ies eet better secmatcuicean operation with the University’s Department of Extension; the planning and financing of a campaign to further the Community Centre Art Brief, and co-operation with the Parks Board of the City for an Art Festival Week in Staniey Park during the sum- mer. Excellent work has also been done by a group of Federation members known as the Art in Living Group. The chief concern of this group lies in acquainting the public of what is best and most modern in home and community planning. This it does by means of attractively de- signed diagrams, plans, elevations, photo- graphs, printed matter and beautifully- made three-dimensional scale models. Mr. Fred Amess is the Chairman of the Group. The Art Centre Group in Victoria aims for a permanent Gallery, and for the en- couragement of Canadian Art in general. A large membership has already been secured and it would appear as if Vic- toria‘s many years of lethargy in the arts is at last going to be thrown off. Outside of Vancouver and Victoria there are individual groups and_ societies ~in Kamloops, Vernon, Kelowna, Penticton, Nelson, Trail, Kimberley, Cranbrook, and Port Alberni, all busily engaged in stimu- lating interest in the Arts. Such assistance as the Federation of Canadian Artists (B.C. Region) is able to give these groups is freely given, and as previously mentioned has taken the form of sending small travel- ling Art exhibits on tour. The demand for - such exhibitions is growing and is indica- tive of the need of rural communities for the implementation by the Federal Govern- ment of the scheme laid down in the Brief presented in June, 1944, to the Spe- cial Committee on Replanning and Re- construction by sixteen National Art So- cieties. It is significant that this Brief has come ‘to be known as the Community Art Centres’ Brief. In concluding this article mention should be made of the increased quality and quantity of the work exhibited by the artists of the Province. This has been largely due to the opportunity given the artists for exhibiting in the Art Gallery; to increased purchasing of works by the public; to the training given to young artists by the School of Art, and to the closer acquaintance with works contained in travelling exhibitions from the other Provinces, from Britain and from the United States. These various factors have contributed to a diversity of techniques and to in- creased quality in drawing and design in the work of our local artists. Landscape is still the prevailing note in all exhibi- tions, but the figure, the portrait, and the mural are making their appearance and will no doubt play a greater part in the future art expression of British Columbia. ‘Ye Bade 190 5S” SATURDAY MORNING CLASSES with EMILY CARR By LILETTE MAHON I don't know why Milly Carr sent me outside to draw this particular view of the studio. It was the side with the out- door staircase that we liked best. The staircase which we charged up and down like young colts. The staircase which led to a different world, full of adventure and change. We called her’ Milly. She was a gay and exciting person. Eyes sometimes grey- green, sometimes blue-grey, thick stubby lashes shading their twinkle, an elusive dimple, piled up brown curls, tamed into a bun on the top of her head; neat poulter pigeon figure, rare flashes of authority when we became too exuberant. A merry and amusing creature not far removed from ourselves. Strange that she should have pre-dated by so many years the Saturday morning classes of today, and that a small group of Victoria children should have had the opportunity of being ahead of their time. One of them, who later went to a dis- tinguished English finishing school, was the only girl who had been taught to draw from the model. They were still struggling with horrid Royal Academy Schools’ copy books. Transferring from one page to another anaemic exercises and St. Bernard dogs with lolling tongues. Anether of the pupils, after experiencing the rich and varied fare of home where the most creative mind reigned, the impact of the hard, forward-reaching brain of Agnes Deans Cameron, another outstand- ing Victoria teacher was sent to France, to slip with ease into the disciplined study of a foreign country, the concentrated reading, the Heady discussions of Art and Drama, the joyous exploring of byways. "Les Fauves” already an old tale, Cubism, Bakst, the Russian Ballet, Rostand ~and "Chanticler”, later Dublin's Abbey Players in their first London season. Pavlova’'s fire and classic discipline fused into the most exquisite movement, the whole a lovely montage of intellectual curiosity, colour and movement. Miss Carr helped to make growing up an exciting and never-ending chase, be- cause she shared the common denomin ator of all those varied forces, intellectual and artistic, whether in France or Tim- buctu, a creative mind. The top of the barn where we worked was a pleasant jumble of boxes and easels, low tables for the models, ‘The Dog", soft garden airs and strong earthly smells from below. The cow, of course. I remember wishing I could take some of the manure home for the Russian violets I grew in my own garden. I felt a studio cow would make them a richer colour. A large window from floor to ceiling dominated the end of the studio. A sky- light wreathed with ivy growing in two Christie cracker boxes, painted scarlet lighted one dark corner. We had no plaster casts so Miss Carr decided to make some. After an excited orgy of plaster of Paris and mysterious formulae a row of our hands hung on nails along one wall. Inspired by this success she planned to do our faces, and I was her first guinea pig. I was laid out on a table in one of ——#- operation with the University’s Departmant of Extension; the planning and financing of @ campaign to further the Community Centre Art Brief, and cooperation with the Parks Board of the City for an Art Fostival Week in Stanley Park during the sum mer. Excellent work has also been done by @ group of Federation membars known as the Art in Living Group. The chiof concem of this group lies in acquainting the public of what is best and most modern in home and community planning. This it does by means of attractively do signed diagrams, plans, elevations, p! graphs, printed matter and beautifull made threedimensional scale modals. 1. Fred Amoss is the Chairman of the Group, ‘The Art Centre Group in Victoria aims for a permanent Gallery, and for tt couragement of Canadian Art in genoral. A large membership has already beon secured and it would appear as if Vic toria's many years of lethargy in the fs at last going to be thrown off. arta Outside of Vancouver and Victoria there ‘are individual groups and societies ~in Kamloops, Vernon, Kelowna, Penticton, Nelson, Trail, Kimberley, Cranbrook, and Port Alberni, all busily engaged in stimu: lating interest in the Arts. Such assistance ‘as the Federation of Canadian Artists (B.C. Region) is able to give these groups is freely given, and as previously mentioned hhas taken the form of sending small travel: ling Art exhibits on tour. The demand such exhibitions is growing and is indica- tive of the need of rural communities for the implementation by the Federal Govern- ment of the scheme laid down in the Brief presented in June, 1944, to the Spa cial Committee on Replanning and Ro construction by sixteen National Art So- cloties. It is significant that this Brief hhas come to be known as the Community Art Centres’ Brief. In concluding this article mention should be made of the increased quality and quantity of the work exhibited by the artists of the Province. This has been largely due to the opportunity given the artists for exhibiting in the Art Gallery; to increased purchasing of works by the public; to the training given to young artists by the School of Art, and to the loser acquaintance with works contained {in travelling exhibitions from the other Provinces, from Britain and from the United States. ‘Those various factors have contributed to a diversity of techniques and to in- creased quality in drawing and design in the work of our local artists. Landscape fs still the prevailing note in all exhibi- tions, but the figure, the portrait, and the mural are making their appearance and will no doubt play a greater part in the future art expression of British Columbia Pete pe Wonks Per SATURDAY MORNING CLASSES By LILETTE MAHON I don't know why Milly Car seat me outside to draw this particular view of the studio. It was the side vrith the out- door staircase that we liked best. Tho staircase which wo charged up and down ike young colts. The staircase which led to a different world, full of adventure and change. We called her Milly. She was a gay and exciting person. Eyes sometimes grey: green, sometimes bluegrey, thick stubby lashes shading their twinkle, an elusive dimple, piled up brown curls, tamed into a bun on the top of her head; neat poulter pigeon figure, rare flashes of authority when we became too exuberant. A merry ‘and amusing creature not far removed from ourselves. Strange that she should have predated by so many years the Saturday morning classes of today, and that a small group of Victoria children should have had the opportunity of being ahead of their time. One of them, who later wont to a dis guished English finishing school, was the only girl who had boon taught to draw from the model. They were still struggling with horrid Royal , Academy Schools’ copy books. Transferring from fone page to another anaemic exercises and Bernard dogs with lolling tongues. Another of the pupils, after experiencing the rich and varied fare of home where the most creative mind reigned, the impact of the hard, forwardeaching brain of ‘Agnes Deans Cameron, another outstand- {ing Victoria teacher was sent to France, to slip with ease into the disciplined study EMILY CARR of a foreign country, the concentrated reading, the Heady discussions of Art and Drama, the joyous exploring of byways. "Los Fauves" already an old tale, Cubism, Bakst, the Russian Ballet, Rostand -and "Chanticler”, later Dublin's Abbey Players in their first London season. Pavlova's fire and classic discipline fused into the most exquisite movement, the whole a lovely montage of intellectual curiosity, colour ‘and movement. Miss Carr helped to make growing up fan exciting and never-ending chase, be cause she shared the common denomin ator of all those. varied forces, intellectual and artistic, whether in France or Tim- buctu, a creative mind. Tho top of the bar where we worked was a pleasant jumble of boxes and easels, low tables for the models, “The Dog”, soft garden airs and strong earthly smells from below. The cow, of course. I remember wishing I could take some of the manure home for the Russian violets I grew in my own garden. I felt a studio cow would make them a richer colour. A large window from floor to ceiling dominated the end of the studio. A sky- light wreathed with ivy growing in two Christio cracker boxes, painted scarlet lighted one dark comer. We had no plaster casts so Miss Carr decided to make some. After an excited orgy of plaster of Paris and mysterious formulae a row of our hands hung on nails along one wall. Inspired by this success she planned to do our faces, and I was her first guinea pig. I was laid out on a table in one of SE as a