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.
Bu hikaye The Walrus dergisinin July/August 2020 sayısından alınmıştır.
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Bu hikaye The Walrus dergisinin July/August 2020 sayısından alınmıştır.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Giriş Yap
MY GUILTY PLEASURE
I WAS AS SURPRISED as anyone when I became obsessed with comics again last year, at the advanced age of forty-five. As a kid, I loved reading G.I. Joe and The Amazing Spider-Man.
The Upside-Down Book
In her new novel, Rachel Cusk makes the case for becoming a stranger to yourself
Pick a Colour
BACK HERE, I can hear a group of women trickle in. Filling the floor with giggles and voices.
Quebec's Crushing Immigration Policy
Familial separation can have devastating consequences on mental health and productivity
The Briefcase
What I learned about being a writer from trying to finish a dead man's book
In the Footsteps of Migrants Who Never Made It
Thousands have died trying to cross into the US from Mexico. Each year, activists follow their harrowing trek
Blood Language
Menstruation ties us to the land in ways we've all but forgotten
Dream Machines
The real threat with artificial intelligence is that we'll fall prey to its hype
Invisible Lives
Without immigration status, Canada's undocumented youth stay in the shadows
My Guilty Pleasure
"The late nights are mine alone, and I'll spend them however I damn well please"
