This notecard features the scultpure Untitled (Men Shooting Up through the Ice) (2005) by Inuit artist Nick Sikkuark (1943–2013).

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.

Lori Pauli

Recognized as one of Canada's most eloquent interpreters of landscape, Geoffrey James has been making photographs since the early 1970s. His first photographs, images of gardens, express classical notions of beauty as they reveal the geometry and underlying structures of the formal garden. These small panoramic photographs evoke a quiet passion for the great landscape schemes and natural sanctuaries of the past. In his most recent work, James pays particular attention to the way in which nature and culture intersect. While not concerned with "Romantic" notions of "the ruin," his photographs do suggest a fall from grace.

Hardcover | 176 pages
Publication Date: 2008

Lori Pauli

Recognized as one of Canada's most eloquent interpreters of landscape, Geoffrey James has been making photographs since the early 1970s. His first photographs, images of gardens, express classical notions of beauty as they reveal the geometry and underlying structures of the formal garden. These small panoramic photographs evoke a quiet passion for the great landscape schemes and natural sanctuaries of the past. In his most recent work, James pays particular attention to the way in which nature and culture intersect. While not concerned with "Romantic" notions of "the ruin," his photographs do suggest a fall from grace.

Hardcover | 176 pages
Publication Date: 2008

Cornelia Homburg, Anabelle Kienle
Joseph J. Rishel, Jennifer A. Thompson

Vincent van Gogh’s profound love of nature has often been taken for granted but has rarely been studied in detail. While he has long been admired for his dazzling use of intense colour and expressive brushwork, it is his innovative representation of nature that makes him a truly modern artist and is the focus of Van Gogh: Up Close. This exhibition, which has been organized by the National Gallery of Canada and the Philadelphia Museum of Art, concentrates on Van Gogh’s French period, from 1886 to 1890, and highlights how he conveyed his intense response to the natural world – whether this was a landscape, a still life, or the rendering of a single blade of grass – through a number of different, and often radical compositional strategies.

Softcover | 290 pages
Publication Date: 2012

Cornelia Homburg, Anabelle Kienle
Joseph J. Rishel, Jennifer A. Thompson

Vincent van Gogh’s profound love of nature has often been taken for granted but has rarely been studied in detail. While he has long been admired for his dazzling use of intense colour and expressive brushwork, it is his innovative representation of nature that makes him a truly modern artist and is the focus of Van Gogh: Up Close. This exhibition, which has been organized by the National Gallery of Canada and the Philadelphia Museum of Art, concentrates on Van Gogh’s French period, from 1886 to 1890, and highlights how he conveyed his intense response to the natural world – whether this was a landscape, a still life, or the rendering of a single blade of grass – through a number of different, and often radical compositional strategies.

Softcover | 290 pages
Publication Date: 2012

Brian Jungen (b. 1970)
Vienna, 2003

Jungen is renowned for repurposing objects from contemporary culture to reflect Indigenous concerns. Meant to resemble the skeleton of a whale, an endangered animal considered by many Indigenous peoples to be of great spiritual power, Vienna is constructed out of inexpensive patio chairs made of plastic, an indestructible material.

9 x 6.5 cm (3.5 x 2.5 in.)

In the collection of the National Gallery of Canada.

Brian Jungen (b. 1970)
Vienna, 2003

Jungen is renowned for repurposing objects from contemporary culture to reflect Indigenous concerns. Meant to resemble the skeleton of a whale, an endangered animal considered by many Indigenous peoples to be of great spiritual power, Vienna is constructed out of inexpensive patio chairs made of plastic, an indestructible material.

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.

Clarence Gagnon (1881-1942)
Village in the Laurentian Mountains, 1925

Gagnon is best known for his rural Quebec landscape paintings. Although he trained and maintained a studio in Paris for much of his career, he never lost his love of the Laurentians and the Charlevoix region of eastern Quebec, which inspired many of his paintings.

9 x 6.5 cm (3.5 x 2.5 in.)

In the collection of the National Gallery of Canada.

Clarence Gagnon (1881-1942)
Village in the Laurentian Mountains, 1925

Gagnon is best known for his rural Quebec landscape paintings. Although he trained and maintained a studio in Paris for much of his career, he never lost his love of the Laurentians and the Charlevoix region of eastern Quebec, which inspired many of his paintings.

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.

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: On the Edge of Experience, 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
27 x 23 cm (10.6 x 9.1 in.) 
Publication Date: 2011

This switch plate features a detail from Claude Monet's painting Waterloo Bridge: Effect of Sunlight in the Fog (1903) in the collection of the National Gallery of Canada.

Made for single gang toggle switch
11.43 x 6.98 cm (4.5 x 2.75 in)

This magnet features the artwork Winter Bird (1984) by Pudlo Pudlat (1916–1992). 

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 Winter Bird (1984) by Pudlo Pudlat (1916–1992). 

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

This magnet features the artwork Winter Brook (1908) by Gustaf Edolf Fjæstad (1868–1948). 

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 Winter Brook (1908) by Gustaf Edolf Fjæstad (1868–1948). 

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

This small poster features the artwork Winter Brook (after 1908) by Gustaf Edolf Fjæstad (1868–1948). 

Dimensions:
Image size: 29.2 x 22.6 cm (11.5 x 8.9 in.)
Paper size: 35.6 x 27.9 cm (14 x 11 in.)

In the collection of the National Gallery of Canada

Related Exhibition: Winter Count: Embracing the Cold

Katerina Atanassova, Wahsontiio Cross, Anabelle Kienle Ponka, Jocelyn Piirainen

Winter Count: Embracing the Cold draws inspiration from the Plains First Nations’ practices of recording significant events each winter, a visual reminder that helps structure histories and traditions passed down to future generations. This handsome volume explores how winter has long shaped Indigenous, Canadian settler and northern European art, uniting different cultural perspectives through diverse themes of storytelling, effects of light, physical adaptation and community and isolation.

Presenting a selection of works dating from the early 19th century to the present day, including those of artists such as Kenojuak Ashevak, J.E.H. MacDonald, Claude Monet, Kent Monkman, Meagan Musseau and Jin-me Yoon, Winter Count features approximately 165 plates, along with illustrated essays by curators from the National Gallery of Canada. The result is a book that invites readers to see winter anew – not as a season to be endured, but as a source of invention, connection and mutual respect across time and place. 

Bilingual
Softcover | 304 pages 
Publication Date: 2025

Lynne Cooke

This transformative exhibition explores how abstract art and woven textiles have intertwined over the past hundred years.

In the 20th century, textiles were often considered lesser – as applied art, women’s work, or domestic craft. Woven Histories challenges the hierarchies that have separated textiles from fine arts. Putting into dialogue some 130 works by more than 45 creators from across generations and continents, the exhibition explores the contributions weaving and related techniques have made to abstraction, modernism’s pre-eminent art form.

See a variety of textile techniques including weaving, knitting, netting, knotting and felting. Learn about the wide-ranging reasons artists from Anni Albers to Rosemarie Trockel and Jeffrey Gibson (Mississippi Band of Choctaw Indians/Cherokee Nation) have engaged with this art form. Some seek to effect social change; others address political issues. Engaging with textiles as subject, material and technique, still others revitalize abstraction’s formal conventions or critique its patriarchal history and gendered identity.

Follow this hidden thread of art history to discover the work of creators who were once marginalized for their gender, race or class.

Hardcover
24 x 28 cm (9.5 x 11 in.)
Publication date: 2024

The exhibition is organized by the National Gallery of Art, Washington, in collaboration with the National Gallery of Canada, Ottawa, the Los Angeles County Museum of Art, and The Museum of Modern Art, New York.