When it comes to the role played by Canadian women artists in the first half of the 20th century, there is a glaring hole in our documented history. The memory of one artist now reaches up from the backwaters of domestic life. Lesley McNaught Sirluck began her career as an artist around 1936, when women artists were sparse on the national scene. She painted and etched through the war years in Toronto, through the cultural boom of Chicago in the 1950’s and 60’s, and beyond. She had a unique and profound vision of the world around her, one that resonated all the more powerfully for its occasional inscrutability. Animate Universe is both a tribute and a retrospective – the premiere of a vibrant and articulate body of work only barely seen in Lesley’s lifetime.
When it comes to the role played by Canadian women artists in the first half of the 20th century, there is a glaring hole in our documented history. The memory of one artist now reaches up from the backwaters of domestic life. Lesley McNaught Sirluck began her career as an artist around 1936, when women artists were sparse on the national scene. She painted and etched through the war years in Toronto, through the cultural boom of Chicago in the 1950’s and 60’s, and beyond. She had a unique and profound vision of the world around her, one that resonated all the more powerfully for its occasional inscrutability. Animate Universe is both a tribute and a retrospective – the premiere of a vibrant and articulate body of work only barely seen in Lesley’s lifetime.
To the extent that she is popularly known, Katherine Parr (1512–48) is the woman who survived King Henry VIII as his sixth and last wife. She merits far greater recognition, however, on several other fronts. Fluent in French, Italian, and Latin, Parr also began, out of necessity, to learn Spanish when she ascended to the throne in 1543. As Henry’s wife and queen of England, she was a noted patron of the arts and music and took a personal interest in the education of her stepchildren, Princesses Mary and Elizabeth and Prince Edward. Above all, Parr commands interest for her literary labors: she was the first woman to publish under her own name in English in England. For this new edition, Janel Mueller has assembled the four publications attributed to Parr—Psalms or Prayers, Prayers or Meditations, The Lamentation of a Sinner, and a compilation of prayers and Biblical excerpts written in her hand—as well as her extensive correspondence, which is collected here for the first time. Mueller brings to this volume a wealth of knowledge of sixteenth-century English culture. She marshals the impeccable skills of a textual scholar in rendering Parr’s sixteenth-century English for modern readers and provides useful background on the circumstances of and references in Parr’s letters and compositions. Given its scope and ambition, Katherine Parr: Complete Works and Correspondence will be an event for the English publishing world and will make an immediate contribution to the fields of sixteenth-century literature, reformation studies, women’s writing, and Tudor politics.
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