Before he conceived of his iconic mountain forms, and before he ventured into abstract compositions, Lawren S. Harris (1885–1970) was inspired by the urban environment of Toronto. Indeed, Harris routinely painted urban scenes from the early 1910s and into the early 1920s. The new National Gallery of Canada acquisition Billboard (Jazz) is an exceptional example from this seminal period in the artist’s career.
Years ago, when the National Gallery of Canada was located in the former Lorne Building at 90 Elgin Street in Ottawa, one of its most popular “storefront” draws was a display of Nancy Graves’ Camel VI, Camel VII and Camel VIII (1968–1969). Now on view once again, this trio of life-sized camel sculptures is enthralling audiences in an installation at the NGC.
Originally presented at the National Gallery of Canada in 2015, Clocks for Seeing: Photography, Time and Motion is now on view at the Art Gallery of Alberta. This compelling exhibition features works drawn entirely from the collection of the Canadian Photography Institute of the NGC.
Fireworks, balls, hunting parties, concerts and theatre. In an exhibition now on view at the Château de Versailles, just outside of Paris, the pleasures of the courts of Louis XIV, Louis XV and Louis XVI are explored through a series of objects, paintings, works on paper, evocative environments and audiovisual elements. One of the works in Festivities and Entertainment at Court is on loan from the National Gallery of Canada.
Brian Jungen’s Shapeshifter (2000) and Vienna (2003) are currently on view together at the NGC. Although both works are part of the national collection, such is their size — at 6.6 metres (21 feet) and 8.5 metres (28 feet) respectively — that they are not often displayed side by side.
The Advent of Abstraction: Russia, 1914–1923 features 67 objects — including drawings, collages, sculptures and paintings, along with letters, magazines, books, photographs and even a musical instrument. Most are on loan from international private and public collections — including New York’s Museum of Modern Art and the State Museum of Contemporary Art in Thessaloniki, Greece.
As a multifaceted art institution, the National Gallery of Canada is often more interested in the artist who painted a portrait than its subject. This painting, however, is an exception to the rule. In this case, General Foy found his perfect match in Horace Vernet, and the artist was encouraged to create a powerful work, thanks to the General’s fame.
In the fascinating new exhibition 25 x 25: Twenty-Five Years of Exhibition Announcements from Twenty-Five Indigenous Artists, now on view in the Library and Archives of the National Gallery of Canada, artist mailers reflect both artistic arcs and changing graphic styles.
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