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A bead box of my own: The beadwork o...
~
Tracy, Michelle Stephanie.
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A bead box of my own: The beadwork of Metis artist Philomene Umpherville (Manitoba).
紀錄類型:
書目-電子資源 : Monograph/item
正題名/作者:
A bead box of my own: The beadwork of Metis artist Philomene Umpherville (Manitoba)./
作者:
Tracy, Michelle Stephanie.
面頁冊數:
285 p.
附註:
Source: Masters Abstracts International, Volume: 42-02, page: 0351.
Contained By:
Masters Abstracts International42-02.
標題:
Art History. -
電子資源:
http://wwwlib.umi.com/dissertations/fullcit/MQ82219
電子資源:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=MQ82219
ISBN:
0612822192
A bead box of my own: The beadwork of Metis artist Philomene Umpherville (Manitoba).
Tracy, Michelle Stephanie.
A bead box of my own: The beadwork of Metis artist Philomene Umpherville (Manitoba).
- 285 p.
Source: Masters Abstracts International, Volume: 42-02, page: 0351.
Thesis (M.A.)--University of Alberta (Canada), 2003.
Mrs. Philomene Umpherville, born Philomene Lapensee in 1920 in Brochet, Manitoba, to a Metis mother and a French-Canadian father, was destined to become an exceptional, if unheralded, beadwork artist. Mrs. Umpherville's beadwork and the hundreds of patterns upon which it is based are far more complex than is usually acknowledged by Western society.
ISBN: 0612822192Subjects--Topical Terms:
635474
Art History.
A bead box of my own: The beadwork of Metis artist Philomene Umpherville (Manitoba).
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Source: Masters Abstracts International, Volume: 42-02, page: 0351.
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Thesis (M.A.)--University of Alberta (Canada), 2003.
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Mrs. Philomene Umpherville, born Philomene Lapensee in 1920 in Brochet, Manitoba, to a Metis mother and a French-Canadian father, was destined to become an exceptional, if unheralded, beadwork artist. Mrs. Umpherville's beadwork and the hundreds of patterns upon which it is based are far more complex than is usually acknowledged by Western society.
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Mrs. Umpherville's Metis roots as well as her physical environment are examined for their influence on her art. The history of the community of Brochet and its ethnically diverse population contribute to her artistry as expressed in her beading and sewing. At the same time, the diversity and variations in her work testify to an individual creativity that go beyond the traditional forms of Brochet upon which she drew inspiration.
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The research is grounded in Human Ecology Theory and a qualitative approach that evolved for me over a period of some 22 years. It relies on documents and archives from across Canada as well as on extensive interviews I conducted with Mrs. Umpherville and my experience as a former resident of Brochet.
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