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Ord looks at the gallery's historical and intellectual context - from 1910 when Eric Brown became the gallery's founding director, through Jean Sutherland Boggs, to Shirley Thomson - shedding light on its acquisitions, government policy towards the arts, and the public's deep-rooted suspicion of avant-garde art. In showing how Canadian art came to be housed in a building whose architectural and ideological sources include Gothic cathedrals, Islamic mosques, Egyptian temples, St Peter's Basilica, and the squared-stone facades of the Holy City of Jerusalem, The National Gallery of Canada insightfully explores the relationship of Canada's art and its National Gallery to the project of the Canadian nation state.
Art museums --- Art --- Art collections --- Art galleries --- Galleries, Art --- Galleries, Public art --- Picture-galleries --- Public art galleries --- Public galleries (Art museums) --- Arts facilities --- Museums --- Galleries and museums --- National Gallery of Canada. --- National Museums of Canada --- Canada. --- National Museums of Canada. --- Galerie nationale du Canada --- National Art Gallery of Canada --- NGC --- Musée des beaux-arts du Canada --- Galleria nazionale del Canada
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Art --- Artists --- Art. --- Artists. --- National Gallery of Canada --- National Gallery of Canada. --- Ontario --- Art, Daghestan --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Canada. --- National Museums of Canada. --- Galerie nationale du Canada --- National Art Gallery of Canada --- NGC --- Musée des beaux-arts du Canada --- Galleria nazionale del Canada --- Persons --- Arts --- Aesthetics --- National Museums of Canada --- Artistes --- Musée des beaux-arts du Canada --- Art, Primitive
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Item contains cartoons, letters, articles, essays, etc resulting from the debate (or outcry) following the purchase of Barnett Newman's "Voice of fire" by National Gallery of Canada. Also includes papers from a symposium organised by the National Gallery of Canada.
Painting, Abstract --- Public opinion --- Newman, Barnett, --- Public opinion. --- National Gallery of Canada --- Canada. --- National Museums of Canada. --- Galerie nationale du Canada --- National Art Gallery of Canada --- NGC --- Musée des beaux-arts du Canada --- Galleria nazionale del Canada --- National Museums of Canada --- Art and state --- Voice of fire (Newman, Barnett) --- Canada (Province) --- Canadae --- Ceanada --- Chanada --- Chanadey --- Dominio del Canadá --- Dominion of Canada --- Jianada --- Kʻaenada --- Kaineḍā --- Kanada --- Ḳanadah --- Kanadaja --- Kanadas --- Ḳanade --- Kanado --- Kanakā --- Province of Canada --- Republica de Canadá --- Yn Chanadey
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Biological specimens --- Cultural property --- Museum conservation methods --- Natural history museums --- Risk management --- Conservation methods, Museum --- Museum techniques --- Insurance --- Management --- Natural history --- Science museums --- Specimens, Biological --- Biological products --- Biobanks --- Cultural heritage --- Cultural patrimony --- Cultural resources --- Heritage property --- National heritage --- National patrimony --- National treasure --- Patrimony, Cultural --- Treasure, National --- Property --- World Heritage areas --- Collection and preservation --- Protection --- Collection management --- Museums --- Canadian Museum of Nature --- Musée canadien de la nature --- Canada. --- National Museums of Canada. --- National Museum of Natural Sciences (Canada) --- National Museums of Canada --- Management. --- Conservation. Restoration --- risk management --- preventive conservation
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Civilization --- Civilisation --- Civilization --- Barbarism --- Civilisation --- Auxiliary sciences of history --- Culture --- World Decade for Cultural Development, 1988-1997 --- Museums --- Musées --- Museums. --- Canadian Museum of Civilization --- Musée canadien des civilisations --- Canadian Museum of Civilization. --- Canada. --- Canadian Museum of Civilization Corporation --- CMC --- Musée canadien des civilisations --- Museo canadese della civilt --- National Museums of Canada. --- National Museum of Man (Canada) --- Canadian Museum of History --- National Museums of Canada --- Musée canadien des civilisations --- National Museums of Canada. --- Canada. --- Museo canadese della civiltà --- Canadian Museum of Civilization Corporation --- CMC --- National Museum of Man (Canada) --- Canadian Museum of History --- National Museums of Canada --- Canada --- Canada --- Canada. --- Québec --- Canada (Province) --- Canadae --- Ceanada --- Chanada --- Chanadey --- Dominio del Canadá --- Dominion of Canada --- Jianada --- Kʻaenada --- Kanada (Dominion) --- Ḳanadah --- Kanadaja --- Kanadas --- Ḳanade --- Kanado --- Kanakā --- Province of Canada --- Republica de Canadá --- Yn Chanadey --- Καναδάς --- Канада --- קאנאדע --- קנדה --- كندا --- کانادا --- カナダ --- 加拿大 --- 캐나다 --- Kaineḍā --- Lower Canada --- Upper Canada --- Canada (Province) --- Canadae --- Ceanada --- Chanada --- Chanadey --- Dominio del Canadá --- Dominion of Canada --- Jianada --- Kʻaenada --- Kaineḍā --- Kanada --- Ḳanadah --- Kanadaja --- Kanadas --- Ḳanade --- Kanado --- Kanakā --- Province of Canada --- Republica de Canadá --- Yn Chanadey --- Québec --- Québec --- Québec --- Civilization --- Museums --- Civilisation --- Musées
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The potters' views of Canada have a many-sided appeal, linking the world of artists, printmakers, and photographers to the ceramics industry. As part of material history, they reflect not only taste in the wares themselves - their bodies, colours, shapes - but also the changing ways of looking at things, from the romantic to the literal. Covering the period for the beginning of the nineteenth century to the end of Queen Victoria's reign, this volume focuses chiefly on wares made for the dinner table or the washstand. All are earthenware, decorated by transfer printing, and produced by British potters. The scenes they depict range from the awesome falls at Niagara to early steamboats on the St Lawrence, from igloos in the Arctic to a governor's residence in New Brunswick. Elizabeth Collard traces the evolution of these wares, placing them in their historical setting and identifying the sources from which many of the views were derived. She also provides much detail on the English and Scottish potters and on the artists whose work they adapted to their own use. One of the most important collections of these wares belong to the National Museum of Man, Ottawa, and it is from the national collection that illustrations for this book have been drawn. The more than 170 photographs also include such material as the published prints on which the potters' views were based, border designs, and potters' marks. This book will be an invaluable reference work not only for collectors and dealers but also for museum curators and material culture historians.
Pottery, British. --- British pottery --- National Museum of Man (Canada) --- National Museum of Canada. --- Canadian Museum of Civilization --- Canada. --- Musée national de l'homme (Canada) --- National Museum of Man --- National Museums of Canada. --- Canada --- Canada (Province) --- Canadae --- Ceanada --- Chanada --- Chanadey --- Dominio del Canadá --- Dominion of Canada --- Jianada --- Kʻaenada --- Kanada (Dominion) --- Ḳanadah --- Kanadaja --- Kanadas --- Ḳanade --- Kanado --- Kanakā --- Province of Canada --- Republica de Canadá --- Yn Chanadey --- Καναδάς --- Канада --- קאנאדע --- קנדה --- كندا --- کانادا --- カナダ --- 加拿大 --- 캐나다 --- Lower Canada --- Upper Canada --- Canada in art --- Pottery, British --- Kaineḍā
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