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Now available online and open access… National Gallery of Canada Review Volume 10, May 2019 NGCR Online: <http://bit.ly/ngcr10> http://bit.ly/ngcr10 Marie Louise Renée de Charnay, Co-seigneuresse of Kamouraska, and Transitional 1790s Dress Anne Bissonnette This study investigates a late eighteenth-century portrait attributed to François Baillairgé of Marie Louise Renée de Charnay, co-seigneuresse of Kamouraska, in the collection of the National Gallery of Canada. It explains the sitter’s position as co-seigneuresse with her mother and sister after the British conquest in 1760 and with her second husband, Paschal-Jacques Taché, after 1790. It contextualizes the Taché couple in the Lower Canada bourgeoisie and in their seigneurie in the Bas-Saint-Laurent region. By exploring the dress behaviour depicted in the portrait of Marie Louise Renée, we observe the different ways that garments are worn in an age of transition, and, from the fashionability of her gown (textile, cut, and fit) as well as her hairstyle and accessories, we can affirm that the portrait dates to between 1795 and 1797; this research enables us to reassess the work. Read more at NGCR Online >>> <http://bit.ly/ngcr10a> http://bit.ly/ngcr10a Anishnaabe Photographer Chief David B. Wawanosh: Treaties, Self-Determination, and Image-Making in Nineteenth-Century Aamjiwnaang Alexandra Kahsenni:io Nahwegahbow This paper introduces the life and work of mid-nineteenth-century Anishnaabe photographer Chief David B. Wawanosh from Aamjiwnaang First Nation. This article begins by tracing the history and advocacy work of Indigenous leaders before him, during the early peace and friendship negotiations of Covenant Chain diplomacy in the seventeenth century, into the nineteenth century, when oppressive Indian Department policy sought to dislocate the Anishnaabeg from their lands and deny their right to self-governance. It then aims to discern the links between a highly political, intergenerational history of Indigenous sovereignty and the early photographic-studio practice of artist David B. Wawanosh, who also served as Chief of what is now Aamjiwnaang First Nation in the mid-nineteenth century. Practising at a time in the 1850s when tropes of the “noble savage” and ideologies of Indigenous disappearance were at their height in the Western imaginary, the work of Wawanosh, who may be one of the earliest, if not the earliest, recorded Indigenous studio photographers in North America, is significant. A recent acquisition to the National Gallery of Canada’s collection – a sixth-plate daguerreotype and possible self-portrait – offers a potential starting point in the recovery of this important artist’s history and work. Although the self-portrait attribution remains uncertain, I propose the value of considering the daguerreotype in this light through the lens of “visual sovereignty” <javascript:void(0);> 1 by tracing an intergenerational, political history of the Wawanosh family. Read more at NGCR Online >>> <http://bit.ly/ngcr10b> http://bit.ly/ngcr10b Out of the Blue: A Note on the Discovery of a Russian Daguerreotype at the National Gallery of Canada Lori Pauli This essay describes the discovery of a rare example of a daguerreotype made by the Russian photographer Sergei Lvovich Levitsky (1819–98). Considered the “patriarch of Russian photography,” Levitsky had a long and productive career. He is also credited with creating some of the first landscape photographs made in Russia. Operating photography studios in both Paris and St. Petersburg from the early 1840s until the 1890s, Levitsky is best known for his albumen silver prints of the Russian royal family and their circle. Yet some of his most stunning works were the daguerreotypes he produced early in his career as a portrait photographer in St. Petersburg. By examining the style, content, and physical properties of this object and comparing it with other examples of his work, it has been determined that it may be the first known daguerreotype by Levitsky in a North American collection. Read more at NGCR Online >>> <http://bit.ly/ngcr10c> http://bit.ly/ngcr10c Situating Vision Exchange Jonathan Shaughnessy This paper elaborates on the first of three themes in the exhibition Vision Exchange: Perspectives from India to Canada (co-curated by me and Catherine Crowston): reframing historical, and especially art historical, narratives from non-Western viewpoints. In particular, the rise of paradigms of the “global” have sought to query and decentre Western, or Euro-American, art historical assumptions about the trajectories between modern and contemporary art. Contemporary curatorial practice has played a burgeoning role in such formulations, teasing out histories and spaces from the blind spots that have arisen due to what Thomas DaCosta Kaufmann acknowledges as the “charge of privileging Western developments and methodologies” in the field. The opening section of the essay reviews the pertinent critical literature, which, according to Jill H. Casid and Aruna D’Souza, is presently rethinking the state of art history in “the wake of the global turn.” The remainder of the paper situates Vision Exchange in line with this area of research by considering the work of a number of the artists featured in the exhibition: Atul Dodiya, Ashim Ahluwalia, Akbar Padamsee, Vision Exchange Workshop (VIEW), and Vivan Sundaram, the latter of whom directly references the legacies of Amrita Sher-Gil and her father, the proto-modernist photographer Umrao Singh Sher-Gil. Read more at NGCR Online >>> <http://bit.ly/ngcr10d> http://bit.ly/ngcr10d National Gallery of Canada Review is the official scholarly journal of the National Gallery of Canada (NGC). Its purpose is to publish original research on works in the Gallery’s collections and the areas of investigation they represent. Articles are contributed by members of the Gallery staff. Contributions from art historians and specialists not affiliated with the NGC will be considered. 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