Ottawa

Carlo Caliari (Carletto, son of Paolo Veronese)
Anatomical Studies
ca. 1595
drawing
National Gallery of Canada, Ottawa

Cornelis van Haarlem
Susanna and the Elders
ca. 1599
oil on canvas
National Gallery of Canada, Ottawa

Giulio Cesare Procaccini
Drapery Studies
before 1625
drawing
National Gallery of Canada, Ottawa

Mauro Gandolfi
Eight Heads
ca. 1805
drawing
National Gallery of Canada, Ottawa

Felice Giani
Pan and Syrinx at the Triumph of Priapus
ca. 1805-10
drawing
National Gallery of Canada, Ottawa

Louis-Léopold Boilly
Portrait of a Young Woman
ca. 1820
oil on canvas
National Gallery of Canada, Ottawa

Adolph Menzel
Boy sketching in a Landscape
ca. 1840-50
drawing
National Gallery of Canada, Ottawa

Jean-Baptiste Carpeaux
Spring
(derived from Triumph of Flora statue group)
1873
marble
National Gallery of Canada, Ottawa

Paul Gauguin
Quarries of La Chou near Pontoise
1882
oil on canvas
National Gallery of Canada, Ottawa

Alexander Henderson
Bank of Montreal and new Post Office
after 1886
albumen silver print
National Gallery of Canada, Ottawa

James Dickson Innes
Arenig
1911
oil on canvas
National Gallery of Canada, Ottawa

Christopher Wood
Landscape near Vence
1927
oil on canvas
National Gallery of Canada, Ottawa

Pegi Nicol Macleod
School in a Garden
ca. 1934
oil on canvas
National Gallery of Canada, Ottawa

Fritz Brandtner
Whither Bound, Kleiner Mann? 
1934
oil on panel
Ottawa Art Gallery, Ontario

Arthur Dove
Rising Tide
1943
oil on canvas
National Gallery of Canada, Ottawa

Katherine Knight
Crypt of the Congregation of Notre Dame
1980
gelatin silver print
Ottawa Art Gallery, Ontario

Robert Hyndman
Portrait of Miss Brydie Hyndman
1984
oil on canvas
Ottawa Art Gallery, Ontario

    No poor and pitiful mortal confined on the globe of earth who hath never seen but sorrow, or interchangeably some painted superficial pleasures, and had but guesses of contentment, can rightly think on, or be sufficient to conceive, the termless delights of this place.  So many feathers move not on birds, so many birds dint not the air, so many leaves tremble not on trees, so many trees grow not in the solitary forests, so many waves turn not in the ocean, and so many grains of sand limit not those waves as this triumphant court hath variety of delights and joys exempted from all comparison.  Happiness at once here is fully known and fully enjoyed, and as infinite in continuance as extent.  Here is flourishing and never-fading youth without age, strength without weakness, beauty never blasting, knowledge without learning, abundance without loathing, peace without disturbance, participation without envy, rest without labour, light without rising or setting sun, perpetuity without moments; for time (which is the measure of motion) did never enter in this shining eternity.  Ambition, disdain, malice, difference of opinions cannot approach this place, resembling those foggy mists which cover those lists of sublunary things.  All pleasure, paragoned with what is here, is pain, all mirth mourning, all beauty deformity: here one day's abiding is above the continuing in the most fortunate estate on the earth many years, and sufficient to countervail the extremest torments of life.  

– William Drummond of Hawthornden, from A Cypress Grove (London: Hawthornden Press, 1919, reprinting the original edition of 1623)