Gustav Klimt’s depiction of Adele Bloch-Bauer – the only person he ever painted twice – is now an iconic masterpiece. Over a century later, film director Simon Curtis has re-created the glory of this gilded age with Woman in Gold, screening at the NGC as part of its TIFF Film Circuit program.
Carr’s diary — published in 2014 as Sister and I in Alaska — is a charming book that offers readers a glimpse into the humour and talent of a 36-year-old Carr. Believed to have been lost for more than 60 years, the diary was discovered by Canadian author David P. Silcox in 2011.
Colville, edited by Andrew Hunter, is published by Goose Lane Editions, and is available from the National Gallery of Canada Bookstore. The exhibition Alex Colville is on view at the National Gallery of Canada until September 7, 2015.
Beauty and size aside, Impressionism in Canada: A Journey of Rediscovery by A.K. Prakash is an astonishingly comprehensive look at Impressionism, from its early origins in France to its influence on the Group of Seven.
When he heard in 2012 that the notorious Kingston Penitentiary was due to close after 178 years, photographer Geoffrey James approached Jan Allen, Curator of Kingston’s Agnes Etherington Art Gallery, about creating a photographic record of the facility. The result was an exhibition and James’ recent book, Inside Kingston Penitentiary 1835–2013 — a surprisingly moving pictorial look at Canada’s oldest penal institution.
It all began in Killarney, Ontario in 1977. While looking for blueberries at Nellie Lake with their children, well-known Canadian art patrons Jim and Sue Waddington came across the scene that inspired A.Y. Jackson’s painting Hills, Killarney, Ontario (Nellie Lake) (c. 1933). They didn’t know it at the time, but the find marked the start of a 36-year quest to locate and photograph the landscapes in paintings by the Group of Seven.
Sarah Thornton’s last book, Seven Days in the Art World was a lively read, full of insights about a world that values insider perspectives. With 33 Artists in 3 Acts, she shifts focus, and gives readers a more reflective view of the artist, who is this time the sole protagonist.
To some, Terry Smith is an iconoclast determined to turn the
contemporary art discourse on its head. To others, he’s simply saying
what many are already thinking.
Share this page