Daylight in the Swamp is the bush memoirs of Selwyn Dewdney, a noted Canadian artist and recorder of native rock art. His two great loves, art and the Canadian north, come together in this book. His respect for native culture and art is reflected in his own work, his insight into native rock art, and his passion for canoeing and the northern experience.The third theme of the book is history spanning the period from 1910 through to the 1970s during which the old north largely vanished. Dewdney was there to record the images of forgotten dreams painted on rocks and cliffs throughout the Canadian Shield. Thanks to these memoirs we are all there to witness these things with Dewdney.
This book describes in word and illustration the results of an exciting quest on the part of its authors to discover and record Indian rock paintings of Northern Ontario and Minnesota. Numerous drawings were made from these pictographs at a hundred different sites; the originals range in age from four to five hundred years to a thousand, and were done with the simplest materials: fingers for brushes, fine clay impregnated with ferrous oxide giving the characteristic red paint. Where an overhanging rock protected a vertical face from dripping water or on dry, naked rock faces the Indians recorded the forest life with which they lived in intimate association—deer, caribou, rabbit, heron, trout, canoes, animal tracks—and also abstractions which puzzle and intrigue the modern viewer. Many of the paintings could only have been done from a canoe or a convenient rock ledge. Selwyn Dewdney travelled many thousands of miles by canoe to make the drawings of the pictographs which illustrate every page of this fascinating and attractive book. He provides also a general analysis of the materials used by the Indians, of their subject-matter and the artistic rendering given to it, and his artist's journal records in detail the sites he visited, the paintings he found at each, the comparisons among them that came to mind, the references to rock paintings in early literature of the Northwest. Kenneth E. Kidd contributes a valuable essay on the anthropological background of the area, linking the rock paintings with early cave art in, for example, France and Spain, describing the life of the Indians in the Shield country, and commenting on what the pictographs reveal of their makers' attitudes to their external world and of their thinking. This is a book which will appeal to a wide audience: to those interested in primitive art forms and in Canadian art in general, to all students of the early history of North America, to travellers who in increasing numbers follow the canoe trails of the Shield lakes and rivers.
This volume in the Kids of Canada series tells a poignant tale of First Nations life before the coming of European settlement. It is the story of a Mississauga Indigenous girl named Morning Sky who, with her family, spends the winter camped at the mouth of the Humber River. Cold and hunger threaten their survival but by facing these hardships together a very special and powerful bond is created among the members of the family. The Hungry Time is a concise, masterful evocation of a past way of life, its joys and its sorrows.
Daylight in the Swamp is the bush memoirs of Selwyn Dewdney, a noted Canadian artist and recorder of native rock art. His two great loves, art and the Canadian north, come together in this book. His respect for native culture and art is reflected in his own work, his insight into native rock art, and his passion for canoeing and the northern experience.The third theme of the book is history spanning the period from 1910 through to the 1970s during which the old north largely vanished. Dewdney was there to record the images of forgotten dreams painted on rocks and cliffs throughout the Canadian Shield. Thanks to these memoirs we are all there to witness these things with Dewdney.
This book describes in word and illustration the results of an exciting quest on the part of its authors to discover and record Indian rock paintings of Northern Ontario and Minnesota. Numerous drawings were made from these pictographs at a hundred different sites; the originals range in age from four to five hundred years to a thousand, and were done with the simplest materials: fingers for brushes, fine clay impregnated with ferrous oxide giving the characteristic red paint. Where an overhanging rock protected a vertical face from dripping water or on dry, naked rock faces the Indians recorded the forest life with which they lived in intimate association—deer, caribou, rabbit, heron, trout, canoes, animal tracks—and also abstractions which puzzle and intrigue the modern viewer. Many of the paintings could only have been done from a canoe or a convenient rock ledge. Selwyn Dewdney travelled many thousands of miles by canoe to make the drawings of the pictographs which illustrate every page of this fascinating and attractive book. He provides also a general analysis of the materials used by the Indians, of their subject-matter and the artistic rendering given to it, and his artist's journal records in detail the sites he visited, the paintings he found at each, the comparisons among them that came to mind, the references to rock paintings in early literature of the Northwest. Kenneth E. Kidd contributes a valuable essay on the anthropological background of the area, linking the rock paintings with early cave art in, for example, France and Spain, describing the life of the Indians in the Shield country, and commenting on what the pictographs reveal of their makers' attitudes to their external world and of their thinking. This is a book which will appeal to a wide audience: to those interested in primitive art forms and in Canadian art in general, to all students of the early history of North America, to travellers who in increasing numbers follow the canoe trails of the Shield lakes and rivers.
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