• Aboriginals in North America
  • Beast Literature
  • Canadiana.1
  • Dances & Music
  • Europe
  • Fables and Fairy Tales
  • Fables by Jean de La Fontaine
  • Feasts & Liturgy
  • Great Books Online
  • La Princesse de Clèves
  • Middle East
  • Molière
  • Nominations
  • Posts on Love Celebrated
  • Posts on the United States
  • The Art and Music of Russia
  • The French Revolution & Napoleon Bonaparte
  • Voyageurs Posts
  • Canadiana.2

Micheline's Blog

~ Art, music, books, history & current events

Micheline's Blog

Tag Archives: James Abbott McNeill Whistler

Mary Cassatt: an Intimate Japonisme

16 Tuesday Jul 2013

Posted by michelinewalker in Art, Japonisme

≈ 7 Comments

Tags

Henri de Toulouse-Lautrec, James Abbott McNeill Whistler, Japanese art, Japonism, Mary Cassatt, Toulouse-Lautrec, Wikipedia, William Merritt Chase

the-childs-bathThe Child’s Bath, by Mary Cassatt, 1893  (Photo credit: Wikipaintings)

 
Part of this post is borrowed from an earlier post that featured Mary Cassatt (22 May 1844 – 14 June 1926). At the time I wrote my earlier post, we had not discussed the influence of Japanese art on Western artists. However, we have now opened that door by showing how Japonism had an impact on the art of Toulouse-Lautrec. But Japonism also influenced other artists, one of whom is Mary Cassatt. 
 
 

 nude-child-1891mothers-kiss-1891_jpg!Large

the-visit-1891the-lamp-1891 (1)

Nude Child, aquatint, drypoint, 1890-1891 (Photo credit: Wikipaintings)
Mother’s Kiss, drypoint, etching, 1891-1891 (Photo credit: Wikipaintings) 
The Visit,  aquatint, drypoint, 1890-1891 (Photo credit: Wikipaintings)
The Lamp, aquatint, drypoint, etching, 1891 (Photo credit: Wikipaintings)

Two Forms of Japonisme

Japonism left its imprint in many ways, but we will focus on two ways: subject matter and style. James Abbott McNeill Whistler (11 July 1834 – 17 July 1903) and William Merritt Chase (1 November 1849 – 25 October 1916) featured an oriental subject matter: kimonos, blue and white porcelain, folding screens, fans, etc. As for Henri de Toulouse-Lautrec, his “Japonisme” was, to a large extent, a matter of composition. Theretofore, artists had usually arranged their subject matter using the Greek “Golden Section.” (See Golden ratio, Wikipedia.) Without stating that beauty is an absolute, the Greeks had noticed that an artwork was considered more beautiful by a large number of people if a certain template was used. This template is the Golden Section, which looks like an off-centre crucifix and it does indeed characterize the composition of a large number of drawings, prints and paintings.

Henri de Toulouse-Lautrec

Given that Henri de Toulouse-Lautrec was a trained artist, I would presume he was familiar with the Golden Section. However, in Lautrec’s works, one of the two intersecting lines of the Golden Section, is a diagonal line, which is a departure from the usual vertical line intersecting an horizontal line. That is a feature of Japonism.

Henri de Toulouse-Lautrec‘s Japonisme was therefore expressed in his compositional technique. As for colour, it is a flat colour, which is consistent with printmaking. If one looks at the dress worn by May Belfort in Jardin de Paris, May Belfort (1883; Art Nouveau) (please click on the link to see the artwork), one notices that May’s dress is evenly red. Lautrec rendered dimensionality by using lines, which is also a feature of Japonisme. His Moulin Rouge, La Goulue with her Sister (1892; Art Nouveau) is an example of linearity. There is a line on one side of La Goulue’s dress. Which takes us to Mary Cassatt.

the-coiffure-study-1891the-bath-1891 (1)

The Coiffure Study, drypoint, 1890-1891 (Photo credit: Wikipaintings)
The Bath, 1890-1891 (Photo credit: Wikipaintings) 
  

Mary Cassatt’s Japonisme

Mary Cassatt (22 May 1844 – 14 June 1926) was an American artist of French descent born to an upper-middle-class family in what was becoming Pittsburgh, Pennsylvania. She was educated in the United States and various European countries: Spain, Italy and Holland. However, although she began studying the fine arts in the United States, at the Pennsylvania Academy of the Fine Arts, it would not be long before she moved to Paris and became a permanent “expat.” She did so in 1871, but returned to the United States almost immediately, the Franco-Prussian War (19 July 1870 – 10 May 1871) having erupted.

Mary Cassat’s Japonisme shows affinities with that of Toulouse-Lautrec in that it is our second type of Japonism, Japonism revealed in the manner an artist creates his or her work rather than in his or her choice of subject matter. From the point of view of composition, the art of Mary Cassatt resembles that of Lautrec. We have an off-centre Golden Section and one of the intersecting lines is a diagonal line, a discreet diagonal line.

Moreover, her colours are flat colours whose dimensionality is expressed mostly through the use of lines. The art of Mary Cassatt is otherwise unrelated to that of Toulouse-Lautrec. Mary Cassatt did not make posters showing the Moulin Rouge and can-can dancers. Moreover, compared with Toulouse-Lautrec, her colours are subdued.

Although I have stated that Mary Cassatt’s subject matter was not Oriental, she sometimes featured a woman holding a fan.  However, her main subject matter are the Madonna and Child of the Renaissance, women and genre painting, depictions of people going about their daily activities. Genre painting was introduced by artists of the Dutch Golden Age and is a characteristic of Japanese meisho “famous places” prints, but in a context so different from Western art as to be a negligible similarity.

The Paris Japanese Arts Exhibition of 1890

Mary visited the Paris Japanese Arts Exhibition of 1890 and so loved the works she saw that she devoted the following year to making prints. She had an admirer and close friend in Edgar Degas (19 July 1834 – 27 September 1917). He was impressed with her work and encouraged her to show it at Impressionist exhibits, which she did eventually. Degas, whose pastels she loved, taught her how to make etchings. To this day, artists often learn to make prints as several copies of their art are produced which makes their artwork more affordable. But, in the case of Mary Cassatt’s work, learning to make etchings benefitted her Japonism probably more than it benefitted her clients. She could and did produce prints that may well be our best example of Japonisme.

According to Germaine Greer, “[t]he exhibition of Japanese art at the Palais des Beaux-Arts had revealed [to Mary Cassatt] the lightness and grace of the alternative aesthetic, beside which the pompous works of recognized artists seemed all the more laboured, explicit, heavy and lustreless.”[i] Mary was so impressed by the prints she saw and studied that she devoted the year 1891 to making prints, working in drypoint. Having traced her drawing on copper, as is the practice in etchings, she “laid in a soft ground over the part that she wished to colour and applied the colours all at once, by a technique that she called ‘à la poupée’  (doll-like), working with rags tied over little sticks. She and her printer then ran the plates by hand through the press.” (Greer, p. 112).

These prints were shown and Mary’s friend Degas was astonished: “I will not admit that a woman will draw so well.” Using the technique she devised, artist Mary Cassatt drew lines and put in a flat colour, in which her art resembles that of Toulouse-Lautrec. Moreover, from the point of view of composition, Mary also used Lautrec’s diagonal lines, albeit discreetly. Grace permeates not only the prints created in 1990-1991, but it also does all of her paintings.

For instance, although the work featured at the top of this post is not a print, we can observe readily the influence of Japanese woodblock printing and, more precisely, that of ukiyo-e, “pictures of the floating world,” prints. As is the case with Toulouse-Lautrec’s prints, Mary’s prints are linear and the colour, mainly flat. However, to return to the painting featured at the top of this post, the manner in which artist Mary  Cassatt depicted the lady’s hair reflects Western art. The lady’s hair is not a flat black, but her hairdo shows Japonism. This Japonism is one of subject matter, our first form of Japonism, but marginally.

Germaine Greer writes that, “[Mary Cassatt’s] designs are as deceptively simple and self-effacing as a haiku.” (Greer, p. 112). A haiku is a very short Japanese poem, usually 17 on in three phrases of 5, 7 and 5 on respectively. Such poetry expresses an “essence,” and can therefore be associated with Impressionism, or an attempt to capture the evanescent moment when light touches and molds the subject, giving it constant newness. (See Impressionism, Wikipedia.)

Biographical Notes

In nineteenth-century France, women were denied access to the Paris École des Beaux-Arts, not to mention the right to vote, a cause Mary Cassatt would embrace especially in her later years, when cataracts all but blinded her. Therefore, given the exclusion of women from the Paris École des Beaux-Arts, Mary Cassatt studied privately under academicist Jean-Léon Gérôme.

Toward the end of 1866, Mary also joined a painting class taught by Charles Chaplin, a noted genre artist. As well, in 1868, Cassatt studied with artist Thomas Couture and showed A Mandoline Player (please click on the title to see the artwork), dated 1872 in Wikipaintings, at the Paris Salon of 1868. Cassatt’s Two Women Throwing Flowers During Carnival was also exhibited and purchased at the Paris Salon of 1872.

The above were “realist” works that showed the influence of Gustave Courbet (10 June 1819 – 31 December 1877). However, as of 1877, Cassatt’s work would no longer be accepted by the Paris Salon. At Degas’s request, Mary therefore showed eleven of her works at the Impressionist exhibit of 1879. She then joined the Impressionists in shows that took place in 1880, 1881, and 1886.[ii] Yet, Mary Cassatt’s Japoniste prints and paintings cannot be associated with Impressionism, except by date. Let us say that Cassatt had a Japoniste period.

As mentioned earlier, once she returned to France, via Italy,[iii] in 1874, Cassatt also received guidance from painter, printmaker, and sculptor. Edgar Degas (19 July 1834 – 27 September 1917). Moreover, she was inspired by the art of Camille Pissarro (10 July 1830 – 13 November 1903). Degas and Pissarro were forerunners of Impressionism. As do many apprentices, Mary went to the Louvre on a daily basis and copied the masters. These visits to the Louvre also allowed her to meet other artists.

The Madonna and Child: Feminity and Motherliness

Mary decided not to marry. She felt she could not combine the duties of a wife and mother and the demands of a career as artist. However, as I have noted, her artwork are depictions of the Madonna and Child, particularly as of 1890. So there is femininity and motherliness in her art. Mary Cassatt also painted children and women and did genre work, depictions of domesticity. The Visit (please click on the title to see the artwork) and The Lamp, prints shown above, are examples of her genre painting. So are The Coiffure Study and The Bath. Intimacy pervades Cassatt’s art. This art cannot be associated with Impressionism, except by date.

Post-Impressionism, Fauvism (Henri Matisse) and Cubism (Georges Braque, Picasso, etc.), movements that followed Impressionism, were not to Mary’s liking. Besides, she developed various health problems, including cataracts. She continued to paint despite poor eyesight and, according to Wikipedia, “she took up the cause of women’s suffrage and, in 1915, she showed eighteen works in an exhibition supporting the movement.” She died eleven years later, on 14 June 1926, at Château de Beaufresne.

Mary Cassatt’s Japonisme, an intimate, feminine and motherly Japonisme, reached excellence as did most of her work. She was a fine artist who earned the of her peers. In 1894, she was described by Gustave Geffroy as one of “les trois grandes dames” of Impressionism along with  Marie    Bracquemond and Berthe Morisot. Very few women are ever called “grandes dames.” (See Mary Cassatt, Wikipedia.)

RELATED ARTICLES

  • Letter From Paris | Tokyo on the Seine (tmagazine.blogs.nytimes.com)
  • Henri de Toulouse-Lautrec: the Can-can (michelinewalker.com)
  • William Merritt Chase: Japonisme in America (michelinewalker.com)

______________________________

[i] Germaine Greer, The Obstacle Race, The Fortunes of Women Painters and Their Work (New York: Farrar Straus Giroux, 1979), p. 112.

[ii] “Mary Cassatt”. Encyclopædia Britannica. Encyclopædia Britannica Online.
Encyclopædia Britannica Inc., 2013. Web. 15 Jul. 2013
<http://www.britannica.com/EBchecked/topic/98098/Mary-Cassatt>.

[iii] She was commissioned by the Archbishop of Pittsburgh to paint two copies of paintings by Correggio in Parma, Italy.

the-bath

 
© Micheline Walker
15 July 2013
WordPress
 
 
 
The Bath, n.d.
(Photo credit: Wikipaintings)
(Please click on the image to enlarge it.)
 

 

Micheline's Blog

  • Print
  • Facebook
  • Twitter
  • LinkedIn
  • Pinterest

Like this:

Like Loading...

Manet, “Japonisme” and Modernism

08 Monday Jul 2013

Posted by michelinewalker in Art, Japonism

≈ 10 Comments

Tags

Academic art, Édouard Manet, Hokusai, James Abbott McNeill Whistler, Japonism, Le déjeuner sur l'herbe, Manet, Paris, Salon, William-Adolphe Bouguereau

640px-Hokusai_portraitKatsushika Hokusai, in an 1839 self-portrait (Photo credit: Hokusai, Wikipedia)

As of Édouard Manet’s “modernity,” there occurred a gradual decline of academic art. The nude women of Déjeuner sur l’herbe (Luncheon on the Grass) did not quite belong. Symbolism had therefore entered the visual arts. At first glance, this painting seemed a “realist” work, consistent with Gustave Courbet‘s art, but it wasn’t. The academicists, Alexandre Cabanel and William-Adolphe Bouguereau, who excluded it from the Salon of 1863, the regular exhibition of Paris’ École des Beaux-Arts, must have sensed what Victor Hugo had sensed when he first read Baudelaire’s Fleurs du mal, (The Flowers of Evil.) Hugo called Baudelaire’s collection of poems a ‘nouveau frisson’ (a new shudder, a new thrill)[i] in literature. (See Les Fleurs du mal [The Flowers of Evil], Wikipedia.)

James Abbott McNeill Whistler‘s “Symphony in White, No. 1: The White Girl ” was also rejected by academicists. Whistler was introducing impressionism and Japonism, which, Whistler’s case, would be called the Anglo-Japanese style. After leaving the United States, Whistler spent some time in France, but soon settled in England.

Both Manet’s Déjeuner sur l’herbe and Whistler’s Symphony in White were “different,” so both were shown at the 1863 Salon des Refusés.[ii]  Émile Zola stated that “[b] eauty [was] no longer an absolute, a preposterous universal standard,”[iii] and, in 1886, he published L’Œuvre (The Masterpiece), a novel inspired by the rejection of Manet’s “Masterpiece.” That same year, Jean Moréas published the Symbolist Manifesto.

Our Japanese artists are:

  • Kitagawa Utamaro (c. 1753 – 31 October 1806),
  • Katsushika Hokusai (c. 31 October 1760 – 10 May 1849)  and
  • Utagawa Hiroshige (1797 – 12 October 1858).

398px-23_-_The_Sea_off_Satta

394px-03_-_Sukiyagahsi

View of Mount Fuji from Satta Point in the Suruga Bay, published posthumously (1859)

Sukiyagahsi in the Eastern Capital, from “Thirty-six Views of Mount Fuji” Utagawa Hiroshige, (Photo credit: Wikipedia)
 
(Please click on the images to enlarge them.)
 

Modernisme

Manet’s inclusion in a painting such as the deceitfully realist Déjeuner sur l’herbe of elements that did not seem to belong and did not belong, and Japonisme contributed to the ultimate acceptance of different styles, a multitude of “isms.” How else could Art Nouveau, Post-Impressionism (Van Gogh),[iv] Cubism (Picasso), Intimism,  (Modernism  [EN]), etc.have emerged? The unexpectedly enigmatic art of Manet and Japonism ushered in the degree of acceptance that characterizes modernism. In fact, Japonism was a tidal wave.

By the same token, there occurred an equally unexpected integration of various arts and crafts: musical, visual, etc. There was collaboration between stage decorators, composers, literary figures and various “artists.” Sergei Diaghilev‘s Ballets Russes employed major artists, including Pablo Picasso. Russian painter Léon Bakst was the Ballets Russes’ stage- and costume designer. Sergei Diaghilev also employed soon-to-be major composers: Nikolai Rimsky-Korsakov, Igor Stravinsky, etc. (For lists of artists and musicians who worked for Diaghilev, see Ballets Russes, Wikipedia.)

In other words, although there had to be exceptions, beginning with Manet and Japonisme, the world of art broadened. Modernism, starting with Impressionism, inaugurated greater diversity. A list may be useful.

  • Æstheticism (British art for art’s sake): James Abbott McNeill Whistler, Dante Gabriel Rossetti, etc.;
  • artwork that is precise rather than “impressionistic” and “suggestive,” i.e. the art of members of the Pre-Raphaelite Brotherhood: Edward Burne-Jones, William Hunt, John Everett Millais, Dante Gabriel Rossetti, John William Waterhouse, etc.;
  • decorative arts, i.e. the Arts and Crafts movement: William Morris, John Ruskin, etc.;
  • Art Nouveau, curvy and sensual, whose most acclaimed representative is Czech artist Alphonse Mucha, etc.;
  • illustrators: Anne Anderson, Aubrey Beardsley, Ivan Bilibin, Randolph Caldecott, Walter Crane, Edmund Dulac, Kate Greenaway, Beatrix Potter, Arthur Rackham, John Tenniel, etc.;
  • posters, many of which reflect Japonisme or Orientalisme, in general, i.e. Toulouse-Lautrec, Théophile Steinlen, etc.;
  • Japonisme (Toulouse-Lautrec, Mary Cassatt)
  • interior decoration: La Maison Jansen, a Paris-based decorative office, founded in 1880 by Dutch-born Jean-Henri Jansen, Tiffany, design;
  • Post-Impressionism and other “isms.”

In other words, as I wrote at the beginning of this post, rule-governed academic art simply faded out. But there’s more…

“Views,” or the Japanese Hours

As well, some Japanese prints depicted “hours” of the day. In traditional Japan, hours had been associated with an animal. There were twelve hours: the Rat, the Ox, the Tiger, the Hare, the Dragon, the Serpent, the Horse, the Sheep, the Monkey, the Rooster, the Dog and the Boar. (See Horloge japonaise traditionnelle, Wikipedia.) These prints reminded me of Benedict’s Canonical Hours. “Hours,” or equivalent observances, existed before Western monasticism. They in fact still exist, not only in Western culture, but also in other cultures and religions, such as Buddhism, Hinduism, and Janeism. (See Monasticism, Wikipedia.)

As for “Views” or “Famous Places” (meisho), they sometimes resemble genre art, or art portraying persons going about their daily activities. Hokusai‘s Thirty-six Views of Mount Fugi and Hiroshige‘s One Hundred Famous Views of Edo, both meisho (“famous places”) pieces, bring to mind the miniatures of Jean de France’s Très Riches Heures du Duc de Berry, illuminated by the Limbourg brothers and showing the labours of the months. Hiroshige’s series One Hundred Famous Views of Edo is divided into seasons, which takes us back to the calendar, no banal invention.

RELATED POSTS

  • Canonical Hours or the Divine Office
  • Books of Hours, a Rich Legacy
  • Les Très Riches Heures du Duc de Berry
  • The Fitzwilliam Book of Hours: comments, palimpsests
 
HOKUSA~1
 

Netsuke-Workshop-large

Sarumaru Dayu, from the ‘Hyakunin Isshu Ubaga Etoki’
A Netsuke Worshop, from the ‘Hyakunin Isshu Ubaga Etoki’
Katsushika Hokusai
(Photo credit: Hokusai Wikipedia and Hokusai, The Complete Works)
(Please click on the images to enlarge them.)

_________________________

[i] Wikipedia (Manet) contains a fuller commentary.

[ii] “Frissonner” means to shiver.

[iii] There were other Salons des Refusés (1874, 1875, and 1886) but it did not become an annual exhibition. The 1863 Salon des refusés was decreed by Napoléon III. (See Salon des Refusés, Wikipedia)

[iv] According to Wikipedia, the “term [Post-Impressionism] was coined by British artist and art critic Roger Fry, in 1910, to describe the development of French art since Manet.”

Manet’s “Déjeuner sur l’herbe” (Luncheon on the Grass), 1863
(Photo credit: Déjeuner sur l’herbe, Wikipedia)
(Please click on the image to enlarge it.)
 758PX-~1 
   
© Micheline Walker
8 July 2013
WordPress
 
Related articles
  • Katsushika Hokusai: Beauty (michelinewalker.com)
  • Édouard Manet’s Modernity (michelinewalker.com)
  • Édouard Manet: Enigmas (michelinewalker.com)
  • Utamaro’s Women & Japonisme (michelinewalker.com)
  • Utagawa Hiroshige: a “Human Touch” (michelinewalker.com)
  • William Merritt Chase: Japonisme in America (michelinewalker.com)

Micheline's Blog

  • Print
  • Facebook
  • Twitter
  • LinkedIn
  • Pinterest

Like this:

Like Loading...

James McNeill Whistler: Women

24 Wednesday Apr 2013

Posted by michelinewalker in Art, United States

≈ 6 Comments

Tags

Édouard Manet, Freer Gallery of Art, James Abbott McNeill Whistler, London, Maud Franklin, Musée d'Orsay, National Gallery of Art, Whistler

??????
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
294px-Whistler.white.393pix220px-Whistler_James_Arrangement_in_White_and_Black_1876
 
 
 5150-004-540FAA4Bharmony-in-red-lamplight_jpg!Blog
 
 

 

Head of a Young Woman, ca. 1890
Symphony in White, No. 1: The White Girl, 1862 (National Gallery of Art, Washington, DC.)
Arrangement in White and Black, 1876 (Freer Gallery of Art, Washington, D.C.)
Harmony in Red Lamplight, 1886
Arrangement in Grey and Black, No. 1: The Artist’s Mother, 1871–72 (Musée d’Orsay, Paris)
Photo credit: Wikipaintings.org
The Athenæum
 

James Abbott McNeill Whistler (July 10, 1834 – July 17, 1903)

There is more to say about Reynard and motifs, but all I can send my readers today are pictures of the women in the life of American-born London-based artist James Abbott McNeill Whistler (July 10, 1834 – July 17, 1903).  I have been sick with migraine for the last two days.  The second part of my blog will be posted later.

Three Women: jO, Maud and Beatrice

The two loves of Whistler’s life were Joanna “Jo” Hiffernan (ca. 1843 – after 1903) and Maud Franklin (9 January 1857 – ca. 1941).  Joanna had been Whistler’s model and helped him raise his son Charles James Whistler Hanson (1870–1935) the result of an affair with a parlour maid, Louisa Fanny Hanson.  Whistler’s mother never learned about her grandson.

Whistler painted a portrait of Joanna which he showed at the 1863 Paris Salon des Refusés (the Exhibition of Rejects [non Academic works]) at the same time as  Édouard Manet‘s showed his Déjeuner sur l’herbe (1862-1863).  Manet’s painting caused a scandal, but Whistler’s Symphony in White, No. 1, a work in the manner of the Pre-Raphaelites, did not go unnoticed.  On the contrary.   We also have a painting of Maud, Arrangement in White and Black, 1876.

In 1888, Whistler married Beatrice (“Trixie”) Godwin (née Beatrix Birnie Philip).  She had been his pupil and model.  She was the former wife of architect Edward William Godwin.  They first lived in Paris but returned to England when she was diagnosed with cancer.  “Trixie” posed for Harmony in Red Lamplight, 1886.  They lived in the Savoy Hotel until her death in 1896.  Trixie was 39 at the moment of her death.  Whistler himself died seven years later.

Whistler’s Mother

However the woman who dominates Whistler’s life is his mother, born Anna Mathilda McNeill (September 27, 1804 – January 3, 1881). James’ mother had Southern roots.  Whistler enjoyed looking upon himself as an “impoverished Southern aristocrat.”  James did not want to have been born in Lowell, Massachusetts.  Later in life, when he sued John Ruskin for libel, he insisted he was born in Saint Petersburg.

After Whistler settled in England, in the 1860s, she joined him.  She did not like her son’s bohemian lifestyle, so accommodations had to be found for “Jo.”  Yet, the most famous of Whistler’s painting is the now iconic Arrangement in Grey and Black, No. 1: The Artist’s Mother (1871–72), a portrait of Whistler’s mother.  When she died, he added her name, McNeill, to his.

I will pause here…

Whistler by William Merritt Chase, 1885
292px-Chase_William_Merritt_James_Abbott_McNeill_Whistler_1885

Micheline Walker©
April 23, 2013
WordPress
 
 
 

Micheline's Blog

  • Print
  • Facebook
  • Twitter
  • LinkedIn
  • Pinterest

Like this:

Like Loading...

Europa

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 2,483 other followers

Meta

  • Register
  • Log in
  • Entries feed
  • Comments feed
  • WordPress.com

Categories

Recent Posts

  • Pope Francis apologizes for the Residential School Tragedy in Canada
  • From Cats to l’École acadienne de Pomquet
  • The Battle of Jumonville Glen and …
  • Vive la République …
  • Yesterday was my birthday, but
  • The Text of the 2nd Amendment …
  • Happy 4th of July
  • Canada Day
  • Language Laws in Quebec: Bill 96
  • From the Rurik Dynasty to the first Romanov

Archives

Calendar

August 2022
M T W T F S S
1234567
891011121314
15161718192021
22232425262728
293031  
« Jul    

Social

  • Facebook
  • Twitter
  • YouTube
  • WordPress.org

micheline.walker@videotron.ca

Micheline Walker

Micheline Walker

Social

Social

  • View belaud44’s profile on Facebook
  • View Follow @mouchette_02’s profile on Twitter
  • View Micheline Walker’s profile on LinkedIn
  • View belaud44’s profile on YouTube
  • View Miicheline Walker’s profile on Google+
  • View michelinewalker’s profile on WordPress.org

Micheline Walker

Micheline Walker
Follow Micheline's Blog on WordPress.com

A WordPress.com Website.

  • Follow Following
    • Micheline's Blog
    • Join 2,483 other followers
    • Already have a WordPress.com account? Log in now.
    • Micheline's Blog
    • Customize
    • Follow Following
    • Sign up
    • Log in
    • Report this content
    • View site in Reader
    • Manage subscriptions
    • Collapse this bar
 

Loading Comments...
 

    %d bloggers like this: