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The National Gallery of Canada: a Hundred Years of Exhibitions: List and Index Document generated on 09/28/2021 7:08 p.m. RACAR : Revue d'art canadienne Canadian Art Review The National Gallery of Canada: A Hundred Years of Exhibitions List and Index Garry Mainprize Volume 11, Number 1-2, 1984 URI: https://id.erudit.org/iderudit/1074332ar DOI: https://doi.org/10.7202/1074332ar See table of contents Publisher(s) UAAC-AAUC (University Art Association of Canada | Association d'art des universités du Canada) ISSN 0315-9906 (print) 1918-4778 (digital) Explore this journal Cite this article Mainprize, G. (1984). The National Gallery of Canada: A Hundred Years of Exhibitions: List and Index. RACAR : Revue d'art canadienne / Canadian Art Review, 11(1-2), 3–78. https://doi.org/10.7202/1074332ar Tous droits réservés © UAAC-AAUC (University Art Association of Canada | This document is protected by copyright law. Use of the services of Érudit Association d'art des universités du Canada), 1984 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ The National Gallery of Canada: A Hundred Years of Exhibitions — List and Index — GARRY MAINPRIZE Ottawa The National Gallerv of Canada can date its February 1916, the Gallery was forced to vacate foundation to the opening of the first exhibition of the muséum to make room for the parliamentary the Canadian Academy of Arts at the Clarendon legislators. The entire collection was hurriedly Hôtel in Ottawa on 6 Mardi 1880? The constitu­ placed in storage and for the next five years the tion of the Canadian Academy (to becomc the Gallery developed without the benefit of a home, Royal Canadian Academy of Arts in July 1880), re-opening on 12 Septcmber 1921 in the entire developed over the preceding year by the Gov- east wing of the muséum. These premises soon ernor General of Canada, the Marquis of Lorne, proved inadéquate to meet the demands of the and by the leading artists and architectes of Cana­ growing collections and increased exhibitions da, required its members to donate a work of art, activity. Annual Reports from 1924 consistently exemplary of their profession as painter, sculptor, pointed ont the environmental hazards to the col­ architect, engraver or designer, to ‘the National lection and the necd for proper conservation, stor­ Art Gallery al Ottawa.’ Thus the institution be- age, research and administrative facilities. Staff came a reality upon receipt by the Government of frustrations continued to mount and were only the diploma Works of the charter Academicians. partially dissipated by the move to the Lorne l'hese were placed under the immédiate juris- Building on Elgin Street in late 1959. In ail in­ diction of the bureau of the Dominion Chief stances the premises aff orded to the National Gal­ Architect in the Department of Public Works. lery were temporary arrangements, including the The National Gallery’s development during the Lorne Building which was ot iginally designed as early years was sporadic and plagued by a succes­ an office building. Remarkably however, and de- sion of moves into makeshift premises. The Gal­ spite ftnancial and operational setbacks brought lery acquired its first. permanent home on 27 May about by four moves, a period of homelessness, 1882, in two reconverted 100ms adjoining the two World Wars and the Dépréssion, the Gallery’s Suprême Court off Parliament Hill. In honour of programs steadily encompassed an increasing the event the first catalogue of the collections was range of artistic activities and responsibilitics. published. Six years later the Gallery moved to Victoria Hall, on the corner of Queen and O’Con- nor Streets, to a single room directly above the 1 This short introduction is not intended to be a scholarly Government Fish Hatcheries Exhibit(Fig. 1). Visi- analysis of exhibition policy nor of the personalities re- tors who filtered upstairs would hâve seen the sponsible for same but a general overview of the varions trends in the history of exhibitions at the National Gallery, Gallery’s permanent collection on display, consist- highlighting some of the major init iatives. For another over­ ing of the Academicians’ diploma Works, a few view of National Gallery exhibitions, see 1). Reid, ‘Exhibi­ notable gifts and the rare Government purchase. tions at the National Gallery,’ Canadian Collector, xv (Mardi/ April 1980), pp. 39-43. There are several studies of the On the opening of the Victoria Memorial Muséum history of the National Gallery, the major onc being Jean S. in Ottawa in 1912, more suitable temporary Boggs, The. National Gallery of Canada (Toronto: Oxford Uni- accommodation was provided in the top three versity Press, 1971). We follow herc the format, of Karen McKenzie and Larry Pfaffs article, ‘The Art Gallery of floors of the Museum’s east wing. With the des­ Ontario: Sixty Years of Exhibitions, 1906-1966’, published truction by lire of the Parliament Buildings on 3 in racar, vu (1980), 62-91. RACAR / XI / 1-2 3 figure i. Emile Lacas, National Gallery of Canada, from Album of Fifty-Four Views of Canadian Architecture, 1910. National Gal­ lery of Canada. Prior to 1907 thc Gallery had no exhibition pro­ furthering the development of public art bodies gramme of its own. Its premises were loaned to the and societies throughout the Dominion, was Royal Canadian Aeademy of Arts approximately through loans, for a statecl period, of the posses­ every three years for its annual exhibition (Fig. 2), sions of the National Gallery to any society which on occasion to the Ottawa Art School for displays had the proper facilitics for showing them. This of student work, and in 1906 to thc Woman’s Art policy, based on the example of the French gov- Association of Canada for an exhibition of con- ernment’s annual purchases of contemporary art temporary Dutch painting. However significant and loans to provincial muséums, was inaugurated administrative changes instituted in 1907 set the in December 1913, the first. group of National groundwork for the development of an active loan Gallery pict tires going to the Saint John Art Club and exhibition programme. In that year thc (Fig. 3). Loan activity drarnatically increased dur- Laurier Government created the Advisory Arts ing the years the Victoria Memorial Muséum was Council, consisting of three laymen, to administer occupied by Parliament and extencled to include the art affairs of the government. This included international institutions such as the Carnegie In- the commissioning of sculptural monuments and stitute in Pittsburgh (1919). With a few notable the care of the National Gallery. In 1910, Eric exceptions, similar loans hâve not been considérée! Brown was appointée! as the first full lime curator as exhibitions for the purposes of the Exhibitions and Sir Edmund Walker became the second List. Chairman of the Advisory Arts Council. The pas- singof the National Gallery Act in 1913 effectively The Ottawa exhibition programme began im- incorporated the Gallery under its own Board of mediately following the move back into the Victo­ Trustées (though still part of the Department of ria Memorial Muséum and was augmentée! con- Public Works) and enabled it to take responsibility siderably by the création of two new departments: for its own activities. one to hanche the Canadian War Memorials collec­ In conjunction with the Royal Canadian tion assembled by Lord Beaverbrook and placer! Aeademy, the Trustées of the newly constituted in the custody of the Gallery at the dose of 1920, Gallery décidée! that the best means of encourage­ and a second to mariage prints and drawings. The ment that the Gallery could give to the artists of Prints and Drawings Department played a major Canada was the purchase of their Works. It was rôle in this programme through the organization also determined that the most effective means of of short-term installations in the manner of small advertising the quality of such works, of encourag- exhibitions (Fig. 4). These concise and thematic ing a purchase by private individuals, and of sélections comprised the bulk of the Gallery’s early 4 RACAR / XI / 1-2 figure 2. Royal Canadien Academy of Arts, 2 istAnnualExhibition, ngc, February 1900. (Photo: Public Archives Canada, Ottawa, pa 28157) [see Exhibitions List: 7]. figure 3. Loan Exhibition of Paintings from the National Gallery of Canada, Saint John Art Club, December 1913 (Photo: National Gallery of Canada). RACAR / XI / 1-2 3 programme. The first formai exhibition of the exhibitions. Now a sélection was made from these Gallery’s War Memorials was not helci until 1923, annuals, still with the aid of the societies’ execu­ although previous showings of these same Works tives, and brought to Ottawa for an annual exhibi­ in London, New York, Montreal and Toronto had tion of Canadian art in January of the following been organized by the Canadian War Records year. These annual exhibitions were held from Office prior to the transfer of the collections to the 1926 to 1933 with increasing criticism from the Gallery. more conservative éléments accompanied by The first showing of the work of a deceased charges of régional ncglect, euhninating in a Canadian artist (Toril Thomson), in 1922, set the national pétition for Eric Brown’s résignation. pattern for future memorial rétrospectives of the As this coincided with the loss of the Gallery’s work of J.E.H. MacDonald (1933), Horatio Wal- purchase budget due to cutbacks, the annuals ker (1941), Clarence Gagnon (1942) and Emily were discontinued and in lieu of purchases, the Carr (1945) (Fig.
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