Art Gallery Of Ontario

Patti Smith, Robert’s Slippers (B), 2003, Gelatin silver print, 20.32 x 25.4 cm (unframed); 53.34 x 40.64 x 2.54 cm (framed), from the collection of James Lahey. This is a photograph of a pair of slippers taken by Patti Smith. The title is Robert’s Slippers, and it was photographed in 2003. This photograph is a gelatin silver print, measuring 20.32 by 25.4 cm when unframed, and 53.34 by 40.64 by 2.54 cm when framed. This artwork comes to the AGO from the collection of James Lahey. Photographed from above, this black-and-white image depicts an empty pair of closed-heel black slippers on the floor. The picture is out of focus, creating a soft, blurred effect. The pair of slippers are oriented with the toes facing towards the bottom of the composition, with the heel portion of the slippers at the top. The slippers are off-centre in the shot, appearing slightly to the right of the centre of the photo. The slippers are slim-shaped, black, with white lining inside, and photographed on what appears to be a white flo

Pieter Brueghel the Younger, Country Wedding, 16th–17th century, oil on wood, Art Gallery of Ontario; Gift of Mr. and Mrs. W. Redelmeier, 1940, 2557. This is an oil on wood painting, titled Country Wedding by artist Pieter Brueghel the Younger. It is from the 1500s or 1600s, and was a gift to the Art Gallery of Ontario by Mr. and Mrs. W. Redelmeier in 1940. The scene is set in Europe during the 1500s or 1600s and features a country wedding within a wooded glade. About fifty people are shown celebrating in the rustic setting. The people are dancing, eating, drinking, playing musical instruments, and embracing each other. Most of the people are wearing clothes associated with working-class labourers of the time period, in earth-coloured tones, such as browns, greens, and grays. Some figures wear garments that stand out in the rustic, forest setting: contrasting fabrics of sharp, bright reds, whites, and piercing yellows. Trees, bushes, and hut-like structures are shown in the background. In the bottom-left for

Mary Pratt. Cod Fillets on Cardboard Cartons, 1975. oil on panel, Overall (sight): 49.5 × 73 cm. Gift of Norcen Energy Resources Limited, 1986. © Estate of Mary Pratt, 1975. 86/55 This work, entitled Cod Fillets in Cardboard Cartons, by artist Mary Pratt is a photorealistic oil painting. It was created in 1975 and measures 49.5 by 73 cm. Two frozen cod fillets are thawing in their packaging, while light streams across them, casting shadows. Set upon a bare, beige surface, two light brown cartons of fish fillets sit side by side. The carton on the left is positioned slightly higher than the other. Both cardboard cartons are open, lying flat like plates, and contain paper packaging. The carton on the right is torn on the right edge. Barely contained by their makeshift plates, the fish fillets and their packaging occupy the whole area of the cartons. The fillets are thawing to be prepared for a home-cooked meal. The large opaque white flakes of the fillets are lit with a warm yellow light created by the after

Sandra Brewster. Hiking Black Creek, 2018. gel medium transfer, charcoal, acrylic on wood, Overall (three panels): 335.3 × 406.4 cm. © Sandra Brewster 2020/17 The title of the work is Hiking Black Creek, created in 2017 by Sandra Brewster. A gel medium image transfer, charcoal, and acrylic on wood measures 335.3 by 406.4 cm. This large photographic artwork of a Black couple outside in nature is made up of three large panels, like a triptych. The two figures fill the left side of the foreground; a woman on the left and a man on the right. Standing in front of a forest scene, the couple is cropped just below the hip. While the work is mostly black and white, the artist has painted the couple's shirts in colour. The woman’s long-sleeved shirt is yellow and the man’s long-sleeved shirt is orange. Both figures are looking towards the camera and the viewer. The woman has short, dark hair and wears a brimmed, polka-dotted hat. Her eyes and most of her face are obscured in shadow. She has a neutral expression, c

Jack Chambers. Diego Reading, 1976–1977. oil and synthetic paint in natural resin varnish on plywood, Overall: 93.5 × 93 × 5.7 cm. Purchase with the assistance of the Judith Rachel Harris Foundation and Ethel Harris, 2007. © Estate of Jack Chambers. 2007/92 The title of the work is Diego Reading (Sunday Morning No.5), created in 1976 to 1977 by the artist Jack Chambers. Painted in a hyper-realistic style, this oil on wood painting is square-shaped, measuring 91.4 cm squared. A child sits reading a book in a living room decorated for Christmas. As viewers, we are in the middle of the room, facing a window that looks out onto a snowy suburban street. The photorealistic painting has the muted warm glow of a faded photograph. The young white brunette boy sits with his back to the window, facing us. He sits with his left leg crossed over his right on an armchair with plush sea green upholstery as he reads a comic book. He is dressed in a red turtleneck sweater, brown slacks, and matching red socks. Behind the bo

Robert Houle. Kanata, 1992. Acrylic and conte crayon on canvas, 228.7 x 732 cm. National Gallery of Canada, Ottawa. Purchased 1994. © Robert Houle A long rectangular canvas is divided into three areas, resembling The French national flag - blue, white, and red. Framed by the bright blue and bright red of the French Flag, a bleached copy of a central historical painting by American painter, Benjamin West,The Death of General Wolfe, depicts the Battle of Quebec in 1759. Men, including enlisted soldiers holding up a British flag, settlers, and an Indigenous man, gather around the British General Wolfe who lies dying. The indigenous man is represented thinking, holding his chin and resting his elbow on his knee like the famous Rodin sculpture, “The Thinker”. The Indigenous man stands out from the washed out sepia crowd, painted with a bright blue and red blanket tied around his waist, a brown bandolier bag, and red feathers in his hair. Houle draws attention to the misrepresentation of Indigenous Peoples as mere

Robert Houle. In Memoriam, 1987. Oil, feathers, leather, ribbon on plywood, Overall (framed): 137.2 x 151.9 x 9 cm. Gift of Vanessa, Britney and Nelson Niedzielski, 2000. © Robert Houle 2000/1196 Two differently sized panels of painted plywood are assembled together in this artwork that includes indigenous community names, leather, ribbons and eagle feathers. On the left panel a thin horizontal decorative moulding architecturally crowns the top. Below the moulding, a piece of plywood is cut away in a curve that arcs from the upper right corner down past the left corner of the panel, creating the illusion of an arch. Painted black, the vertical brush strokes are visible on the entire panel. Multicoloured ribbons tied around eagle feathers flow down the centre, dividing the left and right panels of the artwork. Longer than the left panel, the right panel is a rich deep purple maroon. The following community names are stenciled onto the panel from top to bottom: Beothuk, Mohican, Natchez, Neutral, Timucua, Toba

Robert Houle. Sandy Bay, 1998-99. Oil on canvas, black and white photograph + colour photograph on canvas, Masonite, 300 x 548. 4 cm. Collection of the Winnipeg Art Gallery. Acquired with funds from the President's Appeal 2000 and with the support of the Canada Council for the Arts Acquisition Assistance program © Robert Houle. Reading this work from left to right, Houle assembles a black and white photograph, a colour photograph, and three vertical rectangle canvases. In the top left colour photograph, an older white priest stands in a garden in front of an ivy covered niche with a virgin mary icon, surrounded by a bright blue summer sky. This is Father Chion who was widely liked in Sandy Bay First Nation, where the artist is from, because he spoke Saulteaux and was kind. Below this is a black and white photograph of two priests and a group of young indigenous children standing in rows on the steps of a brick building. This is an image of a First Communion at which Robert’s sister Marilyn is present. We mo

Robert Houle. Red is Beautiful, 1970. Acrylic on canvas, 45.5 x 61 cm. Canadian Museum of History, V-F-174 © Robert Houle Trapezoids, flat shapes that look like upside down triangles that have their tops sliced off parallel to their bottoms with sloping sides, fill the rectangular canvas in tones of pink and red. Sitting with the longest side on top of the canvas, four trapezoids increasing in size are layered one on top of the other. The shapes transition from a small deep red trapezoid in the centre and radiate out to bright red, warm pink, and light pink as the shapes get bigger pointing towards the centre of the canvas. Houle mirrors the stacked trapezoids on the top and the bottom of the canvas. The other four layered trapezoids have their longest side on the bottom of the canvas and radiate out in the same colours pointing to the centre of the painting. The mirrored images sit on a deep red background, the same tone as the small central trapezoids. R. Houle, the artist’s signature, and the date, 1970,

Robert Houle. The Pines, 2002-2004. Oil on canvas, Panel (centre): 91.4 × 121.9 cm. Panel (side, each of two): 91.4 × 91.4 cm. Gift of Susan Whitney, 2017. © Robert Houle 2017/243 Three green and blue paintings hang in a horizontal row; two monochrome square canvases frame a pine forest on a rectangular canvas in the centre. On the left, a square canvas is painted with horizontal brush strokes in a monochromatic deep green. In the central rectangular canvas, a line of blueish green tree trunks leads diagonally from the right corner in the foreground into the left background. Past a clearing in the left foreground of the canvas, the tree trunks cast shadows on the ground leading deeper into the forest, where a bright yellow sky peeks through the green foliage. To the right of this canvas, a square canvas is painted with horizontal brush strokes in a monochromatic deep blue. This triptych commemorates the 78 days in the summer of 1990, when Kanien’keha:ka (Mohawk) land defenders set up a blockade to prevent th

Still Life With Flower by Art Gallery of Ontario

The Coiffure by Art Gallery of Ontario

Woman With Bangs by Art Gallery of Ontario

Family At Supper by Art Gallery of Ontario

2021 Picasso Audio Guide - 13 Woman With Loaves by Art Gallery of Ontario

2021 Picasso Audio Guide - 12 Nude With Joined Hands by Art Gallery of Ontario

2021 Picasso Audio Guide - 11 Portrait Of A Man by Art Gallery of Ontario

2021 Picasso Audio Guide - 10 Mother And Child By The Sea by Art Gallery of Ontario

2021 Picasso Audio Guide - 09 Figures By The Sea by Art Gallery of Ontario

2021 Picasso Audio Guide - 08 Street Scene by Art Gallery of Ontario