Celebrating the awe and wonder of the Arctic Circle region through visual art from the 19th and 20th centuries.

Vast, impenetrable coniferous forests, "white" summer nights, the perpetual darkness of snowy winters and the famous aurora borealis—the Arctic Circle is a fascinating, if unforgiving, region. The Fondation Beyeler and the Buffalo AKG Art Museum present an exhibition dedicated to this phenomenon with a stunning selection of 19th- and 20th-century paintings by artists from Scandinavia, Finland and Canada. With a gorgeous, atmospheric cover, the catalogue presents work by internationally renowned artists such as Munch and af Klint, while also highlighting artists who are highly respected in their own countries, but little known outside of them.

Featured in the catalogue: Hilma af Klint, Helmi Biese, Anna Boberg, Emily Carr, Gustaf Fjæstad, Akseli Gallen-Kallela, Lawren S. Harris, J.E.H. MacDonald, Edvard Munch, Prince Eugen of Sweden, Ivan Shishkin, Harald Sohlberg, Tom Thomson.

Hardcover | 240 pages
23.3 x 27.4 cm (9.2 x 10.8 in.) 
Publication Date: 2025

This calendar features 12 artworks by renowned Canadian impressionists. 

Featured artists: Paul Peel, Clarence Gagnon, Helen McNicoll, Maurice Cullen, Elizabeth Knowles, Florence Carlyle, Tom Thomson, Emily Carr, Marc-Aurèle de Foy Suzor-Côté, and William Brymner.

30.5 x 30.5 cm (12 x 12 in.)
Bilingual

This calendar features 12 artworks by renowned Canadian impressionists. 

Featured artists: Paul Peel, Clarence Gagnon, Helen McNicoll, Maurice Cullen, Elizabeth Knowles, Florence Carlyle, Tom Thomson, Emily Carr, Marc-Aurèle de Foy Suzor-Côté, and William Brymner.

17.7 x 17.7 cm (7 x 7 in.)
Bilingual

Emily Carr (1871-1945)
Forest Landscape No.2, c. 1935

"As her medium loosened, [Emily] Carr found herself better able to register both the immediacy of her own perceptions and the fluidity of her response to them."

- Excerpt from the catalogue Uninvited: Canadian Women Artists in the Modern Moment, an exhibition organized by the McMichael Canadian Art Collection with the exceptional support of the National Gallery of Canada. 

Card dimensions: 13.5 x 17.5 cm (5.3 x 6.8 in.)
Blank inside. Envelope included.

In the collection of the National Gallery of Canada.

This set of 30 postcards (1 of each style) features reproductions of artworks from the collection of the National Gallery of Canada. 

Size: 16 x 12.2 cm (6.3 x 4.8 in.) 
Printed in Canada 

List of Artworks: 
The North American Iceberg (1985) by Carl Beam (1943–2005) 
The Welcome Man (1913) by Emily Carr (1871–1945)
Portrait of a Peasant (c. 1900) by Paul Cézanne (1839–1906) 
Venus (c. 1518) by Lucas Cranach the Elder (1472–1553)
At the Café-concert (1879–1884) by Edgar Degas (1834–1917) 
Youth and Sunlight (1913) by Marc-Aurèle de Foy Suzor-Coté (1869–1937) 
March Storm, Georgian Bay (1920) by A.Y. Jackson (1882–1974) 
As the Old Sing, So the Young Pipe (c. 1640–1645) by Jacob Jordaens (1593–1678) 
Shapeshifter (2000) by Brian Jungen (b. 1970) 
The Pets and the Materials (1860) by Cornelius Krieghoff (1815–1872) 
Manitoba Party (1964) by William Kurelek (1927–1977) 
Boy with Bread (1892–1899) by Ozias Leduc (1864–1955) 
The Mill, Quebec (1925) by Arthur Lismer (1885–1969) 
On the Beach (Saint Jean-de-Luz) (1929–1930) by John Lyman (1886–1967) 
Orange and Green Bi-serial (1967) by Guido Molinari (1933–2004) 
Jean-Pierre Hoschedé and Michel Monet on the Banks of the Epte (c. 1887–1890) by Claude Monet (1840–1926) 
Café el Pasaje, Havana (1915–1919) by James William Morrice (1865–1924) 
Head of a Baby (2003) by Ron Mueck (b. 1958) 
Sunrise on the Saguenay (1880) by Lucius O'Brien (1832–1899) 
Lake George with Crows (1921) by Georgia O'Keeffe (1887–1986) 
A Venetian Bather (1889) by Paul Peel (1860–1892) 
On the Beach (1945) by Alfred Pellan (1906–1988) 
Hay Harvest at Éragny (1901) by Camille Pissarro (1830–1903) 
Jupiter and Europa (c. 1636) by Guido Reni (1575–1642) 
Claude and Renée (c. 1902–1903) by Pierre-Auguste Renoir (1841–1919) 
Joseph and Marie-Louise (1929) by Sarah Robertson (1891–1948) 
Winter Theme No. 7 (1961) by Jack Shadbolt (1909–1998) 
Old Lumber Dam, Algonquin Park (c. 1913) by Tom Thomson (1877–1917) 
The Letter (1878) by James Tissot (1836–1902) 
Reason over Passion (1968) by Joyce Wieland (1931–1998)

Emily Carr (1871–1945)
Forest Landscape No.2, c. 1935 

"As her medium loosened, [Emily] Carr found herself better able to register both the immediacy of her own perceptions and the fluidity of her response to them."

- Excerpt from the catalogue Uninvited: Canadian Women Artists in the Modern Moment, an exhibition organized by the McMichael Canadian Art Collection with the exceptional support of the National Gallery of Canada.

Dimensions:
Image size: 20.5 x 30.5 cm ( 8 x 12 in.)
Paper size: 27.9 x 35.6 cm (11 x 14 in.)

In the collection of the National Gallery of Canada.

Emily Carr (1871-1945)
Forest Landscape No.2, c. 1935

"As her medium loosened, [Emily] Carr found herself better able to register both the immediacy of her own perceptions and the fluidity of her response to them." 

- Excerpt from the catalogue Uninvited: Canadian Women Artists in the Modern Moment, an exhibition organized by the McMichael Canadian Art Collection with the exceptional support of the National Gallery of Canada. 

6.5 x 9 cm (2.5 x 3.5 in.)

In the collection of the National Gallery of Canada.

Martina Weinhart

With contributions by Rebecca Herlemann, Ruth Phillips, Carmen Robertson, Jeff Thomas, Georgiana Uhlaryik, Reneée van der Avoird, Martina Weinhart and Interviews with Lisa Jackson and Caroline Monnet

In the early 20th century, artists such as Emily Carr, Tom Thomson, and members of what would become the Group of Seven, transformed Post-Impressionism techniques into exciting new ways of interpreting the Canadian landscape.

Challenging existing traditions, they left major cities such as Toronto, Montreal and Vancouver and ventured deep into the Canadian wilderness. Often remaining in the bush for weeks on end, they reimagined the natural world using bold colours, stylized forms, and dynamic brushwork, producing vibrant modernist works that would define Canada and Canadian art for decades to come.

Premiering at Frankfurt’s Schirn Kunsthalle, Magnetic North features 87 works of art, including 23 works from the National Gallery of Canada. The exhibition also comprises five films, including two by contemporary Indigenous artists: How a People Live, a documentary by filmmaker Lisa Jackson and Mobilize, a short film by artist Caroline Monnet.

Magnetic North was organized by the SCHIRN KUNSTHALLE FRANKFURT, the Art Gallery of Ontario, and the National Gallery of Canada, with the generous support of the Department of Canadian Heritage.

Hardcover | 240 pages
23.5 x 27.5 cm (9.25 x 10.82 in)
Publication Date: 2021

Martina Weinhart

With contributions by Rebecca Herlemann, Ruth Phillips, Carmen Robertson, Jeff Thomas, Georgiana Uhlaryik, Reneée van der Avoird, Martina Weinhart and Interviews with Lisa Jackson and Caroline Monnet

In the early 20th century, artists such as Emily Carr, Tom Thomson, and members of what would become the Group of Seven, transformed Post-Impressionism techniques into exciting new ways of interpreting the Canadian landscape.

Challenging existing traditions, they left major cities such as Toronto, Montreal and Vancouver and ventured deep into the Canadian wilderness. Often remaining in the bush for weeks on end, they reimagined the natural world using bold colours, stylized forms, and dynamic brushwork, producing vibrant modernist works that would define Canada and Canadian art for decades to come.

Premiering at Frankfurt’s Schirn Kunsthalle, Magnetic North features 87 works of art, including 23 works from the National Gallery of Canada. The exhibition also comprises five films, including two by contemporary Indigenous artists: How a People Live, a documentary by filmmaker Lisa Jackson and Mobilize, a short film by artist Caroline Monnet.

Magnetic North was organized by the SCHIRN KUNSTHALLE FRANKFURT, the Art Gallery of Ontario, and the National Gallery of Canada, with the generous support of the Department of Canadian Heritage.

Hardcover | 240 pages
23.5 x 27.5 cm (9.25 x 10.82 in)
Publication Date: 2021

This 300 piece puzzle is adapted from the painting Yan Q.C.I. (1912) by Emily Carr (1871–1945). 

Finished puzzle size: 31 x 23 cm (12 x 9 in.) 
Packaged in a 12.7 cm (5 in.) tube 
Includes a cloth bag to store the puzzle pieces.

This 1,000 piece puzzle is adapted from the painting Church in Yuquot Village (1929) by Emily Carr (1871–1945). 

Finished puzzle size: 49 x 68 cm (19 ¼ x 26 ⅝ in.)

This 1,000 piece puzzle is adapted from the painting Totem Poles, Kitseukla (1912) by Emily Carr (1871–1945).

Finished puzzle size: 50.8 x 63.5 cm (20 x 25 in.)

These socks reproduce a detail from the painting Totem Poles, Kitseukla (1912) by Emily Carr (1871–1945). 

Composition: 80% cotton, 18% polyamide, 2% elastane
Country of origin: Italy