DURING THE 1860s, British painter Frances Anne Hopkins accompanied her husband, a high- ranking official with the Hudson’s Bay Company, on at least three excursions with voyageurs. Hopkins sketched the daily life of the fur traders and, upon her return to England, produced largescale oil paintings whose accuracy provides an unparalleled glimpse into this chapter of Canadian history. Despite exhibiting at the Royal Academy of Arts, in London, she always signed her work “fah” — effectively concealing her identity in a male-dominated art world that typically excluded women.
هذه القصة مأخوذة من طبعة July/August 2020 من The Walrus.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك ? تسجيل الدخول
هذه القصة مأخوذة من طبعة July/August 2020 من The Walrus.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك? تسجيل الدخول
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