The AGGV is honoured to have in its collection a painting by the prominent female artist Paraskeva Clark. Executed in 1948, the watercolour depicts one of the artist’s favourite summer locales of Georgian Bay. It also marks a period of proliferation in her artistic output when her travels to nearby scenic spots allowed her to paint more landscapes.
Calling all you birders! Not only can birdwatching be done through binoculars or telescopes, by listening for bird sounds or watching public webcams, but it can also be done through browsing the AGGV collection with a naked eye. Can you guess what kind of birds are depicted below?
The maritime history of the Pacific Northwest and the connection to these waters endure in the cities and towns along the coasts, and there are an endless amount of artworks through the centuries that celebrate the culture of seafaring in these parts.
Phillips’ work was greatly influenced by his surroundings, first in Manitoba, then in Alberta. The landscapes of these provinces – prairie and mountain views – dominate his oeuvre, which of course also included landscapes of his home country of England and places he visited on his travels.
Abstraction in art is a visual language that uses line, colour, form and composition that are non-representational or independent to a certain degree of any reference to the world.
“Open Doors to Art” is a new recurring program that I am running at your Art Gallery of Greater Victoria (AGGV). The intention of the series is to clear away inhibitions and help expand the public’s experiences with the art on display by offering everyone a memorable and engaging experience with the works.
The late Canadian artist and art educator Anthony Thorn (1927-2014) loved the Art Gallery of Greater Victoria from the moment he stepped foot into the Gallery more than 30 years ago.
Encounter is a quarterly event developed by the AGGV Education Department to enhance learning and social opportunities for adults who love art and love talking about art. Participants discover new ideas and connections to art and through art, within the context of an exhibition on show at the Gallery.
Horiuchi was a painter and collagist whose work has become an important hybrid of Western-style abstraction, Asian calligraphy, and eastern philosophies. His body of work has helped situate an alternative narrative to the development of modern art in the Pacific Northwest, one that fully considers Japanese and North American relations.
In art, the term “Japonisme” (from the French) was coined by the French art critic Philippe Burty in 1872, to describe the influence of Japanese art on the fine and decorative arts, sculpture, architecture and the performing arts of Western culture.
Widely considered to be some of the most important Canadian artists in the early 20th century, the Group was an organization of self-proclaimed modern artists, pioneers to a new Canadian art movement that rallied against the conservatism of the time.
On March 9, the AGGV celebrates two separate, but related, exhibitions that memorialize Mount Fuji and its manifestations in the Japanese and non-Japanese aesthetic.
Emily Carr’s works compare and contrast with the works of David Milne, Lawren Harris, A.Y. Jackson, Vera Weatherbie and many others, giving the viewer a chance to come to terms with the meanings behind the paintings and the artists’ take on exploring the varied landscapes of Canada.
The physicality of forming clay into ceramic vessels and sculpture is wonderfully evoked in the title of the exhibition Throw, Slip, Spin: Studio Ceramics from the AGGV Collection.