Reference: Lucius O'Brien was born in Shanty Bay, Ontario. He attended the Upper Canada College in Toronto and received training in Architecture but was self-taught as a painter. O'Brien was vice president of the OSA from 1873-1880 and became the first president of the RCA in 1880 where he remained in this position for ten years. He travelled to the Rockies to paint, initially as a missionary and later under funding from the Canadian Pacific Railway. See Lucius R. O'Brien, Visions of Victorian Canada, by D.Reid, A.G.O., 1990; E.P.E.C., by R.Harper, pg.239; O'Brien was instrumental in forming the R.C.A. and its first president; N.G.C. Vol.III, by R.Hubbard, pg.159; A.G.O., by the A.G.O., pg.339; for biographies see MacDonald,Vol.5, pg.1413; Westbridge, Vol.3, pg.58 and Benezit, Tome 7, pg.775; exhibition lists in R.C.A.A., pg.307 and M.M.F.A., by E.McMann, pg. 287

Reference: Odjig was born in 1919 in Wikwemikong, Manitoulin Island, Ontario to an English mother and a Potawatomi father. At the age of thirteen she left school permanently due to rheumatic fever, and instead received art lessons at home from her grandfather who was a stone carver. At the beginning of World War II, she moved to Toronto for job opportunities. In 1945, she moved to British Columbia with her husband Paul Somerville. One of the largest influences on Odjig’s art was the Wikwemikong powwow in 1964. After the powwow, she was inspired to paint both the mythological legends and the lived history of the Anishinaabe. She became a co-founder of the Professional Native Indian Artists Inc. [PNIAI], a group of indigenous artists who advocated for ‘inclusion, recognition, and equal access to art funding.’ Odjig, along with Norval Morrisseau, another member of the PNIAI, was one of the first artists to represent the Anishinaabe culture and philosophy within her work. Her style is characterized by a bold use of colour, strong outlines, and calligraphic curves influenced by her grandfather. In 1971, she opened Odjig Indian Prints of Canada, now known as the Wah-Sa Gallery, to showcase Indigenous artists. In 1972, her art was placed in the Winnipeg Art Gallery, marking the first time an Indigenous artist’s work was shown in a gallery instead of a museum. She was awarded the Order of Canada in 1986. Throughout her life, Odjig was an important and influential advocate for the history and art of Indigenous peoples.

see
Daphne Odjig - A Retrospective 1946-1985 by E.McLuhan, Thunder Bay National Exhibition Centre, 1985;
Odjig: The Art of Daphne Odjig, 1960-2000 by Bob Boyer and Carol Podedworny, published by Key Porter Books, 2001;
Four Decades of Prints, by M.Wood, Kamloops Art Gallery, 2005;
Daphne Odjig, by B.Devine, NGC, 2007

biography and other examples in
Time for Dialogue, by J.Cardinal-Schubert, pg.18, Calgary Aboriginal Awareness Society, 1992;
Dict. Of Canadian Artists, by C.MacDonald, Vol.5, pg.1419;
Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.3, pg.58, Westbridge Pub., 2001

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

Reference: Katie Ohe is a Canadian artist best known for her abstract and kinetic sculptures and her influential role as a teacher and mentor to generations of Alberta artists. Spanning more than six decades, her practice reflects a lifelong curiosity about movement, form, material, and the relationship between artwork and viewer.

Born in Peers, Alberta in 1937, Ohe began studying at the Provincial Institute of Technology and Art (now Alberta University of the Arts) in 1954, where her mentors included Marion Nicoll, Luke Lindoe, Stanford Perrott, and Illingworth Kerr. She later studied child art education under Group of Seven artist Arthur Lismer at the Montreal Museum of Fine Arts and sculpture at the Sculpture Center in New York.

Ohe became known for kinetic sculptures that invite touch, motion, and interaction. Working in steel, aluminum, concrete, and other materials, her process-driven approach explores relationships between body, space, and form. Her broader practice also includes drawing and printmaking.

In 1970, Ohe began teaching at the Alberta College of Art, where she taught for more than 40 years and mentored numerous artists, including Chris Cran and Evan Penny. In 2007, she co-founded the Kiyooka Ohe Arts Centre (KOAC) with her life partner, artist Harry Kiyooka.

Ohe’s work is held in major public and private collections across Canada. Her honours include the Alberta Order of Excellence (2019), Queen Elizabeth II’s Golden, Diamond and Platinum Jubilee Medals, and the King Charles III Coronation Medal (2025).

for more biographical information and examples of work see artist's website at koartscentre.org

see Katie Ohe, by Richard Gordon, published by Alberta College of Art, 1991;
Katie Ohe: Ethos, Now and Then, published by Herringer Kiss Gallery, 2015

included in
The Shell Canada Collection, by Basil Shammas, pg. 39, Shell Canada, Calgary, 1977;
Artists of Alberta, by Suzanne Devonshire Baker, pg. 36, University of Alberta Press, 1980;
Founders of the Alberta College of Art, by Valerie Greenfield, pg. 95, 1986;
Alberta Society of Artists, the First Seventy Five Years, by Kathy E. Zimon, plate 59, University of Calgary Press, 2000

biography and other examples in
Collector's Dictionary of Canadian Artists at Auction, by Anthony R. Westbridge, Vol. 3, pg. 60, Westbridge Publishing, 2001
Dictionary of Canadian Artists, by Colin MacDonald, Vol. 5, pg. 1428

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

Reference: listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

Reference: represented by Koyman Galleries, Ottawa and others

Reference: see Pauline T. Paquin, le Monde des Enfants / a Children's World, by J. de Roussan, Roussan Editeur, 1990; biographies in Guide Vallee, III Edition, by F.Vallee, pg.854, pub. Le Guide Vallee, 1992 and Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.3, pg.68, Westbridge Pub., 2001; listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website; represented by Koyman Galleries, Ottawa

Reference: for more biographical information and examples of work see artist's website at neilpattersonopamaster.com;

biography and other examples in Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.3, pg.71, Westbridge Pub., 2001

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

Reference: see artist's website at michaelperks.com; listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference: represented by Newzones Gallery, Calgary; listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference: Phillips was born in Barton-on-Humber, Lincolnshire, England, in 1884. He attended Bourne College where he won a scholarship in Mathematics. He spent the scholarship money on one afternoon a week at the Birmingham School of Art. For a few years he was a commercial and free-lance artist in England. In 1908, he became the Art Master at Bishop Woodworth school in Salisbury. Here he began to paint watercolours of varied subjects, such as figure-studies, portraits and still-life. After immigrating to Winnipeg with his wife in 1913, his main subjects were the Lake of the Woods, the prairies, the Rocky Mountains, and the pacific coast. Phillips continued with watercolour, and after briefly trying etching, discovered a passion for colour woodcut. He returned to England for a year in 1925 and there, through Y. Ushibara, he learned the Japanese method of sizing paper and registering it on the wood block. Japanese woodblock print was very influential for Phillips and other western artists in the nineteenth and twentieth century. In 1926, Phillips published The Technique of the Colour Wood-cut. He is credited for popularizing the style in Canada. In 1933 he was elected to a member of the Royal Canadian Academy and won the honorary mention in Warsaw Woodcut international. In 1940, he moved to Alberta and became an instructor at the Banff Summer School where he found the environment, nature, and interaction with students to be ‘in all ways stimulating’.

for more biographical information and examples of work see artist's website at wjphillips.ca

see Walter J. Phillips, by Duncan Campbell Scott [Scott#], published by Ryerson Press, 1947;
Walter J. Phillips, A Selection of His Works and Thoughts, by Michael J. Gribbon, published by N.G.C., 1978;
The Tranquility and the Turbulence: The Life and Works of Walter J. Phillips, by Roger H. Boulet [MBL#], published by Loates, 1981;
Phillips in Print, edited by Douglas Cole and Maria Tippett, published by Manitoba Records Society, 1982;
Truth and Beauty in the Canadian Rockies, An Explorer's Guide to the Art of Walter J. Phillips, by Lisa Christensen, Fifth House Publishers, 2019;


biography and other examples in
N.G.C. Vol. III, by Robert Hubbard, pg. 247; A.G.O., by the A.G.O., pg. 365

Reference: listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website; represented by Masters Gallery, Calgary, Le Balcon d'art, St. Lambert and others

Reference: for more biographical information and examples of work see artist's website at www.joeplaskett.com

see
Joe Plaskett and His Paris, In Search of Time Past, by Fine Arts Gallery, University of B.C., 1971;
Joseph Plaskett, Reflections and Shadows, by R.Boulet, Art Gallery of South Okanagan, 1996;
A Speaking Likeness, by J.Plaskett, Ronsdale Press, 1999;
Joseph Plaskett Changes, by Winchester Galleries, 2012

biography and other examples in
N.G.C. Vol.III, by R.Hubbard, pg.251;
A.G.O., by the A.G.O., pg.380;
Dict. Of Canadian Artists, by C.MacDonald, Vol.6, pg.1732;
Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.3, pg.85, Westbridge Pub., 2001

Reference: see The Critical Development of David Pugh, by D.Godin, Penumbra Press, 1984 for overview of the artist's career; see Biographical Dict. of Saskatchewan Artists - Men, by M.Newman, pg.209, Fifth House Pub., 1994; Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.3, pg.92, Westbridge Pub., 2001; exhibited at Masters Gallery, Calgary; listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference: biography in Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.3, pg.94, Westbridge Pub., 2001; listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website; exhibited at Gainsborough Galleries, Calgary

Reference: biography and another example in N.G.C. Vol.III, by R.Hubbard, pg.253; biography in E.P.E.C., by R.Harper. pg.259; exhibition list in M.M.F.A., by E.McMann, pg.317 and R.C.A.A., by E.McMann, pg.338; included on the Getty Union List of Artist Names Online, by the Getty Research Trust website

Reference: biography and other examples in
Dict. of Canadian Artists, by C.MacDonald, Vol.7 pg.1959;
Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.3, pg.98, Westbridge Pub., 2001;
Guide Vallee, III Edition, by F.Vallee, pg.923, pub. Le Guide Vallee, 1992

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

Reference: see artist's website at christinereimer.ca; listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website; represented by Vancouver Fine Art Gallery, Vancouver and Tutt Street Galleries, Kelowna

Reference: for more biographical information and examples of work see websites at riopelle.ca and fondationriopelle.com

see
Jean-Paul Riopelle, by N.G.C., XXI Venice Biennial, 1962;
Jean-Paul Riopelle: The Fifties, by C. Lafitte, Claude Lafitte Gallery, 1989;
Jean Paul Riopelle, by P.Theberge, M.M.F.A., 1999;
Jean Paul Riopelle 1939-1953, Tome 1, 1999;
Jean Paul Riopelle 1954-59, Tome 2, by Y.Riopelle, Hibou Editeurs, 2004;
Jean Paul Riopelle Catalogue raisonne des estampes, by Y.Riopelle, Hibou Editeurs, 2005

biography and other examples in
N.G.C. Vol.III, by R.Hubbard, pg.259;
A.G.O., by the A.G.O., pg.393; MacDonald, Vol.7, pg.2119;
Benezit, Tome 8, pg.774

exhibition list in M.M.F.A., by E.McMann, pg.323

Reference: see artist's website at www.stephanierivet.com; represented by Galerie Bloom, Montreal and others

Reference: see Printmaking in Alberta 1945-1985, by B.Cochran, pg.119; Images of the Land, 1919-1945, by P.Ainslie, pg.93; The Society of Canadian Painter-Etchers and Engravers in Retrospect, by A.Oko, pg.76, Art Gallery of Hamilton, 1981; included in Jubilee Exhibition of Alberta Paintings, by J.Nicoll, pg.27, Calgary Allied Art Centre, 1955; see Printmaking in B.C. 1883-1983, by N.Tuele, A.G.G.V.; Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.3, pg.108, Westbridge Pub., 2001; Alberta Society of Artists, the First Seventy Five Years, by K.Zimon, pg.109; the proper spelling according to the family is Foard and not Feard which possibly resulted from the artists hand written biographical information sent to the National Gallery

Reference: see artist's website at jcroy.com; listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website; represented by Emma Butler Gallery, St.John's and Harbour Gallery, Mississauga