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.
When you step into Vernon Ah Kee’s installation, cantchant (2009), expect to see much more than an expression of Australia’s surf culture. The work, from the National Gallery of Canada collection and currently on view at the Winnipeg Art Gallery, uses a series of suspended surfboards and a three-channel video to tell a powerful and compelling story of conflict, racism and contested territory along Australia’s beaches. “It’s a heavily loaded work,” Ah Kee has said of cantchant. “There’s a lot to look at.”
Now on view at Tate Britain in London, Paul Nash is the most comprehensive exhibition of Nash’s work in a generation. In addition to featuring two paintings from the National Gallery of Canada collection, the show includes more than 270 paintings, drawings, photographs, illustrations, assemblages and more, exploring the legacy of one of the 20th century’s most distinctive war artists and Surrealists.
The thirty-four circular paintings and watercolours floating on a wall of deep blue at the entrance to the exhibition Alex Janvier are like celestial bodies. Luminous, rich and varied, some small and some large, some veined with sinewy lines and others faceted like gemstones, the discs float, radiate and pulsate. They take your breath away.
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