Канаданың Ұлттық Көркемсурет Музейі

National art museum in Ottawa, Canada

The National Gallery of Canada , located in the capital city of Ottawa, Ontario, is Canada's national art museum. The museum's building takes up , with of space used for exhibiting art. It is one of the largest art museums in North America by exhibition space. The institution was established in 1880 at the Second Supreme Court of Canada building, and moved to the Victoria Memorial Museum building in 1911. In 1913, the Government of Canada passed the National Gallery Act, formally outlining the institution's mandate as a national art museum. The museum was moved to the Lorne building in 1960. In 1988, the museum was relocated to a new building designed for this purpose. The National Gallery of Canada is situated in a glass and granite building on Sussex Drive, with a notable view of the Canadian Parliament buildings on Parliament Hill. The building was designed by Israeli architect Moshe Safdie and opened in 1988. The museum's permanent collection includes over 93,000 works from European, American, and Asian, Canadian, and Indigenous artists. In addition to exhibiting works from its permanent collection, the museum also organizes and hosts a number of travelling exhibitions.

The Gallery was first formed in 1880 by Canada's Governor General, John Campbell, 9th Duke of Argyll in conjunction with the establishment of the Royal Canadian Academy of Arts. In 1882, moved into its first home on Parliament Hill, housed in the Second Supreme Court of Canada building. The building has since been demolished and replaced by a 17 storey office building to house the Federal Finance Department. In 1962, Charles Comfort, the museum's director, was criticised after half of the works on display at an exhibition for Walter Chrysler's European works were exposed as forgeries by American journalists. Comfort had allowed the Gallery to host the exhibition although he had been warned about the works by the director of the Montreal Museum of Fine Arts. The National Museums of Canada Corporation (NMC) absorbed the National Gallery of Canada in 1968. During the 1970s, the NMC diverted funds from the National Gallery to form regional galleries. The museum completed renovations to the Lorne building in 1976. By 1980, it had become apparent that the National Gallery would need to relocate, given the poor condition of the building, historic use of asbestos there, and inadequate exhibition areas that provided only enough space for two per cent of the collection to be exhibited at any given time. After the Canadian constitution was patriated in 1982, Prime Minister Pierre Trudeau announced a shift in policy focus towards the "creation of a nation," with priority given towards the arts in an effort to enrich Canadian identity. In same year, Minister of Communications Francis Fox declared the government's commitment to erect a new permanent buildings for its national museums, including the National Gallery, and the Museum of Man within five years. The director of the National Gallery, Jean Sutherland Boggs, was chosen by Trudeau to oversee construction of the national gallery and museums. The museum began construction for its permanent museum building on Sussex Drive in 1985, and was opened in May 1988. The diversion of funds by the NMC to help fund regional museums was ended in 1982, and the National Museums of Canada formally dissolved in 1987. As a result of the dissolution, the National Gallery reacquired its institutional independence, and its mandate and powers outlined by its formative legislative act prior to 1968. The Canadian Museum of Contemporary Photography (CMCP), formerly the Stills Photography Division of the National Film Board of Canada, was an affiliated institution of the National Gallery established in 1985. In 1988, the CMCP's administration was amalgamated to that of the National Gallery's. The CMCP later moved to its new location at 1 Rideau Canal, and continued to operate there until its closure in 2006. Its collection was later absorbed into the National Gallery's in 2009. In December 2000, the National Gallery announced it suspected approximately 100 works from its collection was plunder stolen by the Nazis during the Second World War. The gallery posted images of works suspected of being stolen art online, permitting its last legal owners to examine and possibly lay claim to the works. In 2006, the museum restituted a painting by Édouard Vuillard that had been looted by the Nazis from Alfred Lindon in 1942, The Salon of Madame Aron, to Lindon's heirs. In December 2009, the National Gallery of Canada and the Art Gallery of Alberta issued a joint press release announcing a three year partnership, which saw the use of the Art Gallery of Alberta's galleries to exhibit works from the National Gallery's collection. The program was the first "satellite program" between the National Gallery of Canada, and another institution, with similar initiatives launched in other Canadian art galleries in the following years. On 19 April 2019, he was succeeded by Alexandra Suda, who was appointed the 11th Director and chief executive officer of the National Gallery of Canada. Under Sasha Suda, the Gallery underwent a major re branding, dubbed Ankosé, to be more inclusive and work towards reconciliation. After only three years, Suda resigned. Angela Cassie was then appointed interim Director and CEO in July 2022.

The museum's present building was designed by Moshe Safdie & Associates, with construction beginning in 1985, and the building opening in 1988. The building has a total floor area of In 2000, the Royal Architectural Institute of Canada chose the National Gallery as one of the top 500 buildings produced in Canada during the last millennium. The National Gallery of Canada is housed in a building on Sussex Drive, adjacent to the ByWard Market district. The building is the fourth edifice to house the art museum. An independent crown corporation, the Canadian Museums Construction Corporation was established to build the museum with a budget of C$185 million. Following the 1984 Canadian federal election, Prime Minister Brian Mulroney dissolved the corporation. However, because the groundwork for the building was already completed, Mulroney chose to continue funding construction for the museum, albeit at a reduced total budget of C$162 million.

The building's northern, eastern, and western exterior facade is made up of pink granite walls, or glass windows. The southern exterior facade features an elongated glass wall, supported by concrete pylons grouped in fours. The profile of the southern facade was designed to mimic a cathedral, with the concrete pylons being used similarly to the flying buttresses found on Gothic cathedrals. The eastern portion of the building's southern facade transitions into a low levelled crystalline glass cupola, which holds the museum's main entrance; and its western portion, which features a three tiered glass cupola. The three tiered glass cupola is formed out of rectangular glass and narrow steel supports. The second tier of the cupola is formed out of rectangles and equilateral triangles that are further subdivided into eight or twelve smaller equilateral triangles. All these glass pieces are joined by steel struts. The third tier of the cupola is formed with similar designs, although the triangular glass panes are isosceles triangles. The isosceles triangles converge upwards, with its apexes towards the centre. The building's three tiered cupola is positioned in a manner in which the cupola would be flanked by the Peace Tower and the Library of Parliament to the west when approaching the museum from the east.

The interior entrance lobby is floored with pink granite, and includes a straight wide ramp which slopes upward towards the west. Safdie noted the importance of the ramp in his design, stating that one should "go through some kind of procession to make your way into something as important as the National Gallery," and that it gave the visitor the feeling of making an ascent to a ritual, a ceremony. The walls of the entrance lobby are lined with rectangular cut pink granite, excluding the southern wall, which is part of the glass walled exterior facade. A glass and steel ceiling reminiscent of Gothic cathedral architecture, extends the entire way of the ramp. However, as opposed to most Gothic cathedrals, the ceiling has several concrete columns spaced out to support the roof. The summit of the ramp leads towards the Great Hall of the building, situated in the three storey glass cupola. The interior courtyard of the building includes the Taiga Garden. The garden was designed by Cornelia Oberlander, who modelled the painting Terre Sauvage by A. Y. Jackson; a painting in the National Gallery's permanent collection. The garden attempts to mimic the landscape depicted in the painting, the Canadian shield; although limestone is substituted in place of the granite typically found at the Canadian shield.

As of October 2018, the National Gallery of Canada's permanent collection holds over 93,625 works, The National Gallery is the largest lender of artwork in Canada, sending out approximately 800 pieces a year. The museum's prints and drawings collection includes 27,000 works on paper dating from the 15th century to the present. The prints and drawing collection includes 10,000 works on paper by Canadian artists; more than 800 of these prints and drawings being crafted by Inuit artists. The prints and drawing collection also includes 2,500 drawings and 10,000 prints by American, Asian, and European artists. The museum also has approximately 400 works from Asian artists, dating from the 200 CE to 19th century. The museum's Asian collection began in the early 20th century, with a number of works originating from the collection of Nasli Heeramaneck. The museum's also has a collection of photographs. A number of the photographs in the collection originated from the defunct Canadian Museum of Contemporary Photography. Until the mid 1980s, the Gallery's mandate did not include collecting art by Indigenous peoples. It was a settler institution. This has been much critiqued and led to important changes in the gallery from the 1980s onwards. Despite a major re hang in 2003 of the Canadian galleries to include Indigenous art for the first time, the Gallery continues to work towards more equitable representation of Indigenous art, particularly in the historic galleries. The largest work in the Gallery is the entire interior of the Rideau Street Chapel, which formed part of the Convent of Our Lady Sacred Heart, The chapel interior was acquired by the museum in 1972, when the convent was slated for demolition. The interior's 1,123 pieces was dismantled, stored and reconstructed within the gallery as a work of art in 1988. The collection includes paintings from pre Confederation; abstract paintings and other postwar art; and the Henry Birks Collection of Canadian Silver. The museum also holds the largest collection of works by Alex Colville. Other artists featured in the collections includes William Berczy, Jack Bush, Paul Émile Borduas, Emily Carr, Robert Field, Vera Frenkel, Theophile Hamel, Joseph Légaré, Cornelius Krieghoff, Fernand Leduc, Alexandra Luke, Ken Lum, James Wilson Morrice, John O'Brien, Antoine Plamondon, William Raphael, Jean Paul Riopelle, William Ronald, Michael Snow, Lisa Steele, Jeff Wall, Joyce Wieland, Paul Wong, and members of the Regina Five. The gallery exhibits the progression of Canadian art and history, exhibiting Canadian and Indigenous works side by side. However, the makers of these works were often not acknowledged as Indigenous, because the Gallery's mandate did not include collection of art by Indigenous peoples until the 1980s. The museum acquired its first Inuit works in 1956, crafted by artists in Nunavik. In 1979, Henry Birks bequeathed a large collection to NGC consisting primarily of Quebecois pre confederation silver; this bequest of more than 12,000 objects included around 16 works by Indigenous artists. In 1989 and 1992, the Department of Indian Affairs and Northern Development bequeathed 570 works by Inuit artists. The collection features a number of works from Canadian, and its Indigenous artists. The first Indigenous Canadian contemporary artwork acquired by the National Gallery was in 1987, a piece by Anishinaabe artist Carl Beam. In 2017, Bob Rennie donated a contemporary art collection to the National Gallery in honour of Canada' 150th anniversary. The sculpture was installed in the plaza in front of the Gallery. Conversely, the museum did not begin to develop its collection of American art until the 1970s. The museum's European collection has since expanded either through acquisitions or gifts. Such works include La Tour Eiffel by Marc Chagall, acquired by the museum in 1956 for $C16,000. In 2018, the museum planned to sell the piece to fund other acquisitions, but abandoned those plans after it was found to be unpopular with the public. In 2018, the museum acquired The Partie Carée by James Tissot from the collection of David R. Graham, putting it on display in December 2018. It is the third work by Tissot to be acquired by the museum since 1921. The library and archives was established alongside the museum in 1880, and contains documents on western art from the Late Middle Ages to the present. The Library and Archives' Exceptional Materials and Notable Subject Collections contains a number of rare imprints, books, and bookplates on Canadian artists, as well as items relating to historians of Canadian art. The CEO and director are charged with day to day management of the gallery. The museum is affiliated with several associations, including the Canadian Museums Association, the Ontario Association of Art Galleries, the Canadian Heritage Information Network, and the Virtual Museum of Canada.