scholarly journals Inuit Art in Canadian and Indigenous Art: From Time Immemorial to 1967, National Gallery of Canada, Permanent exhibition, Ottawa

2017 ◽  
Vol 42 (2) ◽  
pp. 126
Author(s):  
Christina Williamson
2019 ◽  
Vol 30 (1-2) ◽  
pp. 61-78
Author(s):  
Sherry Simon

This article is a reflection on translation studies and a suggestion for new directions in further research. The case study is that of the new labelling in the National Gallery of Canada which includes labelling in Indigenous languages.In June of 2017, the National Gallery opened newly renovated galleries with a special exhibition of Canadian and Indigenous Art. The translations which are part of this exhibition are important in redefining the identity of Canadian art.


1966 ◽  
Vol 48 (1) ◽  
pp. 115
Author(s):  
Dwight C. Miller ◽  
A. E. Popham ◽  
K. M. Fenwick

2019 ◽  
Vol 26 (5) ◽  
pp. 1679-1686 ◽  
Author(s):  
M. S. Kozachuk ◽  
T. K. Sham ◽  
R. R. Martin ◽  
A. J. Nelson ◽  
I. Coulthard

Louis-Jacques-Mandé Daguerre introduced the first successful photographic process, the daguerreotype, in 1839. Tarnished regions on daguerreotypes supplied by the National Gallery of Canada were examined using scanning electron microscopy energy-dispersive X-ray spectroscopy and synchrotron-radiation analysis. Synchrotron X-ray fluorescence imaging visualized the distribution of sulfur and chlorine, two primary tarnish contributors, and showed that they were associated with the distribution of image particles on the surface. X-ray absorption near-edge structure spectroscopy determined the tarnish to be primarily composed of AgCl and Ag2S. Au2S, Au2SO4, HAuCl4 and HgSO4 were also observed to be minor contributors. Environmental contamination may be a source of these degradation compounds. Implications of these findings will be discussed.


Sign in / Sign up

Export Citation Format

Share Document