Sonia Couturier, Pierre Rosenberg

Eighteenth-century Rome was a cosmopolitan centre that became a mecca for artists, collectors, and enlightened art lovers. It was also the primary destination for artists from France wanting to perfect their craft. This work highlights the artistic effervescence of the Eternal City, where French artists were able to study ancient monuments and masterpieces of sculpture and painting, benefitting from the protection of influential patrons with a passion for the arts. Featuring more than one hundred works, this volume offers an exceptional selection of drawings and prints together with a large number of paintings. It presents works by artists regarded as among the most significant of their day, in particular Hubert Robert, Jean-Honoré Fragonard, and Jacques-Louis David.

Softcover | 256 pages 
23 x 28 cm (9 x 11 in.) 
Publication Date: 2011

René Villeneuve 

The National Gallery's collection of Quebec silver — the largest and most complete in the world — took its impetus from the donation of the Henry Birks Collection of Canadian Silver in 1979. It has since been strongly enriched. Curator René Villeneuve opens this volume by exploring the formation of the Birks collection in light of the history of silver in Canada and the collector's goals and achievements. He then undertakes the first major stylistic analysis of Quebec silver, going far beyond the compilation of new data to approach the subject from a fresh and intriguing perspective. 

Virginia B. Alexandor, a niece of Henry G. Birks, introduces this study with a charming memoir. The book includes fifty-one black-and-white reproductions, many never before seen. 

Softcover | 124 pages 
18.6 x 28 cm (7.3 x 11 in.) 
Publication Date: 1998

Curated by Sherry Farrell Racette, Michelle LaVallee and Cathy Mattes

Indigenous artists have long used beadwork to tell stories, honour loved ones and celebrate beauty. Using techniques and knowledge passed from previous generations, today’s Indigenous artists are using beading to address concerns related to history, decolonization and resistance. Radical Stitch – the largest contemporary beadwork exhibition to date – presents a wealth of works ranging from wearable art and portraiture to installation and video that connect past and present as they imagine new worlds.

The accompanying catalogue celebrates the innovative art of 56 artists from across Turtle Island who have exhibited at most or all of the venues for this touring exhibition. In full, vivid colour, this publication presents 30 figures and 82 plates of their selected artworks, which reflect a range of humour, poignant testimony, and political and social commentary.

Radical Stitch Itinerary:

MacKenzie Art Gallery, Regina: 30 April – 25 September 2022
Art Gallery of Hamilton: 11 February – 27 August 2023
Thunder Bay Art Gallery: 13 October 2023 – 3 March 2024
National Gallery of Canada: 17 May – 30 September 2024
Beaverbrook Art Gallery, Fredericton: 30 November 2024 – 2 March 2025
Eiteljorg Museum of American Indians and Western Art, Indianapolis: 12 April – 3 August 2025

Featured in the catalogue: Barry Ace, Eva Talooki Aliktiluk, Carrie Allison, Marcus Amerman, Judy Anderson, Kristen Auger, Kaylyn Baker, Christi Belcourt, Michael Belmore, Catherine Blackburn, Katherine Boyer, Jackie Larson Bread, Marcia Chickeness, Hannah Claus, Dana Claxton, Jon Michael Robert Corbett, Ruth Cuthand, Vanessa Dion Fletcher, Marcy Friesen, Teri Greeves, Joyce Growing Thunder, Justine Gustafson, Donald & Carla Hemlock, Maria Hupfield, Lizzie Ittinuar, Bev Koski, Casey Koyczan, Jennine Krauchi, Martha Kyak, Mindy Lauren Magyar, Amy Malbeuf, Jean Marshall, Audie Murray, Nadia Myre, Margaret Nazon, Candace Neumann, Niap, Shelley Niro, Elias Not Afraid, Jamie Okuma, Sandra Okuma, Taqralik Partridge, Jobena Petonoquot, Memory Rose Poni-Cappo, Alesia Poncho & Farlan Quetawki, Skawennati, Samuel Thomas, Marie Watt, Olivia Whetung, Dyani White Hawk, Kenneth Williams Jr., Nico Williams, Will Wilson, Summer Yahbay

Printed in Canada
Softcover
20.32 x 26.67 cm (8 x 10.5 in.)
Publication date: 2024

Mary Pratt (1935-2018)
Red Currant Jelly, 1972

Pratt often took domestic imagery as her subject, believing that commonplace objects were “worthy of a close look.” The acclaimed Newfoundland painter experimented with light to transform an ordinary moment into a charged dramatic scene.

6.5 x 9 cm (2.5 x 3.5 in.)

In the collection of the National Gallery of Canada.

Mary Pratt (1935-2018)
Red Currant Jelly, 1972

Pratt often took domestic imagery as her subject, believing that commonplace objects were “worthy of a close look.” The acclaimed Newfoundland painter experimented with light to transform an ordinary moment into a charged dramatic scene.

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.

Edited by Stephanie S. Dickey and Jochen Sander with contributions by Jonathan Bikker, Jan Blanc, Sonia Del Re, Stephanie S. Dickey, Rudi Ekkart and Claire van den Donk, Robert Fucci, Jasper Hillegers, Maarten Prak, Jochen Sander, Friederike Schütt, Martin Sonnabend.

Around the age of 25, Rembrandt van Rijn (1606–1669) moved from his hometown of Leiden to Amsterdam, which was the commercial capital of northern Europe at that time. Considered a bold step for a fledgling artist, this change demonstrates that Rembrandt wanted to benefit financially from Amsterdam's robust art market. He soon married the cousin of a successful art dealer, and came into frequent contact with wealthy and sophisticated patrons who eagerly commissioned him to paint their portraits. The artist's style quickly evolved from the small, meticulous panels of his Leiden period to the broadly brushed, dramatically lit and realistically rendered canvases for which he is renowned.

Rembrandt in Amsterdam explores this pivotal transition in the artist’s career and reveals how the stimulating and affluent environment of Amsterdam inspired him to reach his full potential. Lavishly illustrated, this volume offers a fascinating look into Amsterdam’s unparalleled creative community and its role in Rembrandt’s development of a wide-ranging brand that comprised landscapes, genre scenes, history paintings, portraits and printmaking.

Hardcover | 384 pages
25 x 31 cm (9.8 x 12.2 in.)
Publication date: 2021

Edited by Stephanie S. Dickey and Jochen Sander with contributions by Jonathan Bikker, Jan Blanc, Sonia Del Re, Stephanie S. Dickey, Rudi Ekkart and Claire van den Donk, Robert Fucci, Jasper Hillegers, Maarten Prak, Jochen Sander, Friederike Schütt, Martin Sonnabend.

Around the age of 25, Rembrandt van Rijn (1606–1669) moved from his hometown of Leiden to Amsterdam, which was the commercial capital of northern Europe at that time. Considered a bold step for a fledgling artist, this change demonstrates that Rembrandt wanted to benefit financially from Amsterdam's robust art market. He soon married the cousin of a successful art dealer, and came into frequent contact with wealthy and sophisticated patrons who eagerly commissioned him to paint their portraits. The artist's style quickly evolved from the small, meticulous panels of his Leiden period to the broadly brushed, dramatically lit and realistically rendered canvases for which he is renowned.

Rembrandt in Amsterdam explores this pivotal transition in the artist’s career and reveals how the stimulating and affluent environment of Amsterdam inspired him to reach his full potential. Lavishly illustrated, this volume offers a fascinating look into Amsterdam’s unparalleled creative community and its role in Rembrandt’s development of a wide-ranging brand that comprised landscapes, genre scenes, history paintings, portraits and printmaking.

Hardcover | 384 pages
25 x 31 cm (9.8 x 12.2 in.)
Publication Date: 2021

Edited by Sylvie Lacerte with contributions by Gilles Daigneault, Vera Frenkel, Manuel Mathieu, Caroline Monnet, Marc-Antoine K. Phaneuf and Marc Séguin

Marking the centenary of his birth, the exhibition Riopelle, à la croisée des temps introduces Jean Paul Riopelle as a tireless experimenter and innovator, anchored in the contemporary realm. Drawing on the artist’s work across various mediums and materials, guest curator Sylvie Lacerte paints a portrait of Riopelle as a visionary trailblazer. Offering a unique take on this famed Canadian artist, this retrospective presents his acclaimed works alongside creations rarely or never before shown in public.

This richly illustrated catalogue features essays by art specialists and artists who reflect on Riopelle’s legacy as they look at his work. Discover the full force of his legendary influence on both his contemporaries and artists working today, all of whom represent a broad range of cultural and aesthetic perspectives.

Hardcover | 208 pages
Publication Date: 2023

Edited by Sylvie Lacerte with contributions by Gilles Daigneault, Vera Frenkel, Manuel Mathieu, Caroline Monnet, Marc-Antoine K. Phaneuf and Marc Séguin

Marking the centenary of his birth, the exhibition Riopelle: Crossroads in Time introduces Jean Paul Riopelle as a tireless experimenter and innovator, anchored in the contemporary realm. Drawing on the artist’s work across various mediums and materials, guest curator Sylvie Lacerte paints a portrait of Riopelle as a visionary trailblazer. Offering a unique take on this famed Canadian artist, this retrospective presents his acclaimed works alongside creations rarely or never before shown in public.

This richly illustrated catalogue features essays by art specialists and artists who reflect on Riopelle’s legacy as they look at his work. Discover the full force of his legendary influence on both his contemporaries and artists working today, all of whom represent a broad range of cultural and aesthetic perspectives.

Hardcover | 208 pages
Publication Date: 2023

Denise Leclerc, Marion Barclay 

This exhibition catalogue seeks to explore the North American career of one of this century's outstanding sculptors in the technique of welded metal who has been working in the industry since the end of the 1950s.

Paper | 196 pages 
20.5 x 29 cm (8 x 11.4 in.) 
Publication Date: 1999

Denise Leclerc, Marion Barclay 

This exhibition catalogue seeks to explore the North American career of one of this century's outstanding sculptors in the technique of welded metal who has been working in the industry since the end of the 1950s.

Paper | 196 pages 
20.5 x 29 cm (8 x 11.4 in.) 
Publication Date: 1999

Greg A. Hill, Candice Hopkins, Christine Lalonde 

The catalogue Sakahàn—meaning “to light [a fire]” in the language of the Algonquin peoples—focuses on the 2013 exhibition which brought together more than 150 works of recent Indigenous art by over 80 artists from 16 countries, including impressive installations created specifically for the project. Poetic, unexpected and challenging, the artworks document and interrogate distinct cultural and social issues. 

FEATURED ARTISTS: Vernon Ah Kee, Maria Thereza Alves, Pia Arke, Arnait Video Productions, Arnaqurq Ashevak, Shuvinai and John Noesthedan Ashoona, Sonny Assu, Mary Anne Barkhouse, Nanobah Becker, Christi Belcourt, Richard Bell, Rebecca Belmore, Corey and Larissa Healey Bulpitt, Andrea Carlson, Abraham & Jimena Mendoza Cruzvillegas, Cup'luaq (Jack Dalton), Beau Dick, Jimmie Durham, Suresh Kumar Dhurve, Nicholas Galanin, Billy Gauthier, Regina-José Galindo, Jeffrey Gibson, Daniel Guzman, Julie Edel Hardenberg, Marja Helander, Inuk Silis Høegh, Geir Tore Holm, Terrance Houle, Bayrol Jimenez, Jonathan Jones, Brian Jungen, Toru Kaizawa, Sonya Kelliher-Combs, Shigeyuki Kihara, Walis Labai, EN Lei, Omero Leyva, César López, Erica Lord, Jimmy Manning, Teresa Margolles, Da-Ka-Xeen Mehner, Danie Mellor, Alan Michelson, Kent Monkman, Wangechi Mutu, Nadia Myre, Shelley Niro, William Noah, Fiona Pardington, Michael Parekowhai, Viggo Pederson, Outi Pieski, Jamasee Padluq Pitseolak, Tim Pitseolak, Edward Poitras, Annie Pootoogook, Itee Pootoogook, Rachel and Brett Graham Rakena, Abel Rodriguez, Gjert Rognli, Jangarh Singh Shyam, Mayank Shyam, Venkat Raman Singh Shyam, Greg Staats, Yama Taru, Jeff Thomas, Warwick Thornton, Jutai Toonoo, Maka'i Tubbs, Ingunn Utsij, Taika Waititi, Marie Watt, Steven Yazzie and Lawrence Paul Yuxweluptun.

Softcover | 288 pages
24.5 x 21 x 2 cm (9.6 x 8.3 x 0.8 in.)
Publication Date: 2013

Available in French only

This notecard features the artwork Sans titre (1953) by Jean Paul Riopelle (1923-2002).

Card dimensions: 13 x 18 cm (5 x 7 in.)
Blank inside. Envelope included.

In the collection of the National Gallery of Canada.

This notecard features the painting Sans titre (1965) by Jean Paul Riopelle (1923-2002).

Card dimensions: 13 x 18 cm (5 x 7 in.)
Blank inside. Envelope included.

In the collection of the National Gallery of Canada.

Melissa Bennett, Greg Hill, and David W. Penney

Shelley Niro is widely known for her ability to explore Traditional Stories, transgress boundaries, and embody the ethos of her matriarchal culture. A member of the Six Nations Reserve, Turtle Clan, Bay of Quinte Mohawk, she uses a wide variety of media, including photography, installation, film, and painting to bring greater visibility to Indigenous women and girls.

Pushing the limits of photography, Niro incorporates imagery from Traditional Stories to focus on contemporary subjects with wit, irony, and parody. Throughout her work — in her portraiture, sculptures, landscape paintings, photography, and film and video work — Niro challenges common preconceptions about gender, culture, and Indigenous Peoples.

Hardcover | 304 pages
21.5 x 25 cm (8.1 x 9.8 in.)
Publication Date: 2023

Published by the Art Gallery of Hamilton and the Smithsonian National Museum of the American Indian and distributed by Goose Lane Editions.

Shelley Niro: 500 Year Itch accompanies an international touring exhibition organized by the Art Gallery of Hamilton and the Smithsonian National Museum of the American Indian with the collaboration of the National Gallery of Canada.

Shine a Light Surgir de l'ombre: Canadian Biennial 2014 (Bilingual)

Josée Drouin-Brisebois, Greg Hill, Andrea Kunard, Jonathan Shaughnessy and Rhiannon Vogl

Shine a Light Surgir de l’ombre highlights an exemplar selection of recent acquisitions to the National Gallery of Canada’s Canadian Contemporary, Indigenous and Photographs holdings. This biennial showcases the production of twenty-six artists from different generations and backgrounds, and features over eighty works ranging from film and video installations to sculptures, paintings, drawings and photographs. Often looking to past events, literature, films, places, cultural movements and traditions, the artists in the exhibition are very much ingrained in issues of the present day. Their works encourage us to reconsider time and the writing of history, our relationship to the natural world, the powerful role of images in how information is communicated, and how we perceive and interpret accepted facts.

Featured artists: David Armstrong Six, Shuvinai Ashoona, Nicolas Baier, Shary Boyle, Edward Burtynsky, Tammi Campbell, Mario Doucette, Geoffrey Farmer, David Hartt, Isabelle Hayeur, Phillippa Jones, Stéphane La Rue, Rita Letendre, An Te Liu, David McMillan, Damian Moppett, Luke Parnell, Vanessa Paschakarnis, Ed Pien, Tim Pitsiulak, Kelly Richardson, Jeremy Shaw, Althea Thauberger, Jutai Toonoo, Howie Tsui, Lawrence Paul Yuxweluptun

Softcover | 264 pages
20.5 x 27.3 cm (8 x 10.75 in.)
Publication Date: 2014

Edited by Wahsontiio Cross
With contributions by Mojeanne Sarah Behzadi, Richard William Hill and Cheryl Sim 

Skawennati’s practice explores Indigenous futures through the lens of a Kanien'kehá:ka (Mohawk) woman and cyberpunk avatar, blending Hotinonshón:ni storytelling with digital media to create powerful, visionary narratives. Using machinimas and machinimagraphs (movies and still images made in virtual environments), sculpture, textiles and performance, she reimagines a world where Indigenous Peoples thrive. Her work transforms personal and communal hopes into new realities – spaces that empower, reclaim ways of being and challenge historical narratives.

The most comprehensive book on her career to date, Skawennati. Bienvenue dans la maison des rêves features vibrant reproductions of key works alongside critical essays examining her impact. The title references notions of home, a child’s dollhouse, and the longhouse – central to Hotinonshón:ni culture. The publication invites readers to explore a future where Indigenous Peoples lead and shape our collective worldview.

Softcover | 136 pages
22.9 × 27.9 cm (9 × 11 in.)
Publication Date: 2025

Edited by Wahsontiio Cross
With contributions by Mojeanne Sarah Behzadi, Richard William Hill and Cheryl Sim 

Skawennati’s practice explores Indigenous futures through the lens of a Kanien'kehá:ka (Mohawk) woman and cyberpunk avatar, blending Hotinonshón:ni storytelling with digital media to create powerful, visionary narratives. Using machinimas and machinimagraphs (movies and still images made in virtual environments), sculpture, textiles and performance, she reimagines a world where Indigenous Peoples thrive. Her work transforms personal and communal hopes into new realities – spaces that empower, reclaim ways of being and challenge historical narratives.

The most comprehensive book on her career to date, Skawennati: Welcome to the Dreamhouse features vibrant reproductions of key works alongside critical essays examining her impact. The title references notions of home, a child’s dollhouse, and the longhouse – central to Hotinonshón:ni culture. The publication invites readers to explore a future where Indigenous Peoples lead and shape our collective worldview.

Softcover | 136 pages
22.9 × 27.9 cm (9 × 11 in.)
Publication Date: 2025

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.