Whilst Henry the first, King of England and Duke of Normandy, might have died from a
a surfeit of lampreys, and whilst the lakes "above" Niagara may have seen their fish numbers dwindle following the opening of the Welland canal in 1919, which permitted the Atlantic
lamprey to extend its range in to the upper Great Lakes, you cannot die, or become parasitised, by a surfeit of fine art! And the collection of early 20th century Canadian painters' works in the National Gallery of Canada in Ottawa takes some beating!
Friday, 22nd January.

We had a noon rendez-vous with some free tickets generously supplied by Peter, on the way we stopped to gaze down at the now-empty Rideau locks, with happy memories of last summer.
Then along the road which passes the architecturally dire American Embassy, to the gallery with its massive bronze spider......
It's a remarkable building, the gallery; massive, grey, full of light; something like a Gothic cathedral but sparse, angular and easy to become lost in. We picked up our tickets and headed first for the Monet
exhibition. The video clip just about says it all, but it can't capture the riveting experience, dawning on us on this second day of visual gastronomy, of seeing the actual brush-strokes for yourself. Hmmmmmm.
Time for a cold drink, and then on to the Canadian art gallery. The last time we were in this space, my favourite painters' works were unavailable - but not today. We were another three and a half hours. I'm not going to take you painting by painting through the gallery, but we wandered, dutifully, and with some pleasure, through the most modern pieces. I don't have the visual or contextual vocabulary really to enjoy many of these works. My own work is definitely "holiday snaps"; places or, rarely, people which and whom I want to remember. I haven't tried painting "emotion", let alone "system". I might, but I haven't, so I don't appreciate it in other works.
At the "far" end of the long series of galleries, after you have moved back in time to the beginning of the twentieth century, you are introduced to that group of painters, many from England originally, some not, who made a huge change in Canadian art, as fundamental a change as - and not unlike - that which the Impressionists had made in France.
The originals are bigger than I had envisaged; Tom Thomson's
Northern River, Pine Island, Georgian Bay and
Autumn's Garland fill a wall by themselves. Painting after painting after painting that I had seen in books was there; sometimes surprisingly crude in brush-work, sometimes breathtaking in the effect it generated.
Three for now.
Decorative Landscape, Lawren S. Harris, 1917;
Frost-laden Cedars, Big Cauchon Lake, Tom Thomson, 1915-16;
The Red Maple, A.Y.Jackson. 1914.
And a detail - from Northern River; bought by the gallery direct from the exhibition in 1915 for $500.
What a day! We visited Peter in the Gallery's library which he runs and then Ali (never stand when you can sit... :-) ) went for a rest in the rotunda cafe whilst I went back to try to do justice to the more modern artists for another hour, followed by a return to those 8.
After their work we met up with Peter and Greg in the bar of the Fairmont Chateau Laurier and then went on with them to a great little, German-inspired restaurant for a delicious meal and a wonderful chat. They kindly gave us a lift back to our hotel (which was just as well; feet? What feet?).
Saturday, 23rd January. The most beautiful weather for the drive back; ice-fishers at the ferry crossing; a view all the way up lac Labelle;
a huge moon tonight. The logs slump in the stove, we're about to slump into our beds.
Surfeit? Never! (but a rest would be a good idea!)