. October 8 2012, to January 13, 2013: 11 a.m. to 6 p.m. January 14 to February 28, 2013: Closed (open for groups upon reservation) March 1 to April 30, 2013: 11 a.m. to 4 p.m.
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lundi 14 mai 2012
One of Quebec's rare historial illustrators exhibition
vendredi 11 mai 2012
Books
European and Indian Settler Communities ont he Frontier of Iroquoia, 1667-178
by David L. Preston, 2009. University of Nebraska Press.
Introduction:
Under the Tree of Peace. p. 1 - 22
Chapter 1.
Iroquois and French-Canadian Communities in the St. Lawrrence Valley.
Montreal: The Great peace of 1701. p. 23 - 60
Chapter 2.
Iroquois Communities in the Eighteenth-Century Mohawk Valley.
Tionoderoge, or Fort Hunter, the Lower Mohawk Town, January 1745 p. 61 - 115 etc.
The Mohawk Repatriation of Kàteri Tekahkwì:tha
by Darren Bonaparte,2009. Published The Wampum Chronicles
Map A;
Historic Kahnawà:ke Village Sites
in the Mohawk Valley 1646 - 1693
Map B:
Historic Kahnawà:ke Vollage Sites
in the St. Lawrence Valley 1667 -1716 +
Chapter 3. = Sighting of the First Europeans
Chapter 4. = Jacques Cartier at Hochelaga
Chapter 5. = Samuel de Champlain at TiconderogaChapter 6. = Chapter 6. = Treachery and Treaty with New Netherland
Chapter 7. = Keepers of the Eastern Door etc.
Fort Pitt Museum
Fort Pitt's Eastern American Indian History conference is dedicated to examining the lives and material culture of the original inhabitants of the region east of the Mississipi River during the 17th, 18th and early 19th centuries.
Ward Oles is an independant researcher and artist concentrating in the study of the material culture of the eighteenth century and colonial history of North America with a primary focus on the North Eastern Native American culture. He is the owner of At The Eastearn Door. and draws on period illustrations, original artifacts, museum examples, and archival records in developing his body of work. Ward acts as a consultant for a number of 17th and 18th century historic site.
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Tom Conde is well known as a finger weaver int the world of living history and collectors. He began weaving in 1992 and has been featured in various publications since 1994. His work can be found in in museums and interpretive displays from AMNH in NYC to Grand Portage National Park in Minnesota, and collections all over the world. He continues to study early weaving and search for information and materials to help create works as close to the historic pieces as possible.
On left. Deborah Harding, collection manager anthropology at the Carnegie Museum of Natural History.
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Michael Galban (in the middle) is currently the public historian at Ganondagan State Historic Site in Victor, New York. Ganondagan is a late 17th century Seneca town site and nationally regarded as a center for Haudenosaunee (Iroquois) history and cultural preservation. He as expert knowledge of native American material culture specializing in eastern woodland cultures and has been actively working with the Haudenosaunee communities to revive interest in ancient material culture traditions.
On left. Deborah Harding, collection manager anthropology at the Carnegie Museum of Natural History.
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Michael Galban (in the middle) is currently the public historian at Ganondagan State Historic Site in Victor, New York. Ganondagan is a late 17th century Seneca town site and nationally regarded as a center for Haudenosaunee (Iroquois) history and cultural preservation. He as expert knowledge of native American material culture specializing in eastern woodland cultures and has been actively working with the Haudenosaunee communities to revive interest in ancient material culture traditions.jeudi 16 février 2012
Entre mythe et réalité: quelle histoire !
Tissage aux doigts: "Twinning"
Mississippian Village
Tissage aux doigts: "Oblique Weave" 1650
Artisan: Tom Condé
Tissage aux doigts: "Oblique Weave" and "Warpface"
17 et 18 siècle
Artisan: Tom Condé
La ceinture fléchée: vide historique 1750
Il n'y a pas de preuve que la pratique de la technique de la ceinture fléchée tissée aux doigts ai existé avant 1750.
La ceinture fléchée un objet d'art:
symbole identitaire canadien français
ceinture fléchée traditionnelle dite de l'Assomption après1840, artisane inconnue.
Il n'existe aucunes preuves qui permettent d'avancer que seules les artisanes de la région de l'Assomption étaient engagées par la Compagnie de la Baie d'Hudson ou tout autres marchands pour produire les ceintures tissées aux doigts.
La ceinture fléchée moderne dite de la région de l'Assomption:
symbole identitaire québécois
Artisan: Pierre Bélanger (1944-1986) Photo Yvon Forest.
La ceinture fléchée moderne dite de la région de l'Assomption:
symbole identitaire régional
Artisane: Michelle Beauvais 2005, Photo Guy L'Heureux
La ceinture fléchée symbole identitaire québécois
Michelle Beauvais, artisane
Conception artistique: Simon Beaudry
Photographe:
Revue Urbania 2008
La ceinture fléchée
et le patrimoine immatériel dans la législation québécoise
Conseil québécois du patrimoine vivant: logo 2011
Conception artistique: Simon Beaudry
Photographe:
ici il est le nom de l'artisane de la ceinture fléchée n’apparaît pas
il est dit que j'ai donné mes droits d'auteur alors que je n'étais pas au courant du projet!
vendredi 3 février 2012
1837-1838 Analyse par Francis Back
mardi 31 janvier 2012
Conference April 28th, 29th, 2012
www.heinzhistorycenter.org
An affiliate of the Smithsonian Institution, the History Center is Pennsylvania's largest history museum and presents the most compelling stories from American history with a Western Pennsylvania connection.
Ward Oles Conference Schedule
Saturday, April 28, 2012
8:00 a.m. Registration
9:15 a.m. Introduction/Opening Remarks
9:30 a.m. Scott Stephenson
“The Indian Fashion: Getting Dressed in 18th Century Native America”
11:30 a.m. Paul Barton
“A Time Line West: Mingo to Seneca Cayuga”
1:00 p.m. Lunch Break
2:30 p.m. Tom Conde
“Finger Weaving: Where it Came From and How it May Have Developed”
4:30 p.m. Scott Meachum
"Success Lies Within: War Bundle Contents and Power"
6:00 p.m. Dinner Break
7:00 p.m. Conference/Vendor Room Reopens
7:30 p.m. Entertainment – TBA
9:30 p.m. Conference/Vendor Room Closes
Sunday, April 29, 2012
9:00 a.m. Mike Galban
"Winnowing with Mohawks in Great Britain: A Pictoral Journey Through the Eastern Woodland Material in the Pitt Rivers Collection"
11:00 a.m. Ward Oles
“Iconographic Finger Rings: A Study of Chronology and Commonality in the 17th and 18th Century”
2:00 p.m. Conference Closes
Ward Oles Registration information:
The Fort Pitt Museum
Eastern American Indian History Conference
Saturday, April 28th and Sunday, April 29th, 2012
Registration Fee: $70.00 per individual.
Name(s): __________________________________________________
Mailing Address:____________________________________________ _
City ____________________________ State ______ Zip Code _______
Phone (_____)____________ Email ____________________________
The conference will begin at 9:15 am, Saturday, April 28, 2012, at the Fort Pitt Museum in the Grand Hall. The museum is located at 101 Commonwealth Place, across the street from the Wyndham Grand Hotel, located within Point State Park. The Wyndham Grand is also the host hotel for the conference and is offering discounted rooms for attendees. When making reservations, please identify yourself as being with the Fort Pitt History Conference to receive the special room rate. Reservations can be made at 877-999-3223.
For conference updates and information call the Fort Pitt Museum at 412-281-9284, or follow the Fort Pitt Museum link atwww.heinzhistorycenter.org.
Information on the Wyndham Grand-Downtown Pittsburgh can be found online at www.grandpittsburghdowntown.com.
Register over the phone at (412) 281-9284 or FAX form to (412) 281-1417
Ward Oles
Registration information:
The Fort Pitt Museum
Eastern American Indian History Conference
Saturday, April 28th and Sunday, April 29th, 2012
Registration Fee: $70.00 per individual.
Name(s): __________________________
Mailing Address:__________________
City __________________________
Phone (_____)____________ Email __________________________
The conference will begin at 9:15 am, Saturday, April 28, 2012, at the Fort Pitt Museum in the Grand Hall. The museum is located at 101 Commonwealth Place, across the street from the Wyndham Grand Hotel, located within Point State Park. The Wyndham Grand is also the host hotel for the conference and is offering discounted rooms for attendees. When making reservations, please identify yourself as being with the Fort Pitt History Conference to receive the special room rate. Reservations can be made at 877-999-3223.
For conference updates and information call the Fort Pitt Museum at 412-281-9284, or follow the Fort Pitt Museum link atwww.heinzhistorycenter.org.
Information on the Wyndham Grand-Downtown Pittsburgh can be found online at www.grandpittsburghdowntow
Register over the phone at (412) 281-9284 or FAX form to (412) 281-1417
Or mail completed form and payment to:
Fort Pitt Museum * 101 Commonwealth Place * Pittsburgh, PA 15222
Payment Method
□ Credit Card __ M/C ___ Visa
Cardholder’s Name __________________________
CC # _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Exp. Date _ _ / _ _ CCV # _ _ _
Check Enclosed (make check payable to Fort Pitt Museum)
The Fort Pitt Museum
Eastern American Indian History Conference
Saturday, April 28th and Sunday, April 29th, 2012
Registration Fee: $70.00 per individual.
Name(s): __________________________
Mailing Address:__________________
City __________________________
Phone (_____)____________ Email __________________________
The conference will begin at 9:15 am, Saturday, April 28, 2012, at the Fort Pitt Museum in the Grand Hall. The museum is located at 101 Commonwealth Place, across the street from the Wyndham Grand Hotel, located within Point State Park. The Wyndham Grand is also the host hotel for the conference and is offering discounted rooms for attendees. When making reservations, please identify yourself as being with the Fort Pitt History Conference to receive the special room rate. Reservations can be made at 877-999-3223.
For conference updates and information call the Fort Pitt Museum at 412-281-9284, or follow the Fort Pitt Museum link atwww.heinzhistorycenter.org.
Information on the Wyndham Grand-Downtown Pittsburgh can be found online at www.grandpittsburghdowntow
Register over the phone at (412) 281-9284 or FAX form to (412) 281-1417
Or mail completed form and payment to:
Fort Pitt Museum * 101 Commonwealth Place * Pittsburgh, PA 15222
Payment Method
□ Credit Card __ M/C ___ Visa
Cardholder’s Name __________________________
CC # _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Exp. Date _ _ / _ _ CCV # _ _ _
Check Enclosed (make check payable to Fort Pitt Museum)
jeudi 19 janvier 2012
Réflexion personnelle / Personnal Reflexion
Photo: Portrait by Benjamin West
tiré de:
The Texture of Contact: European and Indian Communities on the Frontiers of Iroquoia 1667-1783
par David L. Preston 2009.
Il est parfois nécessaire d'affirmer un sentiment personnel pour que soit mieux compris l'esprit qui préside au cheminement de son propre engagement et ses éventuelles limites.
Je ne parlerai pas ici en tant qu'historienne, je ne le suis pas, mais j'aborderai plutôt une réflexion personnelle issue de ma constatation sur un fait que certains peuvent trouver évident.
Je constate, avec regrets, et pour moi contre toute évidence, que collectivement le Québec français semble bien avoir choisi d'ignorer la pratique du tressage ou du tissage travaillé à l'aides des doigts par les aborigènes/indigènes c'est à dire les Native du Nord-Est des Amériques.
Je vois bien sur qu'il y a une raison... faire de cet art l'objet d'une vocation identitaire permet d'évidence de s'assurer la maîtrise d'enjeux politiques qui n'ont rien à voir avec le sujet, mais dont on sait qu'ils conduisent aussi à la propagande qui en découle pour ceux qui y trouvent un autre intérêt.
Ce n'est pas la vision que j'ai de cet art (alors devenu injustement approprié) qui est la mienne et je ne peux souscrire à un état de fait qui se substituerait à ce que doit rester cet art unique dans sa vérité pure et qui voudrait malheureusement en faire un facteur de division. Je reste donc pour ma part en accord avec mes sentiments, ma sensibilité et la simple raison pour poursuivre ma démarche en textiles et faire entrer les résultats dans un contexte historique réel.
Sometimes it is necessary to state a personal feeling to be better understood with the spirit behind the journey of his own commitment and its possible limitations.
I will not speak here as a historian, I am not, but I will instead issue a personal reflection of my finding on a fact that some may find obvious.
I note with regret, and for me against all evidence, that collectively French Quebequer seems to have chosen to ignore the practice of braiding or weaving worked with fingers by the aboriginal / indigenous ie Native from Northeast of the Americas.
I see on there a reason ... make this art be a vocation identity can obviously serve control of polical issues that have nothing to do with the subject, but which are known to also lead to propaganda. The result for those who find another interest.
This is not my vision of this art (then became unjustly appropriate) which is mine and Ican not subscribe to a situation which would replace that must remain unique in the art and pure truth unfortunately that would make it a division factor. I for my part remains in line with my feelings, my sensitivity and the simple reason to continue my work in textiles and bring the results into a real historical context.
I will not speak here as a historian, I am not, but I will instead issue a personal reflection of my finding on a fact that some may find obvious.
I note with regret, and for me against all evidence, that collectively French Quebequer seems to have chosen to ignore the practice of braiding or weaving worked with fingers by the aboriginal / indigenous ie Native from Northeast of the Americas.
I see on there a reason ... make this art be a vocation identity can obviously serve control of polical issues that have nothing to do with the subject, but which are known to also lead to propaganda. The result for those who find another interest.
This is not my vision of this art (then became unjustly appropriate) which is mine and Ican not subscribe to a situation which would replace that must remain unique in the art and pure truth unfortunately that would make it a division factor. I for my part remains in line with my feelings, my sensitivity and the simple reason to continue my work in textiles and bring the results into a real historical context.
Michelle Beauvais, student, January 19, 2012
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Paul “Wahtrot” Barton is from the Deer Clan, a Faithkeeper, and seated Speaker of the Seneca-Cayuga Longhouse. Paul also teaches the language, history, and culture of the Seneca-Cayuga people. He is currently the Director of the Language Preservation Program, NAGPRA Representative, and Tribal Historical Preservation Officer (THPO) for the Seneca-Cayuga Tribe of Oklahoma.
Paul will be presenting, “A Time Line West: Mingo to Seneca-Cayuga”. By the middle of the 18th century, a large number of Iroquois were living permanently in the Ohio Country, apart from their New York relatives. Known collectively to Europeans as the “Mingo”, Wahtrot’s presentation will be a historical overview of the Sandusky and Lewistown Seneca and the New York Iroquois who occasionally joined them, from Ohio to the Indian Territory, resulting in the modern Seneca-Cayuga Tribe of Oklahoma. Paul will discuss various events and struggles of his people during their multiple movements to the lands west of the Mississippi.
Tom Conde is well known as a finger weaver in the world of living history and collectors. He began weaving in 1992 and has been featured in various publications since 1994. His work can be found in museums and interpretive displays from the AMNH in NYC to Grand Portage National Park in Minnesota, and collections all over the world. He continues to study early weaving and search for information and materials to help create works as close to the historic pieces as possible.
Tom will be presenting, "Finger Weaving: Where it Came From and How it May Have Developed". From the weavings of the Mississippian culture to the "Assomption" sashes of the French-Canadians, he will examine the development of an ancient form of weaving that is done with only the fingers, no tools. Tom will take a weaver’s look at how new techniques may have developed from old, and how they may have been shared and moved back and forth between cultures. Not a “how-to” but a look into what was done by who, and when.
Michael Galban is currently the public historian at Ganondagan State Historic Site in Victor, New York. Ganondagan is a late 17th century Seneca town site and nationally regarded as a center for Haudenosaunee (Iroquois) history and cultural preservation. He has expert knowledge of Native American material culture specializing in eastern woodland cultures and has been actively working with the Haudenosaunee communities to revive interest in ancient material culture traditions.
Michael will be presenting, "Winnowing with Mohawks in Great Britain: A Pictoral Journey Through the Eastern Woodland Material in the Pitt Rivers Collection". The Pitt Rivers Collection of Oxford University, located in Oxford, United Kingdom, reputedly holds near 500,000 objects from all across the globe. In 2010 he was fortunate enough to speak at the museum and more importantly, to explore their rich assemblage of Eastern Woodland material. In this presentation we will see in detail some of the highlights of the collection as they relate to early Eastern Native peoples, and hopefully prompt a lively discussion of the details of these rarely seen objects.
Scott Meachum is an independent researcher and historian whose primary areas of interest include contact period Native American material culture, specializing in warfare and pictography. He has published articles on war clubs and war pictography and is a frequent speaker on these subjects. Scott has conducted extensive research in private and institutional collections throughout North America, the United Kingdom, and Europe.
Scott will be presenting, "Success Lies Within: War Bundle Contents and Power". Woodland Indian tribes considered war bundles to be a vital component necessary for the well being and success of a war party. This presentation will focus on the important role war bundles served in war customs before, during, and after a campaign. All aspects of these packs will be discussed including images of the outer coverings, contents of surviving examples, descriptions, and the purpose of the items contained in them.
Ward Oles is an independent researcher and artist concentrating in the study of the material culture of the eighteenth century and the colonial history of North America, with a primary focus on North Eastern Native American material culture. He is the owner of At The Eastern Door and draws on period illustrations, original artifacts, museum examples, and archival records in developing his body of work. Ward acts as a consultant for a number of 17th and 18th century historic sites and organizations including Colonial Williamsburg’s American Indian Initiative.
Ward will be presenting, “Iconographic Finger Rings: A Study of Chronology and Commonality in the 17th and 18th Century”. Finger rings of a number of different designs were part of the goods supplied to Eastern American Indians during the fur trade era. Ward will discuss a brief chronology, and examine both their commonality and distribution. In addition, he will explore some thoughts on styles, materials, construction, and surface treatments.
Scott Stephenson is Director of Collections and Interpretation at the American Revolution Center in Philadelphia, Pennsylvania. A native of Pittsburgh, Stephenson was curator of the international traveling exhibition Clash of Empires: The British, French, and Indian War, 1754-1763. He regularly advises museums and media producers on 18th century frontier history and material culture, and has worked with the Museum of the Cherokee Indian and Colonial Williamsburg's American Indian Initiative on innovative living history programming in partnership with several Federally-recognized American Indian nations.
Scott will be presenting, “The Indian Fashion: Getting Dressed in 18th Century Native America”. By the middle of the 18th century, most American Indian communities living east of the Mississippi River had more than a century of contact with various European colonizers and the imported goods that came with trade. Selectively adopting and adapting new materials, garments, and objects from their colonial neighbors and trading partners, communities across a wide swatch of Eastern North America developed a recognizable "Indian Fashion" by the eve of the American Revolution. This illustrated talk will survey the major elements of the 18th Century "Indian Fashion" through period art, objects, and written sources.