I love the innate theatricality of this work, a moment suspended in time but so potentially destructive. I also love the use of different materials. The coyote, bronze, resilient and enduring, representing both the hunted and the hunter; the beaver and the lilypads, porcelain, delicate and beautiful but so vulnerable. I think this piece is such a powerful statement about the fragility of human and environmental ecosystems. It’s hard not to think of the saying you reap what you sow in response to the title of this work. Harvest means something new to me each time I see it.
My favorite work of art in the Gallery collection is Gathie Falk’s Eighteen Pairs of Red Shoes with Roses, because she was the first artist I met when I began working at the Gallery in 2001. At the exhibition opening, which was the first event I planned, I was very taken with the artist’s work and could not believe that such beautiful, whimsical pieces had been created by this tiny lady. I still think about those incredible red shoes and am working toward collecting 18 pairs of my own! The photo here is of another of Gathie Falk’s wonderful pieces paying tribute to the wonders of red footwear.
Contact Lisa if you have a question related to donor relations, donor and Distinguished Patrons benefits, Foundation events and art tours.
and Board Liaison
613-991-5965 • 343-550-1364 (Cell)
Prudence Heward’s Rollande is one of my favorite paintings. I am inspired by the way Heward challenges societal notions of femininity through her use of a palette that is not traditionally feminine and her daring use of strong, structured lines which impart power to her composition. Rollande’s direct gaze, impassive expression, defiant stance, and her placement in front of the fence all seem to say “I will not be confined.” Feminism is about changing how the world perceives the strength and the roles of women in society; in a time when the role of women in art was limited, Heward did just that.
Contact Chantal if you have a question related to the Board and the CEO
613-971-2112 • 343-540-8018 (Cell)
I find Annie Pootoogook’s work uplifting and utterly compelling. This piece is such a glorious celebration of the mundane, with its meticulous attention to detail and joyful, vibrant colour. I love the palpable sense of affection for the people depicted here—there’s something so playful about the way the young person in the middle of the drawing looks out at the viewer, watching us watching her…
Contact Laura if you have a question related to media and press relations, Foundation publications, the Foundation website, and any other communications-related issues.
This painting brings me home. Having grown up with a similar painting on the wall of my parents’ living room, it was very unexpected to be welcomed to the National Gallery of Canada with a familiar sight. The bright colours and geometric patterns of this piece are exciting and bold and bring back memories of my grandfather, who knew and worked alongside Oscar Cahén in the 1950s at Chatelaine and Maclean’s.
Contact Nicole if you have a question related to donations (past or present), finance and office management.
Art was my favorite subject in high school and Lawren Harris was the first painter I learned about. He’s been one of my favorites ever since. What I love about this painting are the cool colours, the abstract simplicity and the serenity of the environment. It is often said that Harris liked to paint experiences. When I look at this masterpiece, I feel as if I am in the landscape, experiencing the majesty of nature.
Contact Betty if you have a question related to donor relations, prospect research and prospect management.
Bernini is the reason I fell in love with art history. When you look at this bust, you have a sense that Pope Urban VIII is present—that history has come to life. I always feel an urge to reach out and touch the lifelike marble. Apparently Pope Urban VIII refused to accept this bust when Bernini presented it to him, because of a dark streak in the marble. He commissioned another, which is now in the Palazzo Barberini in Rome. I love that anecdote because it connects this work so directly to the artist and the man for whom it was made.
Contact Abla if you have a question related to patron services, Foundation events, and stewardship