Canvas of a Nation
An exploration of Canada's premier art institution, from its historical roots to its world-class collections.
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A Storied Past
Genesis and Early Years
The National Gallery of Canada was established in 1880, initiated by Governor General John Campbell, 9th Duke of Argyll, in conjunction with the founding of the Royal Canadian Academy of Arts. Its initial home was the Second Supreme Court of Canada building on Parliament Hill, where it resided from 1882 until 1911. The institution's mandate was formally codified by the Government of Canada through the National Gallery Act in 1913, solidifying its role as the nation's primary art museum.
Transitions and Growth
In 1911, the Gallery relocated to the Victoria Memorial Museum building, sharing the space with the National Museum of Natural Sciences. The building underwent expansions in the 1920s, providing more dedicated space for the Gallery. However, by the 1950s, the inadequacy of the Victoria Memorial Museum building became apparent, prompting a design competition for a new, permanent home. After a period in the Lorne Building on Elgin Street, construction began on its current, purpose-built facility in 1985, designed by renowned architect Moshe Safdie, and it officially opened in May 1988.
Institutional Evolution
The Gallery became an affiliated institution of the National Museums of Canada Corporation in 1968. During the 1970s, funds were diverted to regional galleries, a practice that ceased in 1982. The National Gallery regained its full institutional independence in 1987 with the dissolution of the National Museums of Canada. It officially became a Crown corporation on July 1, 1990, under the Museums Act, establishing a board of trustees as its governing body.
Architectural Masterpiece
Design and Materials
The National Gallery's current edifice, designed by Israeli architect Moshe Safdie, is a striking fusion of glass and granite. Completed in 1988, it occupies 46,621 square meters, with 12,400 square meters dedicated to exhibition space, making it one of North America's largest art museums by area. The building's exterior features pink-granite walls and expansive glass sections. Its southern facade, characterized by a glass wall supported by concrete pylons, evokes the soaring lines of Gothic cathedrals, with the pylons acting as modern interpretations of flying buttresses.
Interior Spaces
The interior entrance lobby is paved with pink granite, leading visitors via a grand ramp towards the Great Hall. Safdie envisioned this ramp as a ceremonial ascent, imbuing the visitor's journey with a sense of occasion. The lobby walls are lined with granite, contrasting with the exterior glass facade. Above the ramp, a glass and steel ceiling, reminiscent of Gothic architecture, is supported by concrete columns. The building also features an interior courtyard, the Taiga Garden, designed by Cornelia Oberlander, which draws inspiration from A.Y. Jackson's painting Terre Sauvage.
A World of Art
Canadian and Indigenous Focus
The Gallery's permanent collection, comprising over 93,625 works as of October 2018, is anchored by a significant representation of Canadian art, dating from the 18th century New France period to the late 20th century. This includes extensive holdings from the Group of Seven, Tom Thomson, and Alex Colville. The collection also actively engages with Indigenous art, featuring works from First Nations, Mรฉtis, and Inuit artists, reflecting a commitment to equitable representation and historical context.
Global Artistic Reach
Beyond its Canadian holdings, the Gallery boasts substantial collections of European, American, and Asian art. The European collection spans from the Renaissance to the 20th century, featuring masters like Rembrandt, Monet, and Van Gogh. The American collection, developed significantly from the 1970s, and the Asian collection, with approximately 400 works, further enrich the institution's global artistic scope. The collection also includes a significant number of photographs and prints and drawings.
Notable Acquisitions
The Gallery's collection is continually enhanced through strategic acquisitions and generous donations. Landmark acquisitions include Barnett Newman's seminal abstract painting Voice of Fire and Louise Bourgeois' imposing spider sculpture, Maman, which stands prominently outside the building. These pieces, alongside numerous other significant works, underscore the Gallery's role in preserving and presenting pivotal moments in art history.
Repository of Knowledge
Extensive Resources
The Library and Archives of the National Gallery of Canada serve as a vital resource for art scholarship. Established concurrently with the Gallery in 1880, its collections encompass literature on Canadian art and Western art from the Late Middle Ages to the present day. This includes an impressive array of books, exhibition catalogues, periodicals, documentation files, microforms, auction catalogues, slides, and research photographs, supporting in-depth study and research.
Specialized Collections
The Library and Archives' special collections are particularly noteworthy, featuring rare imprints, books, and bookplates related to Canadian artists and art historians. These curated materials offer unique insights into the development of art in Canada and provide invaluable primary source material for researchers and art historians seeking to deepen their understanding of the field.
Governance and Operations
Legal Framework
The federal government assumed responsibility for the National Gallery in 1913 through the National Gallery of Canada Act. Its status evolved into a Crown corporation on July 1, 1990, with the proclamation of the Museums Act. This legislation serves as the governing framework, empowering a board of trustees to oversee the Gallery's operations. The board, through its Chair, is accountable to the Minister of Canadian Heritage, who holds ultimate responsibility.
Affiliations and Leadership
The Gallery actively participates in professional associations, including the Canadian Museums Association, the Ontario Association of Art Galleries, the Canadian Heritage Information Network, and the Virtual Museum of Canada. Day-to-day management is entrusted to the Director and CEO, who oversees the institution's extensive operations and strategic direction.
Leadership Through Time
Key Figures
The National Gallery of Canada has been guided by a succession of distinguished directors since its inception. Early leadership included figures like Eric Brown and H.O. McCurry. Notable directors who shaped the institution's trajectory include Jean Sutherland Boggs, Pierre Thรฉberge, Marc Mayer, and Alexandra Suda, each contributing their unique vision to the Gallery's development and its role in Canadian cultural life. The current director is Jean-Franรงois Bรฉlisle.
Highlights of the Collection
Masterpieces on Display
The National Gallery of Canada showcases a diverse array of artistic achievements. Its collection spans centuries and continents, offering profound insights into human creativity. While images cannot be displayed, the collection includes iconic works that represent significant movements and artists, from early European masters to contemporary Canadian innovators.
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References
References
- National Gallery of Canada at Structurae
- Anne Whitelaw, "Placing Aboriginal Art at the National Gallery of Canada" Canadian Journal of Communications, special issue on Culture, Heritage and Art, 31:1, 2006, 197-214.
- See Anne Dymond,Diversity counts: gender, race, and representation in Canadian art galleries MQUP, 2019, 49-51.
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Important Considerations
AI-Generated Content Disclaimer
This content has been generated by an Artificial Intelligence and is intended for educational and informational purposes only. It is based on data extracted from publicly available sources, primarily Wikipedia. While efforts have been made to ensure accuracy and adherence to the provided source material, the information may not be exhaustive, entirely up-to-date, or free from interpretation.
This is not an official publication of the National Gallery of Canada. The information provided herein should not be considered a substitute for direct consultation with the institution's official resources or professional art historical expertise. Always refer to the National Gallery of Canada's official website and publications for the most current and authoritative information.
The creators of this page are not liable for any errors, omissions, or actions taken based on the information presented.