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In this video Christopher Davidson, NGC curatorial assistant of Canadian art, introduces the recently installed exhibition of works in plastic in gallery B107, currently on view at the National Gallery of Canada.
The painting Portrait of Countess Nikolai Alexandrovich Tolstoy, née Princess Anna Ivanovna Bariatinska (1774-1825) [1796] by Élisabeth Louise Vigée-LeBrun is visiting the National Gallery of Canada on special loan for two years. Check out this short video then come see it for yourself.
December 19th marks NGC Magazine’s One-Year Anniversary! Thanks to our readers and our contributors, our pilot year has proven a great success. As we move into our second year, keep an eye out for more “up close and personal” features and interviews with artists, as well as extensive video coverage on exhibitions, artists and art, including exciting behind-the-scenes tours and studio visits.
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 National Gallery of Canada's new acquisition Billboard (Jazz) is an exceptional example from this seminal period in the artist’s career.
Don't miss this photo gallery of hidden gems from the NGC's Library and Archives collection.
Visitors to Gallery C207 at the National Gallery of Canada will find themselves surrounded by seven landscapes evoking Venice during the Grand Tour. Among these, two paintings by Canaletto and three by Guardi depict the squares, canals and palaces of Venice in the halcyon days before Europe changed forever.
If you have recently visited the European galleries at the National Gallery of Canada, you might have noticed some rather spectacular additions, including Gustave Doré’s large painting, Souvenir of Loch Lomond (1875), which now hangs with other 19th-century landscapes. It is a sublime work, showing the famous Scottish lake and surrounding highlands beneath ominous clouds, with only one tiny human in sight.
The Gallery's Library and Archives houses nineteen letters by French painter and sculptor Edgar Degas that provide insight into his life and his concerns as he aged.
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.
Described as the “most distinguished painter Wales has ever produced,” Richard Wilson is an acknowledged master of landscape. Born the son of a clergyman in Wales, Wilson went to London to apprentice as a portrait painter at the tender age of fifteen. From 1751 to 1757, Wilson lived in Rome, where he was part of a vibrant cosmopolitan community. Artists from across Italy, and from England, France, Flanders and Germany, flocked to the Eternal City, where they produced commissions for an equally international group of expatriates and visitors.