This notecard features a detail of the artwork Distorted Tree (1912) by David B. Milne (1882–1953). 

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: 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 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 April in the Laurentians (1922–1924) by Anne Savage (1896–1971). 

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 April in the Laurentians (1922–1924) by Anne Savage (1896–1971). 

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

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 soft and absorbent microfibre towel features a detail from the painting Red House in Winter (1925) by Lawren S. Harris (1885–1970).

70 x 50 cm (27.5 x 19.7 in.)
100% Microfibre

Make an artistic impression with this set of 4 coasters featuring a detail from the painting Red House in Winter (1925) by Lawren S. Harris (1885–1970).

9.5 x 9.5 cm (3.7 x 3.7 in.)
Cork

Get your creativity flowing with this compact journal featuring a detail from the painting Red House in Winter (1925) by Lawren Harris (1885–1970). 

Hardcover | 120 lined pages 
12 x 17 x 1.3 cm (4.7 x 6.7 x 0.5 in.) 
Elastic band closure and ribbon bookmark 

Joan Murray

Lawren Harris, one of the greatest painters of Canadian art, was a leader in the creation of the Group of Seven.  This illustrated introduction to Harris's work traces his artistic development through the study of his paintings, drawing a lively picture of this energetic and charismatic individual who contributed so much to Canadian art.

Paperback | 64 pages 
22.8 x 22.8 cm (9 x 9 in.) 
Publication Date: 2003

David P. Silcox 

David Milne (1882–1953) experienced life as an artist in turn-of-the-century New York, as a soldier in World War I, and as a contemporary of the Group of Seven in Canada. This book traces the gifted painter's development over the course of tumultuous personal and historical events.  

Paperback | 64 pages 
22.8 x 22.8 cm (9 x 9 in.) 
Publication Date: 2005

Leslie Boyd

Kenojuak Ashevak was a matriarch of modern Inuit art. Raised on the land in an isolated Arctic community, she went on to break artistic gender barriers, set sales records, and lead her people through profound social change. Kenojuak created complex, rich images with intertwining, overlapping, and flowing forms. She was innovative, with an intuitive sense of composition and an instinct for depicting the interconnectedness of all living things. She lived a life of resilience through personal tragedy, and she created beauty and joy through her prolific art. Kenojuak Ashevak: Life and Legacy is the companion to the travelling exhibition of the same name, presenting dozens of Kenojuak’s prints side by side with their original drawings. In English, French, and Inuktitut, a foreword by Kenojuak’s daughter Silaqi Ashevak introduces readers to life with her famous mother, and an essay by curator Leslie Boyd provides a full, touching history of this pioneering artist of the Far North.

Trilingual
Hardcover | 112 pages
25.4 x 22.8 cm (10 x 9 in.) 
Publication Date: 2019

Ian M. Thom

Remarkable paintings grace the pages of Maria Chapdelaine, a novel written by a Frenchman yet embraced by generations of Canadian readers. Renowned Canadian artist Clarence Gagnon used a meticulous process to create 54 small paintings for Louis Hémon’s early 20th-century story set in the Quebec countryside. Gagnon’s vivid illustrations depict the strength of body and soul necessary to survive such a harsh environment. All of the Gagnon Maria Chapdelaine illustrations are reproduced in this book, with excerpts from the novel. The complete set of paintings resides in the McMichael Canadian Art Collection, where it is considered a rare treasure. Art historian and curator Ian M. Thom in his essay provides insight into Gagnon’s life and an appreciation of his art.

Hardcover | 120 pages
22.5 x 20.3 cm (9 x 8 in.) 
Publication Date: 2020

Ming Tiampo

In Jin-me Yoon: Life & Work, Ming Tiampo reveals how Yoon’s multidisciplinary art—which includes photography, video, performances, and installations—reconnects troubled pasts with damaged presents and offers hope for a better future. It considers how one of Canada’s most important voices on the nature of identity developed a critical perspective on the representation of this country in museums, art history, the tourist industry, and monuments with groundbreaking works such as Souvenirs of the Self, 1991, and Group of Sixty-Seven, 1996, projects that, as Tiampo notes, have become “canonical touchstones in the public articulation of Canadian identity and race.”

Hardcover | 128 pages
20x28 cm (8x11 in.)

Olafur Eliasson and Susan Grace Galassi

Claude Monet’s Vétheuil in Winter (1878–79), painted during the artist’s first winter in the village, depicts his new home on the Seine, seen from the opposite bank of the river. Monet’s two and a half years in Vétheuil, a small farming community northwest of Paris, saw two severe winters, the inspiration for this impressionist masterpiece, which is the subject of this ninth volume in the Frick Diptych series.

Susan Grace Galassi has written an insightful and engaging essay about Monet’s difficult but productive time in Vétheuil, which saw the death of his wife Camille. The Frick’s Monet painting, the only work by the artist in the collection, is the basis for other significant canvases made during his stay in the village in both winter and summer. Galassi’s essay is accompanied by a text and intriguing new work—Colour experiment no. 109—by the artist Olafur Eliasson (b. 1967), created in response to the Monet painting.

Hardcover | 72 pages
18.5 x 24.1 cm (7.2 x 9.5 in.) 
Publication Date: 2022

Bernd Brunner

In Winterlust, a farmer painstakingly photographs five thousand snowflakes, each one dramatically different from the next. Indigenous peoples thrive on frozen terrain, where famous explorers perish. Icicles reach deep underwater, then explode. Rooms warmed by crackling fires fill with scents of cinnamon, cloves, and pine. Skis carve into powdery slopes, and iceboats traverse glacial lakes.

This lovingly illustrated meditation on winter entwines the spectacular with the everyday, expertly capturing the essence of a beloved yet dangerous season, which is all the more precious in an era of climate change.

Hardcover | 280 pages
13.3 x 19 cm (5.25 x 7.5 in.) 
Publication Date: 2019

Anka Muhlstein

Camille Pissarro (1830-1903) occupied a central place in the art world of his time: a founding member of the new French school of painting, Impressionism, he attracted Monet, Renoir, Sisley, Degas, Berthe Morisot, and later Cézanne and Gauguin. Supported throughout his career, despite the hostility of the public, by the great Parisian art dealer Paul Durand-Ruel, he had a persistent feeling of being apart, different, and difficult to classify. Settling in France at the age of twenty-five but born in the Danish West Indies, he was not French and, moreover, he was Jewish. He never hid this fact and knew that it was not insignificant in French society, which was shaken at the end of the 19th century by the defeat of 1870, workers' struggles, and the Dreyfus affair. His two passions were painting and the artistic education of his children. Thanks to his astonishing energy and availability, he never sacrificed one for the other, and his five sons became painters themselves. Drawing on Pissarro's considerable body of work and a vast collection of letters that reveal his warm nature and great freedom of thought, Anka Muhlstein paints a nuanced and intimate portrait of an artist with an independent and singular spirit.

Paperback | 272 pages
22.7 x 14.3 cm (8.9 x 5.6 in.) 
Publication Date: 2024

Only available in French.

The artists, the places, the vocabulary... of this pictorial movement.

Paperback | 120 pages
22 x 12.3 cm (8.6 x 4.8 in.)
Publication Date: 1999

Only available in French.

Sheila Watt-Cloutier

There is another way to advocate for the protection of our planet: demanding that the international community recognize environmental well-being as a fundamental human right. Without a stable and secure climate, people cannot exercise their economic, social, and cultural rights. For the Inuit, as for all of us, this is what I call “the right to cold.”

This unique phrase, “the right to cold,” sums up the spirit of the struggle that Sheila Watt-Cloutier has waged for more than 20 years on the international stage to make climate change a human rights issue. It was under her presidency of the Inuit Circumpolar Council that a petition to this effect was filed in 2005 with the Inter-American Commission on Human Rights, the first international legal action of its kind. Since the culture and economic autonomy of the Inuit depend on cold weather and ice, anthropogenic global warming constitutes a denial of their social, cultural, and health rights. “The impact of climate change on the Arctic is a precursor to what awaits the rest of the world,” she says.

From her childhood in Kuujjuaq, in northern Quebec—at a time when the traditional Inuit culture of dog sledding and ice hunting was still dominant—to her commitment to the environment in international forums, Le droit au froid is the story of an inspiring woman who has become a model of leadership for the 21st century.

Paperback | 360 pages
21.6 x 13.3 cm (8.5 x 5.2 in.) 
Publication Date: 2019 

Only available in French.