PERI PHILLIPS MCQUAY


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McQuay knows her land, knows its inhabitants, both plant and the animal, like a first language.

Washington Post



In the style of Jane Goodall and other animal behaviourists, there's a magnificent tenderness in these narratives —emphatically not to be confused with sentimentality.

Toronto Globe and Mail

 
 







 

 

MORE ABOUT
Marie Cecilia Guard

Ken Phillips

  

Peri Phillips McQuay first learned to take joy in nature through the inspiration of her Canadian artist parents, Ken Phillips and Marie Cecilia Guard. McQuay and her conservation educator husband, Barry, were fortunate to live and work in Foley Mountain, an eastern Canadian eight-hundred-acre conservation area of forests, ponds, and granite ridges for thirty years.

 

Deeply committed to nature, art, and social justice,  she has been a professional writer for over thirty years. She is the author of two published books, The View From Foley Mountain, a book of nature meditations, and A Wing in the Door: Life With a Red-tailed Hawk, the story of a human-imprinted hawk, as well as numerous essays, articles, book reviews and a weekly column, published in the Kingston Whig-Standard Magazine. Educated at the University of Toronto (Hon. Philosophy and English), and a member of The Writers’ Union of Canada and ASLE, her credits include Country Journal, Harrowsmith, Bird Watcher's Digest, The Snowy Egret, Seasons, The Fiddlehead, Herizons and Brick

 

She has completed two novels: Towards Home, the story of a woman's journey of self-discovery through nature and art and Ruth, featuring reconciliation of hearts in the setting of "The Famous Flower Garden". Under work is Singing Meadow, the story of finding, designing and supervising the building of a country property, where simplicityand reverence for nature are key.

 


Passionate Gesture is the biography of that rare entity, a Canadian artist couple, Ken Phillips (1909-1983) and Marie Cecilia Guard (1908-2000), told by their daughter, Peri Phillips McQuay. Phillips and Guard attended the Ontario College of Art during the dynamic years of 1928 to 1935 (when Marie completed a post-graduate year), as well as the Grand Central School of Design in New York in 1930.  Their teachers included Arthur Lismer, J.W. Beatty, J.E.H. Macdonald, and Emanuel Hahn.  They both painted continuously from their childhood until Phillips' deaths. In the 1930's they exhibited regularly in the Ontario Society of Artists and Royal Academy shows
Marie's portrait of her daughter Peri, aged 9
Ken Phillips, at 19, was one of the youngest painters to exhibit at an O.S.A. exhibition in the Art Gallery of Toronto, and had one of his woodcuts purchased by that gallery when he was in his early twenties.  Marie Cecilia Guard had work that travelled across Canada. By the mid-1930's the artists had every reason to look forward to exciting careers.  In spite of the difficult economic climate of the Depression era, both husband and wife regularly exhibited major pictures (figure and landscape) in the prestigious Royal Canadian Academy and Ontario Society of Artists shows, and their paintings travelled across Canada and to the United States.

However, because of the Depression and the advent of the Second World War, followed by the post-war emphasis in Canada on abstract art, they eventually largely gave up trying to market and exhibit their paintings, preferring to focus all available time and energy on creating art.* But nothing could prevent them from a lifetime devoted to painting and drawing.



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