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130:(1911). Hamilton’s second period (1912-1918) was inspired by her return to Canada in 1911, shifting her focus on Western Canada, as she painted the Rockies and the prairies, as well as scenery in the cities and forests of Alberta, British Columbia, Manitoba, and Saskatchewan. In this, she pursued a distinctive vision for rendering Canada’s West and honouring its Indigenous peoples. Hamilton’s third period is focussed on her battlefield art as she depicted the destroyed landscapes of
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pictures it is because at that moment the spirit of those who fought and died seemed to linger in the air. Every splintered tree and scarred clod spoke of their sacrifice. Since then, nature has been busy covering up the wounds, and in a few years the last sign of war will have disappeared. To have been able to preserve some memory of what this consecrated corner of the world looked like after the storm is a great privilege and all the reward an artist could hope for.
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171:, striking out on her own at an early age. Here she met Charles W. Hamilton, a dry goods merchant, with whom she partnered in running the Paris Dry Goods House. The pair married in July 1889, though the marriage was short-lived, as Charles Watson died suddenly in 1893 following an infection when Mary was in her mid-twenties. She also lost her baby son who was stillborn. These losses had a deep impact, prompting her new career.
319:, Mary Riter Hamilton actively campaigned to return to Europe as a war artist to document Canada’s military contribution. She applied to the Canadian War Memorial Fund to become a war artist but was rejected, and it was only after moving to Vancouver in 1918 that she secured a commission from the War Amputations Club of British Columbia to travel overseas and paint the post-Armistice battlefields for their periodical,
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270:, as well as poverty, and experimented with self-portraiture. In 1911, after a decade in Europe, she returned her collection to Canada, marking her homecoming with a gallery show in Toronto with 150 paintings. This was followed by a highly successful exhibition tour of her work in Ottawa, Montreal, Winnipeg, Calgary, and Victoria, where she settled to paint, supporting herself by taking on portrait commissions.
138:, with impressionistic flair, her work increasingly eschewed studio finish. In her work, Hamilton embraced the perspective of the underdog, showing sympathy for the socially underprivileged and the suffering, while being bold in transgressing constraining institutional boundaries. In this, she helped shape women's art and Canadian art, even though she was denied a place in the National Gallery of Canada.
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Between 1919 and 1922, Hamilton painted with whatever materials came to hand, recording the destruction left by the war, the commemorations of those lost and the celebrations of the return to normal life. She painted more than 320 images in the difficult and often dangerous conditions of the former
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Unlike artists affiliated with the
Canadian War Memorial Fund, who conducted brief sketching expeditions to battlefields and subsequently created large-sized paintings in their studios in London and Paris, Hamilton diverged from the established norms of war painting. Many of her paintings are small
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Mary Riter
Hamilton’s work developed in three distinctive periods and styles. The first period (1901-1911) comprised over one hundred works painted and drawn in Europe that established her in Canada following her TransCanada exhibition tour from 1911 to 1912. This early style is best represented by
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possess a haunting emptiness, evoking the memory of the absent soldiers. Additionally, Hamilton depicted both the marked graves of individual soldiers and the mass graves where entire regiments had met their fate. Through these works, she emphasized the imperative of commemorating and grieving for
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For two and a half years, Hamilton lived in primitive huts and tents with a
Canadian army contingent at Vimy Ridge and from late 1919 on her own. She travelled on foot. She painted on canvas as well as on plywood, paper, and cardboard, using repurposed supplies, and grinding her own colours on the
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From 1905 on, she exhibited her work at the French Salon, the official art exhibition of the Académie des Beaux-Arts. During this time, she was extremely prolific, producing some 150 paintings and drawings including many scenes from
Holland, Italy, Spain, and Brittany, France. She was inspired by
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As the youngest of five siblings, Mary was born to homesteading parents. Her mother, Charity Riter, and one of her brothers, Joseph, supported her striving for artistic expression from early on. Suffering setbacks when the farm burnt down, the Riter family showed collective resilience, eventually
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uses Census data to document that the accurate birth year is 1867. The Census data corroborates a consistent birth year of 1867 until her mid-twenties, when it first changes after the death of her husband. The subsequent census data testifies to the age deflation stemming from her own efforts to
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It is fortunate that I arrived before it was too late to get a real impression. The first day I went over Vimy , snow and sleet were falling, and I was able to realize what the soldiers had suffered. If as you and others tell me, there is something of the suffering and heroism of the war in my
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Upon returning to Canada in 1911, Mary Riter
Hamilton's new vision was to paint the country by focusing on the West. As she saw it, the West was still neglected in Canada's art, the focus of the emerging National Gallery of Canada being on Central Canadian art and artists. Like the
303:(1912). Hamilton's paintings depicted Indigenous peoples. She also made portraits of strong-minded women, a focus she would continue in her battlefield paintings and her later work. When Hamilton left Victoria in 1918, she was at the zenith of her career, surpassing the painter
385:, but also to her sporadic patron, Margaret Janet Hart in Victoria, and others. These letters, held today at the archives of the Modern Literature and Culture Research Centre testify to the hardships of the experience and the physical and emotional demands of the expedition.
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98:(7 September 1867 – 5 April 1954) was a Canadian painter, etcher, drawing artist, textile artist, and ceramics artist who spent much of her career painting abroad in countries including Belgium, France, Germany, Holland, Italy, Spain, and the United States.
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She gained renown as Canada’s first female battlefield artist, pioneering an empathetic style of painting the trenches and ruined towns of
Belgium and France in the immediate aftermath of the Great War. Among her most famous works are her oil on cardboard
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painters, who returned to Canada around the same time, to focus their eye on
Northern Ontario, Hamilton had a patriotic vision for Canadian art. From 1911-1918, she painted and exhibited scenes of the Canadian West.
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378:(1920), defying the challenges including poor food, hostile weather, and the danger of unexploded shells. Mary Riter Hamilton produced the largest known collection of First World War art by a single artist.
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While she had been taking sporadic painting lessons during her marriage, now she turned to building a professional artistic career. She began painting, exhibiting, and selling ceramics, what was then called
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521:, and earned an income by teaching students to paint. She still painted occasionally but never again with the prolific vigour that characterized her previous work. She did so until she was in her 80s.
428:“Cloth Hall, Ypres – Market Day,” a painting by Mary Riter Hamilton, 1920 « Les Halles aux Draps d’Ypres par un jour de marché »; tableau peint par Mary Riter Hamilton en 1920 (16591440469)
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align her reported age with her new public identity and new life circumstances after the death of her husband. She projected a youthful image to escape the ageism and sexism of society.
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and intimate and were painted directly in the trenches. She pioneered a distinctive style characterized by its visceral quality, that communicates her artistic urgency.
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building a new life as homesteaders in
Manitoba, where Mary lived for a few years as a teenager. Still in her teens, she returned to live in
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Helmers, Marguerite. “A Visual
Rhetoric of World War I Battlefield Art: C.R.W. Nevinson, Mary Riter Hamilton, and Kenneth Burke’s Scene.”
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a documentary short focusing on Mary Riter
Hamilton and the collection of her war paintings in the care of Library and Archives Canada.
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She died in 1954. She had planned her funeral and instructed her executor, her nephew Frank Riter, to have her ashes transported to
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262:. Settling in Paris, she lived and worked in studios on the Rue de la Grande Chaumière and later on Rue Notre Dame des Champs.
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Osborne, Brian S. “In the Shadows of Monuments: The British League for the Reconstruction of the Devastated Areas of France.”
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Mary Riter Hamilton, in an interview with Frederick G. Falla, The McClure Newspaper Syndicate for release September 10, 1922
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Exhibitions of the earlier paintings took place in Vancouver and Victoria in 1920. Further exhibitions were held at the
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118:. She shaped an ethical portrayal of the war by drawing attention to the war’s destruction and by mourning the dead.
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Certificate for Creative Excellence (History) - 1989 U.S. Industrial Film & Video Festival (Illinois)
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in Paris in 1922 and in Amiens at the Somme. In 1926, she donated 227 of her battlefield works to the
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323:. This war veterans’ periodical collected stories, photographs, and memorabilia about the Great War.
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Silver Award (Historical Programming) - 1989 Houston International Film & Video Festival (Texas)
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Achievement Award - 1989 Society for Technical Communication's Audio/Visual Competition (California
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942:"Remembrance Day: How a Canadian painter broke boundaries on the First World War battlefields"
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The Memory of St Julien: Configuring Gas Warfare in Mary Riter Hamilton's Battlefield Art
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saluted the country's unofficial first woman battlefield artist by issuing a stamp for
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Honourable Mention - 1989 National Educational Film & Video Festival (California)
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Podcast about the life of Mary Riter Hamilton from Library and Archives Canada
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1024:. Montreal and Kingston: McGill-Queen’s University Press. pp. 275–280.
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817:. Montreal and Kingston: McGill-Queen’s University Press. pp. 12–13.
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She lived in makeshift shelters, including pillboxes, as seen in her oil
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1049:. Montreal and Kingston: McGill-Queen’s University Press. p. 24.
867:. Montreal and Kingston: McGill-Queen’s University Press. p. 29.
842:. Montreal and Kingston: McGill-Queen’s University Press. p. 22.
703:. Montreal and Kingston: McGill-Queen’s University Press. p. 49.
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I Can Only Paint: The Story of Battlefield Artist Mary Riter Hamilton
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I Can Only Paint: The Story of Battlefield Artist Mary Riter Hamilton
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I Can Only Paint: The Story of Battlefield Artist Mary Riter Hamilton
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I Can Only Paint: The Story of Battlefield Artist Mary Riter Hamilton
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I Can Only Paint: The Story of Battlefield Artist Mary Riter Hamilton
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I Can Only Paint: The Story of Battlefield Artist Mary Riter Hamilton
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I Can Only Paint: The Story of Battlefield Artist Mary Riter Hamilton
739:. Montreal and Kingston: McGill-Queen’s University Press. p. 9.
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I Can Only Paint: The Story of Battlefield Artist Mary Riter Hamilton
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I Can Only Paint: The Story of Battlefield Artist Mary Riter Hamilton
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I Can Only Paint: The Story of Battlefield Artist Mary Riter Hamilton
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Honourable Mention - 1989 Columbus International Film Festival (Ohio)
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I Can Only Paint: The Story of Battlefield Artist Mary Riter Hamilton
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Ideas with Nahlah Ayed: Artist, Witness, Woman: Mary Riter Hamilton
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International Exposition of Modern Industrial and Decorative Arts
1202:. Montreal and Kingston: McGill-Queen’s University Press, 2018.
892:. Victoria: Art Galleries of Greater Victoria. pp. 5–6.
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Beyond the Battlefield: Women Artists of the Two World Wars
330:, "t was cold and snowing," she recorded in her letter to
1173:. Montreal and Kingston: McGill-Queen’s University Press.
918:. Victoria: Art Galleries of Greater Victoria. p. 9.
666:. Victoria: Art Galleries of Greater Victoria. p. 7.
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The Art of War: In the Trenches With Mary Riter Hamilton
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No Man's Land: The Life and Art of Mary Riter Hamilton
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During this time, she wrote letters to her friends at
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Alisa Siegel’s CBC documentary on Mary Riter Hamilton
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Mary Riter was born in Culross, Ontario (now part of
1251:. Winnipeg, Manitoba: University of Manitoba Press.
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Painting Ghosts: Australian Women Artists in Wartime
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themes like motherhood, as seen in her oil painting
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218:In 1901, she sailed overseas to study in Berlin,
1286:TV Ontario – The Agenda: WWI – Forgotten Heroine
1225:Independent Spirit: Early Canadian Women Artists
358:Many of her artworks like her 1919 oil painting
792:. McGill-Queen's University Press. p. 11.
619:. McGill-Queen's University Press. p. 24.
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1321:Recipients of the Ordre des Palmes Académiques
764:. Victoria: Art Galleries of Greater Victoria.
326:In late April 1919, when Hamilton arrived at
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199:, as well as studying in the United States.
416:(c. 1919-1920), Library and Archives Canada
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1227:. Richmond Hill, on: Firefly Books, 2008.
1207:International Journal of Heritage Studies
651:Isolated Grave and Camouflage, Vimy Ridge
299:acquired one of these paintings entitled
108:Isolated Grave and Camouflage, Vimy Ridge
89:Isolated Grave and Camouflage, Vimy Ridge
1247:Young, Kathryn; McKinnon, Sarah (2017).
1184:, vol. 9, no. 1 (24 March 2016): 20-41.
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222:, taking private lessons from renowned
1200:Women, Art, and Subjectivity in Canada
501:A Misty Morning, the Ramparts of Ypres
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966:"Traces of War, Mary Riter Hamilton"
258:, while taking private lessons from
246:, she took a portraiture class with
1331:20th-century Canadian women artists
1243:. Melbourne: Craftsman House, 2004.
677:Easter Morning, La Petite Penitente
528:, to be buried beside her husband.
503:(1921), Library and Archives Canada
488:(1920), Library and Archives Canada
473:(1920), Library and Archives Canada
458:(1919), Library and Archives Canada
443:(1920), Library and Archives Canada
307:in recognition during that period.
280:(1912), Library and Archives Canada
124:Easter Morning, La Petite Penitente
1182:Journal of War and Culture Studies
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1076:. U of Manitoba Press. p. 25
513:From the 1930s on, she lived in
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1155:. Galleries West Magazine, 2018
640:Market Among the Ruins of Ypres
471:Market Among the Ruins of Ypres
112:Market Among the Ruins of Ypres
1311:20th-century Canadian painters
1122:www.canadapost-postescanada.ca
1073:Western Voices in Canadian Art
311:Battlefield Period (1919-1921)
126:(c. 1906) and her watercolour
106:(1919), her oil on wove paper
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110:(1919), and her oil on board
968:. Library and Archive Canada
940:Gammel, Irene (2020-11-08).
538:Ordre des Palmes Académiques
214:(1911), Uno Langmann Limited
1346:20th-century women painters
1098:. War Amputations of Canada
297:Library and Archives Canada
285:Canadian Period (1911-1918)
203:European Period (1901-1911)
68:Vancouver, British Columbia
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1236:. London: Reaktion, 2014.
1218:Literary Review of Canada
558:War Amputations of Canada
486:The Kemmel Road, Flanders
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1176:Gammel, Irene. (2016). “
1070:Bovey, Patricia (2023).
688:Young Girl in Blue Dress
543:Diploma and Gold Medal,
441:The Sadness of the Somme
376:The Sadness of the Somme
212:Young Girl in Blue Dress
128:Young Girl in Blue Dress
1326:Canadian women painters
1209:7, no. 1 (2001): 59–82.
1191:5, no. 1 (2009): 77–95.
929:Canadian Rockies Sketch
301:Canadian Rockies Sketch
278:Canadian Rockies Sketch
1212:Porter, Anna (2021). “
1167:Gammel, Irene (2020).
1045:Gammel, Irene (2020).
1020:Gammel, Irene (2020).
863:Gammel, Irene (2020).
838:Gammel, Irene (2020).
813:Gammel, Irene (2020).
786:Gammel, Irene (2020).
735:Gammel, Irene (2020).
699:Gammel, Irene (2020).
613:Gammel, Irene (2020).
363:each individual loss.
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1316:Artists from Manitoba
1196:I’m Not Myself At All
914:Amos, Robert (1978).
888:Amos, Robert (1978).
760:Amos, Robert (1978).
662:Amos, Robert (1978).
594:Trenches on the Somme
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248:Jacques-Émile Blanche
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104:Trenches on the Somme
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1341:Canadian war artists
1194:Huneault, Kristina,
1153:www.gallerieswest.ca
592:featuring her work,
526:Port Arthur, Ontario
456:Dug Out on the Somme
1336:World War I artists
916:Mary Riter Hamilton
890:Mary Riter Hamilton
762:Mary Riter Hamilton
664:Mary Riter Hamilton
250:, and studied with
242:. In Paris, at the
96:Mary Riter Hamilton
78:Charles W. Hamilton
23:Mary Riter Hamilton
1239:Speck, Catherine.
1230:Speck, Catherine.
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260:Claudio Castelucho
252:Luc-Olivier Merson
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1189:The Space Between
1056:978-0-2280-1371-6
1031:978-0-2280-1371-6
874:978-0-2280-1371-6
849:978-0-2280-1371-6
824:978-0-2280-1371-6
799:978-0-2280-1371-6
746:978-0-2280-1371-6
710:978-0-2280-1371-6
626:978-0-2280-1371-6
394:Dominion Archives
197:Mary Hiester Reid
187:. She studied in
122:her oil painting
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48:September 7, 1867
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148:South Bruce, ON
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142:Life and career
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136:en plein air
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62:(1954-04-05)
1351:Draughtsmen
1306:1954 deaths
1301:1867 births
1128:17 December
1080:16 December
998:mass graves
724:battlefield
586:Canada Post
315:During the
236:Netherlands
169:Thunder Bay
165:Port Arthur
132:World War I
1295:Categories
1257:1019805160
1159:2 December
951:2023-10-23
600:References
596:, (1919).
509:Later life
328:Vimy Ridge
305:Emily Carr
44:1867-09-07
1149:"Article"
1102:14 August
972:31 August
903:Maternity
584:iN 2020,
560:released
556:In 1988,
515:Vancouver
268:Maternity
224:Secession
226:painter
185:Manitoba
181:Winnipeg
400:Gallery
220:Germany
193:Ontario
189:Toronto
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552:Legacy
547:, 1925
532:Honors
240:France
234:, the
167:, now
75:Spouse
232:Italy
116:Ypres
1253:OCLC
1161:2023
1130:2023
1104:2013
1082:2023
1051:ISBN
1026:ISBN
974:2013
869:ISBN
844:ISBN
819:ISBN
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705:ISBN
621:ISBN
254:and
57:Died
38:Born
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