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By Loren Lerner

Depicting Canada’s Children is a serious research of the visible illustration of Canadian childrens from the 17th century to the current. spotting the significance of methodological variety, those essays talk about understandings of youngsters and early life derived from depictions throughout a variety of media and contexts. yet instead of easily study photos in formal settings, the authors consider the elements of the photographs and the position of image-making in way of life. The participants supply a detailed examine of the evolution of the determine of the kid and make clear the defining position teenagers have performed within the background of Canada and our assumptions approximately them. instead of supply finished historic assurance, this assortment is a catalyst for additional examine via case experiences that recommend cutting edge scholarship. This ebook might be of curiosity to students in paintings background, Canadian historical past, visible tradition, Canadian experiences, and the background of youngsters.

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4 When he established Camp Ahmek on the Tuxis site, Statten was eager to put his theories into practice and spent lavishly, some would say recklessly, to ensure the success of his experiment. In late 1924, after Ahmek’s fourth season, E. 6 Nonetheless, physical improvements continued apace: a pirate ship designed by Woodruff K. Aykroyd of Toronto was launched in 1925. T. 7 Yet a closer look at this landscape—and particularly at its presentation in marketing brochures aimed primarily at parents—suggests that the physical transformations of the interwar years were also fuelled by dramatic changes in adult perceptions of boyhood.

Courtesy of Hugh Statten) When first the brutal anthropoid stood up and walked erect—was man, the great event was symbolized and marked by the lighting of the first campfire. For millions of years our race has seen in this blessed fire, the means and emblem of light, warmth, protection, friendly gathering, council. For Seton, the campfire was a portal to premodern authenticity that enabled boys to connect with one another. He went on to write: Only the ancient sacred fire of wood has power to touch and thrill the chords of primitive remembrance.

When wealthy merchants from Quebec City and Montreal began sitting for portraits, alone or with their wives, they frequently included their children in the paintings. In other instances, the subject might be a child on his own, as occurs in the charming image of twelve-year-old Cyprien Tanguay by Antoine Plamondon (1832) (fig. 8). ” His expression is rather serious as he sits with one hand on the writings of Cicero, while with his other hand he writes the Roman orator’s name on a sheet of paper with a goose quill.

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