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My Daily Art

When visitors see “The Story” (1890) by the Canadian artist George Agnew Reid (1860-1947) at the WAG, they often ask two things – what are the boys talking about, and how did the artist manage to get that quality of light?

It’s almost as if Reid has backlit the painting to achieve this effect. Actually, the artist constructed a makeshift hayloft in his Toronto studio and brought in some neighbourhood kids (and bales of hay) to complete the tableau. Still, this doesn’t take away from his ability to give us the compelling impression of a naturally lighted interior. The cascading rays infuse the scene with drama and realism, heightening the expressions on the boys’ faces and bringing the piles of hay to life. You can almost taste the summer dust in the air.

While the WAG is temporarily closed, your collection is still here for you. Stay connected with the art through daily posts from our Director & CEO, Dr. Stephen Borys.

This is a series of daily posts that will continue until the Gallery reopens. Follow along on InstagramFacebook, and Twitter, or visit our stories section.

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3 thoughts on "My Daily Art"

Sheila Harris says:

Dr. Borys,
Thank you for your daily art – it is the highlight of my day. I almost feel like I’m in the gallery. Can’t wait to return to the Wag in person.

Judy Goldsmith says:

Hello…my great grandfather William Alexander Elliott was a great friend of George Reid. In 1930 George gave Will a large painting entited “The Treaty Line” which Will had displayed in his home until after he passed away. It was inherited by his son who donated it and it is my understanding it is still at the WAG. I have several photos of this important Canadian historical piece of art. I woyld love if you could do a story about it…I am very interested to know more of the story behind the depiction. It’s so cool knowing this was part of my family history.

Winnipeg Art Gallery says:

Hi Judy, thank you for sharing this lovely message! We will pass on your request to our team!

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WAG-Qaumajuq recognizes that land acknowledgements are part of an ongoing dialogue with Indigenous Nations, and we are grateful to live and work on these lands and waters. Institutionally, WAG-Qaumajuq is committed to acknowledging our colonial history and we are actively working to interrogate the Gallery’s colonial ways of being.

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