My Account. In a small town north of Toronto there stands a beautiful and unusual church, well known locally as the Sharon Temple. It is the last remaining evidence of a nineteenth-century Quaker sect, the Children of Peace, one of the few exmaples of a millennarian movement in Canada. Albert Schrauwers explores the history of this intriguing group, which rebuilt Solomon's Temple and prophesied the coming of a Jewish Messiah who would abolish British colonial rule.
Schrauwers discusses the social, political, economic, and theological context in which the Children of Peace were established and, for a time, flourished. He identifies three main periods in the development of the sect: their initial break with the Quakers during the War of ; their reorganization following completion of the temple in ; and their final reorganization following the Rebellion of Using assessment rolls and a careful analysis of relations of production, he shows how material factors influences the political process by which the sect decided what was sacred and what was not.
Ultimately he provides a detailed portrait of a remarkable group of people and the times in which they lived. Save UP TO Day surgery, drug therapies, and chronic disease management now play a greater role than they have in the past. Similarly financing the increasing costs of health care has changed and will continue to change, for example as health accords conclude and provinces take on more responsibility.
A clear summary of how much is being spent, what the money is being spent on, and who is paying. A direct look at rising costs. Maioni evaluates the specific drivers of health care costs in Canada, looking at how these are managed now, and how they may be managed in future as expensive new drugs and technologies continue to be developed. Is health care in a crisis?
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Polls reveal a sizeable erosion in the public's confidence in the future of health care. Maioni considers various paths that may be taken in future to keep health care sustainable. Maioni is an expert in federal structure, and explains how this influences the financing and delivery of health care in Canada given the shifting equilibrium between centralized policy-making from Ottawa to a more decentralized context.
Helps us frame the big issues. Offers ways to think about questions such as who has a right to health care, how sustainable is our system, and what services we should agree to cover. Also of Interest.
Aging in Canada Neena L. Chappell and Marcus J. Before Bioethics Robert Baker. Vocational Education in Canada Alison Taylor. Rasmussen and Richard A. Climate Change in Canada Rodney White. Canada and Conflict Patrick James. Retirement in Canada Thomas R. Food and Nutrition Economics George C. Davis and Elena L.
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If artificial light is to be used at all, it should be set up to match very closely the natural effects of daylight, hence the necessity of having studio natural light available at some point in the day. Specially marketed "daylight-style" light bulbs may go some way to correct color temperature but fall considerably short of matching the subtle form-modeling qualities of natural, slightly diffused, north light.
The masters used natural light for artistic reasons, not just because most of them lived before the invention of electric light. In an academic setting, it is best to have both dimly lit and brightly lit areas, the appropriate type of lighting for the two basic kinds of assignments, including studies done from life and casts and general copy work respectively. It comes as a surprise to many people just how dim traditional lighting for life and cast work ideally should be.
The AAC has a good balance of both types of lighting. The program uses oil paint, plus some oil emulsions and tempera, but most of the principles can also be applied to other mediums. Elementary paint studies can be introduced early in level one. These exercises include the study of tints, tones and shades as well as mass design and mood keys. They build a bridge between what the student has learned in rendering in monochrome and the more organic aspects of modeling and paint manipulation covered in advanced levels.
A strong emphasis is placed on painting's relationship to drawing. Different color theories and palette set-ups are covered. In addition to the more commonly known direct method of painting, indirect techniques are also studied. Grounds and their respective absorbencies are examined. Historical techniques are de-mystified and taught in an easy-to-follow, step-by-step manner.
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Mixed techniques involving oil and tempera such as "putrido" and the "tempera grassa" method employed by Pietro Annigoni are introduced. Varied uses of many different materials, including hard and soft varnishes, are explained along with the different properties of quality tube colors and genuine hand-ground pigments. It is a tenet of the AAC's program to not dictate to someone how to paint. However, that being said, it should be stressed that some principles are common to all methods. We prefer to expose the student to the different historical techniques. In this process, it is important to learn how to read a painting in terms of technique, to be able to look at the finished surface of a painting in say, a museum, and immediately understand what it would have looked like at each of its individual stages prior to the application of the last layer of paint.
Our experience suggests that 12 is probably the earliest age to start. Historically, there haven't been prodigies in this discipline as in pattern-oriented disciplines like music, mathematics or chess. Traditionally, a young person would apprentice in the studio for a couple of years, grinding pigments and keeping the studio clean, followed by the introduction of some basic drawing exercises. Keeping in mind the above, the AAC welcomes students of all ages and backgrounds.
Young people are welcome to tour the school during a class to help them decide if they will feel comfortable learning in an environment comprised of students of all ages. However, the ability to listen and receive instruction is a strong asset.
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Also, the level of enthusiasm and stick-to-it-iveness are important. It is worth remembering that there were very few self-taught masters between and Prior experience is not at all essential to begin learning, but any applicable experience, however gained, will accelerate progress within certain pockets of the program.
Also important is painter David Leffel's idea that the student has to want to learn for the right reasons. If you don't genuinely love the learning of drawing and painting you probably won't learn as easily and quickly. Talent, defined as a natural affinity to learn something easily, is always a welcome thing, but if it is not developed it really doesn't amount to much.
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Talented athletes come in many different shapes and sizes, and fine representational painters are not much different. Commitment will often make up for a lack of talent, if it doesn't in fact eclipse it. On a scale of one to a hundred, talent might start you on square 15 instead of square 1 and you might learn 30 percent faster than the average student, but once you have learned all that you need to know to make the pictures you wish to make, will anyone care that it took you five years to learn what someone else learned in six and a half?
At that point, what will matter is the quality of attention you bring to your work, which is far more related to one's being and their unique life experience, and is something that essentially cannot be taught. How you make use of what you have learned probably doesn't need much teaching, because an artistic sensibility develops in the context of the taste and judgment of great masters, honing your perception of the visual world around you. In all areas, the AAC wants students to develop a good artistic link with the masters, so they can enhance their own art with the same fine qualities.
Students benefit from the direct experience of Tanyss, Harvey, and Jeff having spent considerable time with different instructors at various private ateliers and schools, including the Florence Academy of Art and the late Timothy Phillips, who spent over 12 years as a personal assistant to Salvador Dali after apprenticing under Augustus John and Pietro Annigoni. Time in the s and 90s was also spent working with Paul Young, Michael J.
Angel, Daniel Graves and Richard Nevitt. In fact, the four AAC instructors are part of an artistic lineage that reaches back to the earlyth-century atelier of Jacques Louis David, the official painter of Napoleon.