Katerina Atanassova, Anne-Marie Bouchard, Sandra Paikowsky, Esther Trépanier, Julie Nash, Nancy Mowll Mathews

The National Gallery of Canada is honoured to be showcasing the A.K. Prakash Collection of works by major Canadian artist James Wilson Morrice. This significant collection of oil paintings and watercolours by one of Canada’s foremost modernist painters is part of the Masterpiece in Focus series. Assembled with sensitivity to the evolution of the artist, the real strength of the collection lies in its variety, artistic quality and depth, highlighting key moments in Morrice’s career. The essays in this beautifully illustrated catalogue, as well as an in-depth interview with A.K. Prakash, position the pioneering artist in his proper and deserved context – as an artist of Canadian descent who lived and worked in Europe, who travelled extensively, and who was associated with the leading modern artists and movements of the period.

Hardcover | 240 pages
29.5 x 24 x 3 cm (11.6 x 9.4 x 1.2 in.) 
Available in French only

Katerina Atanassova, Anne-Marie Bouchard, Sandra Paikowsky, Esther Trépanier, Julie Nash, Nancy Mowll Mathews

The National Gallery of Canada is honoured to be showcasing the A.K. Prakash Collection of works by major Canadian artist James Wilson Morrice. This significant collection of oil paintings and watercolours by one of Canada’s foremost modernist painters is part of the Masterpiece in Focus series. Assembled with sensitivity to the evolution of the artist, the real strength of the collection lies in its variety, artistic quality and depth, highlighting key moments in Morrice’s career. The essays in this beautifully illustrated catalogue, as well as an in-depth interview with A.K. Prakash, position the pioneering artist in his proper and deserved context – as an artist of Canadian descent who lived and worked in Europe, who travelled extensively, and who was associated with the leading modern artists and movements of the period.

Hardcover | 240 pages
29.5 x 24 x 3 cm (11.6 x 9.4 x 1.2 in.)

This notecard features the artwork Mount Royal (1864) by Robert Seldon Duncanson (1821–1872).

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.

Paraskeva Clark (1898-1986)
Myself, 1933

Considered among the most powerful figure paintings in Canadian art, this self-portrait is direct, self-confident, and elegant. Painting herself while she was three months pregnant, Paraskeva Clark challenged the social mores regarding the visibility and celebration of the pregnant female body in the 1930s. Exhibited at the 1933 Canadian Group of Painter’s exhibition, the work presented the artist as a strong, professional woman, boldly commanding the viewer’s attention.

6.5 x 9 cm (2.5 x 3.5 in.)

In the collection of the National Gallery of Canada.

Paraskeva Clark (1898-1986)
Myself, 1933

Considered among the most powerful figure paintings in Canadian art, this self-portrait is direct, self-confident, and elegant. Painting herself while she was three months pregnant, Paraskeva Clark challenged the social mores regarding the visibility and celebration of the pregnant female body in the 1930s. Exhibited at the 1933 Canadian Group of Painter’s exhibition, the work presented the artist as a strong, professional woman, boldly commanding the viewer’s attention.

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.

Renowned for her rich and diverse practice, interdisciplinary artist Nadia Myre weaves together personal and political narratives around Indigenous identity, both past and present. Navigating the complex legacies of colonialism, nationhood and memory, her work fosters profound dialogues on the politics of belonging. 

Nadia Myre: Waves of Want presents more than two decades of Myre’s practice, including beadwork, sculpture, installation, video and poetry. Featuring essays and stunning reproductions, this volume examines how we engage with history through art, archives and language. 

Softcover | 176 pages 
22.9 × 27.9 cm (9 × 11 in.) 
Publication date: 2025

Our logo takes its cue from the Algonquin word Ankosé, going from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being. The colour palette comes from the northern lights, representing diverse voices, ideas, artists, perspectives, times, and places.

Made in Canada 
Diameter: 3.81 cm (1.5 in.)

Our logo takes its cue from the Algonquin word Ankosé, going from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being. The colour palette comes from the northern lights, representing diverse voices, ideas, artists, perspectives, times, and places.

Made in Canada 
Diameter: 5.72 cm (2.25 in.)

Our logo takes its cue from the Algonquin word Ankosé, going from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being. The colour palette comes from the northern lights, representing diverse voices, ideas, artists, perspectives, times, and places.

Made in Canada 
Diameter: 2.54 cm (1 in.)

Our logo takes its cue from the Algonquin word Ankosé, going from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being. The colour palette comes from the northern lights, representing diverse voices, ideas, artists, perspectives, times, and places.

Made in Canada 
Diameter: 3.81 cm (1.5 in.)

Our new logo takes its cue from the Algonquin word Ankosé, going from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being. The colour palette comes from the northern lights, representing diverse voices, ideas, artists, perspectives, times, and places.

Four colours available - please make your colour selection using the drop-down box.

Ceramic
Holds 315 ml (11 fl. oz)
Microwave and dishwasher safe

Our new logo takes its cue from the Algonquin word Ankosé, going from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being. The colour palette comes from the northern lights, representing diverse voices, ideas, artists, perspectives, times, and places.

Made in Canada
200 pages (right side lined/left side blank)
Spiral bound, lays flat when opened
23 x 16 x 1 cm (9 x 6.3 x 0.4 in.)

This ballpoint pen features the logo of the National Gallery of Canada.

Ink Colour: Black 
Length: 14 cm (5.5 in.) 
Made in Mexico

Designed, printed, and sewn in Canada, this tote bag features the National Gallery of Canada's new logo on its front and vision on its back.

Meaning “everything is connected,” “tout est relié,” the Algonquin word Ankosé beautifully symbolizes the Gallery’s purpose to nurture interconnection across time and place. Taking its cue from this concept, the logo shifts from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being.

Made in Canada
33 x 38 x 7.6 cm (13 x 15 x 3 in.)
65% polyester | 35% cotton

Our new logo takes its cue from the Algonquin word Ankosé, going from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being. The colour palette comes from the northern lights, representing diverse voices, ideas, artists, perspectives, times, and places.

183 cm (42 in.) open, 43 cm (17 in.) closed
Auto Open
Rubberized Handle
100% Polyester

Designed, printed, and sewn in Canada, this unisex t-shirt features the National Gallery of Canada's new logo on its front and vision on its back.

Meaning “everything is connected,” “tout est relié,” the Algonquin word Ankosé beautifully symbolizes the Gallery’s purpose to nurture interconnection across time and place. Taking its cue from this concept, the logo shifts from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being.

Made in Canada
100% cotton

Designed, printed, and sewn in Canada, this youth t-shirt features the National Gallery of Canada's new logo on its front and vision on its back.

Meaning “everything is connected,” “tout est relié,” the Algonquin word Ankosé beautifully symbolizes the Gallery’s purpose to nurture interconnection across time and place. Taking its cue from this concept, the logo shifts from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being.

Made in Canada
100% cotton

Joyce Wieland (1930-1998)
O Canada, 4-16 December 1970

Wieland emerged on Toronto’s experimental visual-arts scene in the early 1960s. The first living woman artist to be granted a solo exhibition at the NGC, she blended pop-art strategies with a sly sense of humour. O Canada represents a pair of lips as they sound out the syllables of the national anthem.

9 x 6.5 cm (3.5 x 2.5 in.)

In the collection of the National Gallery of Canada.

Meryl McMaster (b. 1988)
On the Edge of this Immensity, 2019

McMaster combines elements of performance and installation in her photography while exploring the tensions surrounding identity ad heritage, especially her own as a woman of Indigenous (Plains Cree) and European (British/Dutch) descent from Saskatchewan.

9 x 6.5 cm (3.5 x 2.5 in.)

In the collection of the National Gallery of Canada.