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Hostilities between North American colonists and Britain were boiling over in the 1770s when Benjamin West painted this double portrait. The British wanted to ensure the loyalty of the Mohawk people, the easternmost tribe of the Haudenosaunee (Iroquois Confederacy), in case of war.
1984 Georgian Canada: Conflict and Culture, 1745-1820, Royal Ontario Museum, Toronto

portraits of single figures: Isaac Abrahamsz Massa, 1626 (Art Gallery of Ontario, Toronto

Peter Paul Rubens’s enormous painting, based on the Old Testament story of Daniel, puts us right in the lions’ den. The Jewish youth was condemned to spend the night with the brutal beasts for worshipping his God rather than the Persian king Darius.
San Francisco, de Young, Legion of Honor, San Francisco; Art Gallery of Ontario, Toronto

Lewisburg, London and Toronto, 1993: repro. 18 1994 Rubin, James H.

Anthony van Dyck painted this portrait of an upper-class Antwerp woman around 1618, shortly after he registered as a master painter with the Antwerp Saint Luke’s Guild. At that time, Antwerp’s long-established portrait tradition emphasized a sitter’s virtuous character through restrained gestures and a direct gaze.
Boston and Toronto, 1974: 116. 1975 European Paintings: An Illustrated Summary

Gauguin purposefully displayed his Père Paillard and its female companion piece, Thérèse, in front of his Polynesian home (which he named the House of Pleasure), so that islanders passing by could appreciate the two carved works. Their meaning was evident to everyone.
1981 Gauguin to Moore: Primitivism in Modern Sculpture, Art Gallery of Ontario, Toronto

2001-2002, no. 60, repro. 2004 Turner, Whistler, Monet, Art Gallery of Ontario, Toronto

Materiality, and Composition in Italian Renaissance Art Giancarla Periti, University of Toronto

Cole’s renowned four-part series traces the journey of an archetypal hero along the „River of Life.“ Confidently assuming control of his destiny and oblivious to the dangers that await him, the voyager boldly strives to reach an aerial castle, emblematic of the daydreams of „Youth“ and its aspirations for glory and fame. As the traveler approaches his goal, the ever-more-turbulent stream deviates from its course and relentlessly carries him toward the next picture in the series, where nature’s fury, evil demons, and self-doubt will threaten his very existence.
Newark, London, and Toronto, 1988: 218, 228, 265-268, 270-272, 275, 277, 280, 284

In 1775, Gilbert Stuart set sail for London where Benjamin West welcomed the destitute young man into his home. The Skater marks the end of his five-year apprenticeship to West.
Toronto, 2011: 142-143, color repro. 2013 Evans, Dorinda.