Abstract art ELLIOTT EMANUEL, MRCP
What on earth is it meant to be? Why doesn't he paint nice pictures like he used to do? An abstract painting provokes these questions and though the answers are easy they seem insufficient - "It isn't anything, just a pleasing pattern" or "He got tired of those pictures you liked and wanted to do something different". When I read criticism of art or music I feel the inadequacy of words, save to describe technique or the historical background, or to point to something as worth seeing or hearing. Acres of discourse on art amount to no more and, when they attempt more, are meaningless. Yet perversely and paradoxically I will add to them. Although abstract art may seem mainly a development of this century, the germs were there all the time. Anyone who admired a geometric pattern or a snowflake was admiring a shape, and architecture is basically an art of pure forms, though gargoyles may be added outside and all the riot of the rococo within. The Koran forbade the representation of living forms as idolatrous, so for centuries Moslem art was confined to decoration, arabesques. until the prohibition had outlived its day, and Persian and Mogul miniatures showed us courtly life, the hunt and war. People have always wanted to preserve a memory of a place or a person, to celebrate some religious event, or magically to obtain a wish, and
for millennia art has fulfilled these functions. Even here we see a tendency toward conventional and highly formal representations, for instance in the poses of Buddhist iconography. And all art entails the "abstraction" of the significant from the insignificant, so that even a representational painter like Turner often created a vague swirl of sea and mist and
Reprint requests to: Dr. Elliott Emanuel, 352 Dorval Ave., Suite 201, Dorval, PQ H9S 3H8
"Circle" by Bridget Riley: ingenious illusion, migraine material. (National Gallery of Canada, Ottawa.)
278 CMA JOURNAL/AUGUST 12, 1978/VOL. 119
sky whose basis in nature seems slight and inessential. Sometimes we can see, in a series of Mondrian's sketches of a lighthouse for instance, how, starting with a very clear representation, he reached in the end a form in which the vestigial tower, door and windows can only be recognized if we are shown the starting point. It was then a small step to geometrical patterns without a realistic beginning. Similarly Claude Monet, toward the end of his life, and possibly because of clouded vision due to cataract, painted his garden with the bridge and water lilies so that bridge and flowers become virtually lost, and we are left only with colour. Perhaps the most exciting modern paintings (and the same is true in a different way of sculpture) are in this borderland where natural likeness becomes significant form. I hazard the guess that the reason for the efflorescence of abstract art was the enormous technical skill of even mediocre artists, so that it was natural to look for new ways to excite, to shock or to please. It is striking how often the early works of an abstract painter are skilfully realistic, and of course most training in art schools teaches the technique of representation, as far from the occupation of the mature artist as, in some ways, is medical school from medical practice. For some artists, there is a release of personal selfexpression when no longer tied to a real scene, for others the challenge is to express their own feelings through depiction of a face or an event or a landscape. A parallel tendency can be seen in other arts. Only a writer
of comic verse nowadays uses rhyme and regular metre; "serious" composers avoid the diatomic scale and traditional forms; avant garde novels do not depict life realistically but as if dreamt, or lived in a confusional state; and the theatre of the absurd is, well, absurd. These creative artists felt the need to go beyond the traditional. In doing so they ran the risk of appealing only to an 6lite, but then one should suspect of mediocrity any major work that is not at first greeted with outrage. In the western world, so far, there has always been an 6lite public, but it is tough in a communist state, where "socialist realism" must serve the revolution, and "formalistic tendencies" can lead to prison. I am not an artist, only an art lover. For me art is essentially a communication of beauty, a gift from the artist to me. But some artists are as turned on by their intense inner perceptions as if tripping with LSD, and they pour out on canvas or paper what they see with the inner eye, with little regard for some future spectator. For them the real may be a handicap, and not to copy nature a necessity. The bystander is inessential at the time, but comes in later as reassurance of self-worth, and to put bread on the table. (But not, they tell me, as much as on the tables of representational artists.) Once the representation of reality has been left behind there are endless possibilities, and we may well
m - m m "Composition" by Dutch artist Piet Mondrian, oil on canvas. (National Gallery of Canada, Ottawa.)
ask, in the words of one realistic painter, how do you tell a good one from a bad one? Good question. But it really arises in judging any work of art. Is Francis Bacon a good portraitist? Are the Fauve landscapes
"No. 29" by Jackson Pollock: frenzied drippings? (National Gallery of Canada, Ottawa.)
of Vlaminck or Derain good? You have to leave it to the taste and feelings of the beholder, giving some, but not overwhelming, weight to the judgement of one who has seen much and loved much. I do not believe there is any absolute standard. The enjoyment of a work of art is a form of meditation, as the eye runs over the picture, noticing relationships of colour, texture and form. A mediocre landscape or portrait can be taken in at a glance: it gives little to meditate on, no delicious discoveries of subtlety, nothing original. A Ben Nicholson may draw you on to look and look again, and if you are to live with a painting this is what you seek. I do not find this in the frenzied drippings of Jackson Pollock, the chaotic doodling of Riopelle, or the two or three faintly coloured lines of Yves Gaucher, but others do, and pay dearly for the pleasure. I can admire the ingenuity of Bridget Riley's optical illusions, but they bring me too close to a migraine for comfort. Peredukov's continued on page 286
CMA JOURNAL/AUGUST 12, 1978/VOL. 119 279
*Zyloprim* (allopurinol) Imilulima: ZYLOPRIM is Intended for the treatment of gout as well as primary and secondary hyperuricaemia. ZYLOPRIM is indicated in the treatment of primary orsecondary uric acid nephropathy. ZYLOPRI M is especially useful in patients with gouty nephropathy, in those who form renal urate stones, and those with unusually severe disease. ZYLOPRIM is effective in preventing the occurrence and recurrence of uric acid stones and gravel. ZYLOPRIM is useful in the therapy and prophylaxis of tissue urate deposition, renal calculi and for acute urate nephropathy in patients with neoplastic disease who are particularly susceptible to hyperuricaemia and uric acid stone formation, especially after radiation therapy or the use of antineoplastic drugs. hutrai.iiutimas: Zyloprim should not be given to patients who are hypersensitive or who have had a severe reaction to this drug. Pruamligma aid Waruluga: Acute gouty attacks may be precipitated at the start of treatment with Zyloprim in new patients, and these may continue even after serum uric acid levels begin to fall. Prophylactic administration of colchicine and a low dosage of Zyloprim are advisable, particularly in new patients and in those where the previous attack rate has been high. Zyloprim is not recommended for use during pregnancy or in women of child-bearing potential unless in the jud gement of the physician, the potential benefits outweigh the possible risks to the fetus. Zyloprim should not be given to children except those with hyperuricaemia secondary to mali;nancy or with Lesch-Nyhansy ndrome. Patients with impaired renal or hepatic functions should be carefully observed during the early stages of Zyloprim administration and the drug with drawn if increased abnormalities in hepatic or renal functions appear. Uriusuri.a aid Zylqiri.: Combined therapy of Zyloprim and uricosurics will result often in a reduction in dosage of both agents. Punmulhd or mini with Zyhpdm: In patients receiving PURl NETHOL* (mercaptopurine) or MURAN * (azathioprine), the concomitant ad ministration of 300600 mg of ZYLOPRIM per day will require a reduction in dose to approximately 'A to 'A of the usual dose of mercaptopurine or azathioprine. Subse..uent adjustment of doses of PURINETHOL or IMUR N should be based on therapeutic response and any toxic effects. Ohhrprqa.ids with Zyl.,ni.: In the presence of allopurinol, there may be competition in the renal tubule for the excretion of chlorpropamide. When renal function is poor, the recognised risk of prolonged hypoglycaemic activity of chlorpropamide may be increased if ZYLOPRIM is given concomitantly. Osumnia auti..agulauls with Zylgmni.: It has been reported that under experimental conditions allopurinol prolongs the half-life of the anticoagulant, dicumarol. The clinical significance of this has not been established, but this interaction should be kept in mind when allopurinol is given to patients already on anticoagulant therapy, and the coagulation time should be reassessed. Uvmrm rudieus: Skin reactions associated with exfoliation, fever, chills, nausea and vomiting, lymphadenopathy, arthralgia and/or eosinophilia are the most common and may occur at any time during treatment. Gastrointestinal disorders were reported but may diminish if Zyloprim is taken after meals. Symptoms aid trutm..t d uvordorage: Overdosage of allopurinolis usually manifested by nausea and vomiting. No treatment is normally required, provided the drug is withdrawn and adequate hydration is maintained to facilitate excretion of the drug. If, however, other forms of acute distress are observed, gastric lavage should be considered, otherwise the treatment is symptomatic. Pharmaidogy: When taken orally, allopurinol is rapidly metabolized. The main metabolete Is oxy purinol, which is itself a xanthine oxidase inhibitor. Allopurinol and its metabolites are excreted by the kidney, but the renal handling is such that allopurinol has a plasma half-life of about one hour, whereas that of oxypurinol exceeds 18 hours. Thus, the therapeutic effect can be achieved by a once-a-day dosage of ZYLOPRIM in patients takIng 300 mg or less per day. Dosage aid ididuistratlo.: ZYLOPRIM, administered orally should be divided into 1 to 3 daily doses. Daily doses up to and including 300 mg may be taken once daily after a meal. Divided doses should not exceed 300 mg. The minimum effective dose is 100 to 200 mg. The average is 200 to 300 mg/day for patients with mild gout, 400 to 600 mg/day for moderately severe tophaceous gout, and 700 to 800 mg/day in severe conditions. The maximal recommended dose is 800 mg per day in patients with normal renal function. Treatment with 600 to 800 mg daily for two or three days prior to chemotherapy or x-irradiation is advisable to preventuric acid nephropathy. Treatment should be continued at a dosage adjusted to the serum uric acid level until there is no longer a threat of h y peruricaemia and hyperuricosuria. Itis essential that a daily urinary output of two litres or more be maintained during ZYL OPRIM therapy, and neutral or alkaline urine is desirable. OhiMroo: For the treatment of secondary hyperuricaemia associated with malignancies and in the Lesch-Nyhan syndrome, ZYLOPRIM should be given in doses of 10 mg/kg/day. The response should be evaluated after approximately 48 hours by monitoring serum uric acid and/or urinary uric acid levels and adjusting the dose if necessary. Proaootatioa: ZYLOPRIM 100 mg scored white tablets. Bottles of 100 and 500 tablets; Code: Weilcome U4A. ZYLOPRIM 300 mg scored peach coloured tablets. Bottles of 100 tablets. Code: Welicome C9B. Pridoot Moosgraph availahle os roqumaL W6019 *Trade Mark .
. Burroughs Weilcome Ltd. I LaSalle, Qua.
proposed a precise protocol for visiting private offices and development of standards for private practice. The committee at that time recommended that, to meet the standards of the then-new professional code, hospitals should revise their bylaws (the committee offered technical assistance). The committee also urged improvements in hospitals in quality of care and record keeping. The professional inspection committee is not concerned with discipline (the corporation has another committee for that function). Its
function is to help upgrade the quality of medical care by making recommendations directly to physicians and by making proposals for refresher courses. It maintains close liaison with other professional physicians. bodies. The committee is discussing psychiatric records with the heads of universities' psychiatric departments and the Quebec Psychiatric Association. The results of these discussions are expected to be presented in next year's report. D.R.
Los services a domicile: une solution economique? Le ministre des Affaires sociales du Quebec, le Dr D. Lazure, a d6cid6 d'ajouter une somme de $7 millions au budget actuel de $30 111 603 pour le d.veloppement des services . domicile au cours de l'ann.e 78-79. Les besoins urgents d'auxiliaires familiales pour les personnes ag.es, les malades chroniques et les adultes handicap.s seront les premiers consid6r.s. "La politique du minist.re des Affaires sociales . l'6gard des services . domicile, pr6cise le communiqu6, est de permettre le plus possible aux personnes diminu.es physiquement
de demeurer . la maison en leur fournissant sur place les soins et l'aide appropri.s. Cette solution, en plus d'.liminer les inconv.nients d'un changement de milieu et de la vie dans un foyer, s'av.re aussi beaucoup plus 6conomique." Les sommes pr6vues ont 6t6 r6parties dans chaque r6gion compte tenu des besoins, des services d6j. existants et de la dispersion de la population. Elles seront distribu6es par le Conseil de la sant6 et des services sociaux de chaque r6gion, entre les CLSC qui se chargeront de l'organisation de ces services.fl
one wants to touch the dents in it, much as birds are said to have ABSTRACT ART pecked at the grapes of a classical Greek painter. But as with the clever enormous canvases might brighten a Dutch still-lifes of an earlier generacommercial building, or a loft, but tion one is tempted to say, "very not a bungalow, and John Fox's re- skilful, but so what?" cent great rectangles of almost unWe look to art to give us a new relieved black evoke in me only vision, illuminated by the artist's depression and anger. creative eye. In abstract art this is No one can predict the future de- the inner eye, and the product is velopments of art. Hyperrealism is truly "a vision". It irradiates our now in vogue, with Alex Colville, lives and when successful has the Andrew Wyeth, Donald Curley, and magical property that the longer we many others, whose trompe l'oeil is look at it the more we see in it. It sometimes magical but often banal. has enriched the tradition of western A beat-up car is represented so that art. U continued from page 279
What on earth is it meant to be? Why doesn't he paint nice pictures like he used to do? An abstract painting provokes these questions and though the answers are easy they seem insufficient - "It isn't anything, just a pleasing pattern" or "He got tired of those pictures you liked and wanted to do something different". When I read criticism of art or music I feel the inadequacy of words, save to describe technique or the historical background, or to point to something as worth seeing or hearing. Acres of discourse on art amount to no more and, when they attempt more, are meaningless. Yet perversely and paradoxically I will add to them. Although abstract art may seem mainly a development of this century, the germs were there all the time. Anyone who admired a geometric pattern or a snowflake was admiring a shape, and architecture is basically an art of pure forms, though gargoyles may be added outside and all the riot of the rococo within. The Koran forbade the representation of living forms as idolatrous, so for centuries Moslem art was confined to decoration, arabesques. until the prohibition had outlived its day, and Persian and Mogul miniatures showed us courtly life, the hunt and war. People have always wanted to preserve a memory of a place or a person, to celebrate some religious event, or magically to obtain a wish, and
for millennia art has fulfilled these functions. Even here we see a tendency toward conventional and highly formal representations, for instance in the poses of Buddhist iconography. And all art entails the "abstraction" of the significant from the insignificant, so that even a representational painter like Turner often created a vague swirl of sea and mist and
Reprint requests to: Dr. Elliott Emanuel, 352 Dorval Ave., Suite 201, Dorval, PQ H9S 3H8
"Circle" by Bridget Riley: ingenious illusion, migraine material. (National Gallery of Canada, Ottawa.)
278 CMA JOURNAL/AUGUST 12, 1978/VOL. 119
sky whose basis in nature seems slight and inessential. Sometimes we can see, in a series of Mondrian's sketches of a lighthouse for instance, how, starting with a very clear representation, he reached in the end a form in which the vestigial tower, door and windows can only be recognized if we are shown the starting point. It was then a small step to geometrical patterns without a realistic beginning. Similarly Claude Monet, toward the end of his life, and possibly because of clouded vision due to cataract, painted his garden with the bridge and water lilies so that bridge and flowers become virtually lost, and we are left only with colour. Perhaps the most exciting modern paintings (and the same is true in a different way of sculpture) are in this borderland where natural likeness becomes significant form. I hazard the guess that the reason for the efflorescence of abstract art was the enormous technical skill of even mediocre artists, so that it was natural to look for new ways to excite, to shock or to please. It is striking how often the early works of an abstract painter are skilfully realistic, and of course most training in art schools teaches the technique of representation, as far from the occupation of the mature artist as, in some ways, is medical school from medical practice. For some artists, there is a release of personal selfexpression when no longer tied to a real scene, for others the challenge is to express their own feelings through depiction of a face or an event or a landscape. A parallel tendency can be seen in other arts. Only a writer
of comic verse nowadays uses rhyme and regular metre; "serious" composers avoid the diatomic scale and traditional forms; avant garde novels do not depict life realistically but as if dreamt, or lived in a confusional state; and the theatre of the absurd is, well, absurd. These creative artists felt the need to go beyond the traditional. In doing so they ran the risk of appealing only to an 6lite, but then one should suspect of mediocrity any major work that is not at first greeted with outrage. In the western world, so far, there has always been an 6lite public, but it is tough in a communist state, where "socialist realism" must serve the revolution, and "formalistic tendencies" can lead to prison. I am not an artist, only an art lover. For me art is essentially a communication of beauty, a gift from the artist to me. But some artists are as turned on by their intense inner perceptions as if tripping with LSD, and they pour out on canvas or paper what they see with the inner eye, with little regard for some future spectator. For them the real may be a handicap, and not to copy nature a necessity. The bystander is inessential at the time, but comes in later as reassurance of self-worth, and to put bread on the table. (But not, they tell me, as much as on the tables of representational artists.) Once the representation of reality has been left behind there are endless possibilities, and we may well
m - m m "Composition" by Dutch artist Piet Mondrian, oil on canvas. (National Gallery of Canada, Ottawa.)
ask, in the words of one realistic painter, how do you tell a good one from a bad one? Good question. But it really arises in judging any work of art. Is Francis Bacon a good portraitist? Are the Fauve landscapes
"No. 29" by Jackson Pollock: frenzied drippings? (National Gallery of Canada, Ottawa.)
of Vlaminck or Derain good? You have to leave it to the taste and feelings of the beholder, giving some, but not overwhelming, weight to the judgement of one who has seen much and loved much. I do not believe there is any absolute standard. The enjoyment of a work of art is a form of meditation, as the eye runs over the picture, noticing relationships of colour, texture and form. A mediocre landscape or portrait can be taken in at a glance: it gives little to meditate on, no delicious discoveries of subtlety, nothing original. A Ben Nicholson may draw you on to look and look again, and if you are to live with a painting this is what you seek. I do not find this in the frenzied drippings of Jackson Pollock, the chaotic doodling of Riopelle, or the two or three faintly coloured lines of Yves Gaucher, but others do, and pay dearly for the pleasure. I can admire the ingenuity of Bridget Riley's optical illusions, but they bring me too close to a migraine for comfort. Peredukov's continued on page 286
CMA JOURNAL/AUGUST 12, 1978/VOL. 119 279
*Zyloprim* (allopurinol) Imilulima: ZYLOPRIM is Intended for the treatment of gout as well as primary and secondary hyperuricaemia. ZYLOPRIM is indicated in the treatment of primary orsecondary uric acid nephropathy. ZYLOPRI M is especially useful in patients with gouty nephropathy, in those who form renal urate stones, and those with unusually severe disease. ZYLOPRIM is effective in preventing the occurrence and recurrence of uric acid stones and gravel. ZYLOPRIM is useful in the therapy and prophylaxis of tissue urate deposition, renal calculi and for acute urate nephropathy in patients with neoplastic disease who are particularly susceptible to hyperuricaemia and uric acid stone formation, especially after radiation therapy or the use of antineoplastic drugs. hutrai.iiutimas: Zyloprim should not be given to patients who are hypersensitive or who have had a severe reaction to this drug. Pruamligma aid Waruluga: Acute gouty attacks may be precipitated at the start of treatment with Zyloprim in new patients, and these may continue even after serum uric acid levels begin to fall. Prophylactic administration of colchicine and a low dosage of Zyloprim are advisable, particularly in new patients and in those where the previous attack rate has been high. Zyloprim is not recommended for use during pregnancy or in women of child-bearing potential unless in the jud gement of the physician, the potential benefits outweigh the possible risks to the fetus. Zyloprim should not be given to children except those with hyperuricaemia secondary to mali;nancy or with Lesch-Nyhansy ndrome. Patients with impaired renal or hepatic functions should be carefully observed during the early stages of Zyloprim administration and the drug with drawn if increased abnormalities in hepatic or renal functions appear. Uriusuri.a aid Zylqiri.: Combined therapy of Zyloprim and uricosurics will result often in a reduction in dosage of both agents. Punmulhd or mini with Zyhpdm: In patients receiving PURl NETHOL* (mercaptopurine) or MURAN * (azathioprine), the concomitant ad ministration of 300600 mg of ZYLOPRIM per day will require a reduction in dose to approximately 'A to 'A of the usual dose of mercaptopurine or azathioprine. Subse..uent adjustment of doses of PURINETHOL or IMUR N should be based on therapeutic response and any toxic effects. Ohhrprqa.ids with Zyl.,ni.: In the presence of allopurinol, there may be competition in the renal tubule for the excretion of chlorpropamide. When renal function is poor, the recognised risk of prolonged hypoglycaemic activity of chlorpropamide may be increased if ZYLOPRIM is given concomitantly. Osumnia auti..agulauls with Zylgmni.: It has been reported that under experimental conditions allopurinol prolongs the half-life of the anticoagulant, dicumarol. The clinical significance of this has not been established, but this interaction should be kept in mind when allopurinol is given to patients already on anticoagulant therapy, and the coagulation time should be reassessed. Uvmrm rudieus: Skin reactions associated with exfoliation, fever, chills, nausea and vomiting, lymphadenopathy, arthralgia and/or eosinophilia are the most common and may occur at any time during treatment. Gastrointestinal disorders were reported but may diminish if Zyloprim is taken after meals. Symptoms aid trutm..t d uvordorage: Overdosage of allopurinolis usually manifested by nausea and vomiting. No treatment is normally required, provided the drug is withdrawn and adequate hydration is maintained to facilitate excretion of the drug. If, however, other forms of acute distress are observed, gastric lavage should be considered, otherwise the treatment is symptomatic. Pharmaidogy: When taken orally, allopurinol is rapidly metabolized. The main metabolete Is oxy purinol, which is itself a xanthine oxidase inhibitor. Allopurinol and its metabolites are excreted by the kidney, but the renal handling is such that allopurinol has a plasma half-life of about one hour, whereas that of oxypurinol exceeds 18 hours. Thus, the therapeutic effect can be achieved by a once-a-day dosage of ZYLOPRIM in patients takIng 300 mg or less per day. Dosage aid ididuistratlo.: ZYLOPRIM, administered orally should be divided into 1 to 3 daily doses. Daily doses up to and including 300 mg may be taken once daily after a meal. Divided doses should not exceed 300 mg. The minimum effective dose is 100 to 200 mg. The average is 200 to 300 mg/day for patients with mild gout, 400 to 600 mg/day for moderately severe tophaceous gout, and 700 to 800 mg/day in severe conditions. The maximal recommended dose is 800 mg per day in patients with normal renal function. Treatment with 600 to 800 mg daily for two or three days prior to chemotherapy or x-irradiation is advisable to preventuric acid nephropathy. Treatment should be continued at a dosage adjusted to the serum uric acid level until there is no longer a threat of h y peruricaemia and hyperuricosuria. Itis essential that a daily urinary output of two litres or more be maintained during ZYL OPRIM therapy, and neutral or alkaline urine is desirable. OhiMroo: For the treatment of secondary hyperuricaemia associated with malignancies and in the Lesch-Nyhan syndrome, ZYLOPRIM should be given in doses of 10 mg/kg/day. The response should be evaluated after approximately 48 hours by monitoring serum uric acid and/or urinary uric acid levels and adjusting the dose if necessary. Proaootatioa: ZYLOPRIM 100 mg scored white tablets. Bottles of 100 and 500 tablets; Code: Weilcome U4A. ZYLOPRIM 300 mg scored peach coloured tablets. Bottles of 100 tablets. Code: Welicome C9B. Pridoot Moosgraph availahle os roqumaL W6019 *Trade Mark .
. Burroughs Weilcome Ltd. I LaSalle, Qua.
proposed a precise protocol for visiting private offices and development of standards for private practice. The committee at that time recommended that, to meet the standards of the then-new professional code, hospitals should revise their bylaws (the committee offered technical assistance). The committee also urged improvements in hospitals in quality of care and record keeping. The professional inspection committee is not concerned with discipline (the corporation has another committee for that function). Its
function is to help upgrade the quality of medical care by making recommendations directly to physicians and by making proposals for refresher courses. It maintains close liaison with other professional physicians. bodies. The committee is discussing psychiatric records with the heads of universities' psychiatric departments and the Quebec Psychiatric Association. The results of these discussions are expected to be presented in next year's report. D.R.
Los services a domicile: une solution economique? Le ministre des Affaires sociales du Quebec, le Dr D. Lazure, a d6cid6 d'ajouter une somme de $7 millions au budget actuel de $30 111 603 pour le d.veloppement des services . domicile au cours de l'ann.e 78-79. Les besoins urgents d'auxiliaires familiales pour les personnes ag.es, les malades chroniques et les adultes handicap.s seront les premiers consid6r.s. "La politique du minist.re des Affaires sociales . l'6gard des services . domicile, pr6cise le communiqu6, est de permettre le plus possible aux personnes diminu.es physiquement
de demeurer . la maison en leur fournissant sur place les soins et l'aide appropri.s. Cette solution, en plus d'.liminer les inconv.nients d'un changement de milieu et de la vie dans un foyer, s'av.re aussi beaucoup plus 6conomique." Les sommes pr6vues ont 6t6 r6parties dans chaque r6gion compte tenu des besoins, des services d6j. existants et de la dispersion de la population. Elles seront distribu6es par le Conseil de la sant6 et des services sociaux de chaque r6gion, entre les CLSC qui se chargeront de l'organisation de ces services.fl
one wants to touch the dents in it, much as birds are said to have ABSTRACT ART pecked at the grapes of a classical Greek painter. But as with the clever enormous canvases might brighten a Dutch still-lifes of an earlier generacommercial building, or a loft, but tion one is tempted to say, "very not a bungalow, and John Fox's re- skilful, but so what?" cent great rectangles of almost unWe look to art to give us a new relieved black evoke in me only vision, illuminated by the artist's depression and anger. creative eye. In abstract art this is No one can predict the future de- the inner eye, and the product is velopments of art. Hyperrealism is truly "a vision". It irradiates our now in vogue, with Alex Colville, lives and when successful has the Andrew Wyeth, Donald Curley, and magical property that the longer we many others, whose trompe l'oeil is look at it the more we see in it. It sometimes magical but often banal. has enriched the tradition of western A beat-up car is represented so that art. U continued from page 279
