This small poster features the artwork Snow II (1915) by Lawren S. Harris (1885–1970). 

Dimensions:
Image size: 24.5 x 23.2 cm (9.65 x 9.15 in.)
Paper size: 27.9 x 35.6 cm (11 x 14 in.)

In the collection of the National Gallery of Canada

Related Exhibition: Winter Count: Embracing the Cold

This magnet features the artwork Snowbound (1915) by J.E.H MacDonald (1873–1932). 

9 x 6.5 cm (3.5 x 2.5 in.) 

In the collection of the National Gallery of Canada.

Related Exhibition: Winter Count: Embracing the Cold

This notecard features a detail of the artwork Snowbound (1915) by J.E.H MacDonald (1873–1932). 

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

In the collection of the National Gallery of Canada 

Related Exhibition: Winter Count: Embracing the Cold

Jin-me Yoon (b. 1960)
Souvenirs of the Self (Lake Louise), 1991

Yoon emigrated from South Korea to Vancouver in 1968. While studying contemporary art, she was exposed to artists and theorists engaged with questions of sexual and cultural difference. Her work is recognized for contributing to the ongoing discussions concerning identity and place.

9 x 6.5 cm (3.5 x 2.5 in.)

In the collection of the National Gallery of Canada.

Jin-me Yoon (b. 1960)
Souvenirs of the Self (Lake Louise), 1991

Yoon emigrated from South Korea to Vancouver in 1968. While studying contemporary art, she was exposed to artists and theorists engaged with questions of sexual and cultural difference. Her work is recognized for contributing to the ongoing discussions concerning identity and place.

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

In the collection of the National Gallery of Canada.

This notecard features the artwork St. Michael and the Dragon (1875) by Edward Burne-Jones (1833–1898).

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

In the collection of the National Gallery of Canada.

Related Exhibition: Gathered Leaves: Discoveries from the Drawings Vault.

Edited by Reid Shier with contributions by Ma’an Abu Taleb, Erika Balsom, Samir Gandesha, and George E. Lewis.

Stan Douglas, one of the most compelling voices in Canadian contemporary art, has long explored critical sociocultural and political change. His exhibition for the 59th Biennale di Venezia, 2011 ≠ 1848, reflects upon the language of protest, revolution and the uprisings witnessed across the globe in 2011. Douglas’ four large-scale hybrid documentary photographs re-stage protests in Tunis, London, New York and Vancouver, and his two-channel HD video, ISDN, presents Grime and Mahraganat rappers exchanging subversive lyrics between studios in London and Cairo.

This stunning 288-page illustrated catalogue, published in English, French and Arabic, features some 100 full-colour detailed images that meticulously capture behind-the-scenes views of Douglas’ elaborate productions. Essays by leading international cultural thinkers examine the artist’s work in relation to music, political economy, contemporary media theory and the rise of Grime and Mahraganat.

Hardcover | 288 pages (100 illustrations)
24.8 x 27.5 cm (9.8 x 10.8 in.)
English, French and Arabic
Publication Date: 2022

Josée Drouin-Brisebois

The National Gallery of Canada is the commissioning institution for the 54th International Art Exhibition at the Venice Biennale featuring the work of acclaimed artist Steven Shearer. Under its pop-cultural surface, Shearer’s work is surprisingly complex and insightful. By showing us aspects of popular culture from many different points of view, he exposes the false hierarchy of high and low art and prompts us to consider the more interesting differences between the cultural industries and the art world. The generously-illustrated catalogue published to accompany the Venice exhibition highlights Shearer’s paintings, text-based works, sculptures and photographic compilations.

Paper | 257 pages
Publication Date: 2011

English, French and Italian

F.H. Varley (1881-1969) 
Stormy Weather, Georgian Bay, 1921

Image Size: 41.5 x 55.7 cm (17.75 x 21.93 in.) 
Poster Size: 61 x 71 cm (24 x 28 in.)

In the collection of the National Gallery of Canada

This magnet features the artwork Study for the Figure of Innocence in "Innocence Taking Refuge in the Arms of Justice" (c. 1779) by Élisabeth Louise Vigée Le Brun (1755–1842).

6.5 x 9 cm (2.5 x 3.5 in.)

In the collection of the National Gallery of Canada.

Related Exhibition: Gathered Leaves: Discoveries from the Drawings Vault.

This notecard features the artwork Study for the Figure of Innocence in "Innocence Taking Refuge in the Arms of Justice" (c. 1779) by Élisabeth Louise Vigée Le Brun (1755–1842). 

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.

Related Exhibition: Gathered Leaves: Discoveries from the Drawings Vault.

This small poster features the artwork Study for the Figure of Innocence in "Innocence Taking Refuge in the Arms of Justice" (c. 1779) by Élisabeth Louise Vigée Le Brun (1755–1842).

Dimensions:
Image size: 23.5 x 30 cm (9.25 x 11.8 in.)
Paper size: 27.9 x 35.6 cm (11 x 14 in.)

In the collection of the National Gallery of Canada

Related Exhibition: Gathered Leaves: Discoveries from the Drawings Vault.

Complete with a large-scale reproduction of Helen McNicoll's (1879–1915) pastoral painting, Sunny September, 1913, this poster makes for a timeless souvenir of the National Gallery of Canada's travelling exhibition, Canada and Impressionism: New Horizons.

Image Size: 63.5 x 61 cm (25 x 24 in.) 
Poster Size: 91.4 x 61 cm (36 x 24 in.) 

In the collection of the Musée national des beaux-arts du Québec (Collection Pierre Lassonde)

Lucius R. O’Brien (1832-1899)
Sunrise on the Saguenay, Cape Trinity, 1880

O’Brien was appointed in 1880 as the first president of the Royal Canadian Academy of Arts, Canada’s first national arts organization. His painting Sunrise on the Saguenay, Cape Trinity was his diploma work, honouring his membership to the Academy, and was one of the earliest works to enter the NGC collection.

9 x 6.5 cm (3.5 x 2.5 in.)

In the collection of the National Gallery of Canada.

Lucius R. O’Brien (1832-1899)
Sunrise on the Saguenay, Cape Trinity, 1880

O’Brien was appointed in 1880 as the first president of the Royal Canadian Academy of Arts, Canada’s first national arts organization. His painting Sunrise on the Saguenay, Cape Trinity was his diploma work, honouring his membership to the Academy, and was one of the earliest works to enter the NGC collection.

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

In the collection of the National Gallery of Canada.

This notecard features a detail of the artwork Supernatural Kolus (2014) by Beau Dick (1955–2017). 

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

In the collection of the National Gallery of Canada 

Related Exhibition: Winter Count: Embracing the Cold

Robin Laurence, Mary Reid & Josée Drouin-Brisebois

For over three decades, Wanda Koop has created an overwhelming body of work. Published in conjunction with the exhibition Wanda Koop, sur le fil de l'expérience, organized by the Winnipeg Art Gallery and the National Gallery of Canada, this beautifully illustrated catalogue presents a selection of paintings, as well as a number of video works. 

Paper | 164 pages
Publication Date: 2011

Pierre Théberge, Jean Clair 

On the heels of the Roaring Twenties, the 1930s, which spanned from the economic crisis of 1929 to the outbreak of the Second World War, was a dark decade. Beyond similar governmental mechanisms, these regimes shared an ideology: the will to create what they called the "New Man." This decade began with a more or less innocent dream of the theme of the original egg, germination, the harmonious growth of a fabric both biological and social, but ended with the nightmarish discovery of corpses in the concentration camps by the armies of liberation in 1945. 

Softcover | 396 pages 
23 x 30 cm (9 x 12 in.) 
Publication date: 2008

Andréi Nakov

Beginning in 1914 in Russia, a group of artists primed for experimentation introduced an entirely new direction for the visual arts, articulating the language of abstraction with Suprematism and Constructivism. This catalogue centers on the emergence of the Russian avant-garde movement in Moscow until the mid-1920s. Works by El Lissitzky, Vladimir Tatlin, Kazimir Malevich, Ilya Chashnik, Liubov Popova, Olga Rozanova and Ivan Kliun are featured. Also included is a rich selection of books, manuscripts, drawings and prints, reminding us that, for many Russians in the early twentieth century, art was a part of everyday life.

Paperback | 168 pages
Publication Date: 2016

Edited by Réjean Legault with contributions by Susanna Caccia Gherardini, Karen Colby-Stothart, Josée Drouin-Brisebois, Cornelia Hahn Oberlander, Serena Maffioletti, Cammie McAtee, Franco Panzini, and Andrea Pertoldeo.

This richly illustrated book offers a detailed account of the history and evolution of the Canada Pavilion, built in 1958 in the gardens of the Venice Biennale.

Complete with reproductions of archival material including photographs, drawings, and maps, along with a portfolio from contemporary photographers, this commemorative publication includes essays on: the cultural and political context in which the Canada Pavilion committee worked; the concept and construction of the building and the links with architect Enrico Peressutti and the BBPR partnership; the Pavilion’s role in the postwar Italian cultural context and its fortunes from its inauguration in 1958 to the restoration in 2018; the restoration project itself, and finally, the relationship between the Pavilion and the Biennale Gardens.

Following the roles of key players involved in the design and construction of the building, to its multifaceted use over the past sixty years in exhibiting the work of some of Canada’s most talented artists and architects, The Canada Pavilion at the Venice Biennale illuminates the Pavilion’s great importance in the context of modern architecture, art and culture, and international political diplomacy.

Hardcover | 192 pages
24 x 28 cm (9.4 x 11 in.)
Publication Date: 2020