Information on this painting can be found in the Gallery publication American Paintings of the Nineteenth Century, Part I, pages 318-322, which is available as a free PDF at https://www.nga.gov/content/dam/ngaweb/research/publications/pdfs/american-paintings-19th-century-part-1.pdf
, New York, 1950, no. 31. 1961 American Painting 1865-1905, The Art Gallery of Toronto
Like many American artists of his generation, George Bellows was interested in the various urban construction projects that transformed New York City into an ultramodern metropolis. By the time he commenced work on The Lone Tenement in December 1909, he had completed four paintings devoted to the excavation site of the new Pennsylvania Station, culminating in the Gallery’s Blue Morning (painted in March 1909).
artist’s Record Book]. 1915 Department of Fine Arts, Canadian National Exhibition, Toronto
Materiality, and Composition in Italian Renaissance Art Giancarla Periti, University of Toronto
Before establishing himself as a pioneering member of the dada movement during and after World War I, Picabia experimented with various forms of modernist painting. Procession, Seville belongs to a group of works from 1912 in which the artist demonstrates a sophisticated and highly idiosyncratic assimilation of recent developments in cubism and futurism.[1] Fragmented planes, shallow space, and an allover pattern of flickering lights and darks are all associated with the analytic cubism of Pablo Picasso and Georges Braque;
Guggenheim Museum, New York; Cincinnati Art Museum; Art Gallery of Ontario, Toronto
Boulevard—Paris) 1897, Calcutta (no. 209, as A Wet Day on the Boulevard) 1897, Toronto
Vlaminck is often portrayed as the most unruly painter of the fauve school, an impression that reflects both on his personality (as it is revealed in his biography and writings) and his work. A self-taught artist, Vlaminck insisted that painting should be the unmediated expression of an artist’s temperament, „emotive, tender, ferocious, as natural as life itself.“ [1] Indeed, having been an anarchist sympathizer during the prewar period, he would later link the strident colorism and bold brushwork of his work to social and political dissent, a connection that was actually made by several art critics.
York; Minneapolis Institute of Art; San Francisco Museum of Art; Art Gallery of Toronto
Minneapolis Institute of Arts; San Francisco Museum of Art; The Art Gallery of Toronto
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.
Johnson 1984 Georgian Canada: Conflict and Culture, 1745-1820, Royal Ontario Museum, Toronto
Summer is represented here as Ceres, goddess of agriculture, reclining in front of her attribute, a row of wheat stalks. The work is one of three known paintings from a cycle by Jacopo Tintoretto depicting the personifications of the four Seasons.
Paolo Veronese with a group of sixteenth-century Venetian drawings, Art Gallery of Toronto
In the spring of 1826, Thomas Cole met Robert Gilmor Jr., a highly knowledgeable and sophisticated Baltimore collector, who soon commissioned a view of Catskill Mountain House, a popular hotel overlooking the Hudson River Valley. After a summer spent sketching and painting in the area and corresponding with his patron concerning the selection of a new subject, Cole completed Sunrise in the Catskills in early December and had it delivered to Baltimore on Christmas Day.
Newark, London, and Toronto, 1988: 22, 43-45, pl. 2. 1990 Powell, Earl A., III.
