New Brunswick

Fredericton's Beaverbrook Art Gallery puts entire permanent collection online for world to see

Art lovers and researchers around the world are now just a click away from exploring the Beaverbrook Art Gallery's permanent collection.

Some of the 5,000 works have never been displayed in the gallery

A man with short dark hair looks seriously at the camera. He is wearing a collared dress shirt with a blue and white pattern, and standing in front of a white gallery wall with art works hung on it.
John Leroux, manager of collections and exhibitions at the Beaverbrook Art Gallery, says previously they were one of the only major art galleries without at least some of their collection online. (Joe MacDonald/CBC)

Art lovers and researchers around the world are now just a click away from exploring the Beaverbrook Art Gallery's permanent collection.

During the height of the pandemic, when some people dusted off their baking skills, John Leroux, Beaverbrook's manager of collections and exhibitions and his team were busy cataloging every piece of art in the gallery's extensive permanent collection.

Leroux estimates there are about 4,000 pieces online now, with another 1,000 to be posted in the coming months.

"Some people learned to make sourdough," Leroux told CBC's Information Morning. "[At] the Beaverbrook, we digitized the entire collection and created an online portal so you could enjoy it. It's our own version of sourdough."

Leroux said the need to document the collection in a digital format predated the pandemic, as the gallery was one of the few in Canada without at least part of its permanent collection online, but the gallery being temporarily closed gave them the luxury of time and space.

An oil painting of a stone cove-style dock on a lakeside.
San Vigilio, Lake Garda, a 1913 oil-on-canvas by American artist John Singer Sargent. (Submitted by the Beaverbrook Art Gallery)

He said it took a team of three to four people working constantly for about a year and a half to bring the collection online.

Because of light reflection from frames, and possible hidden signatures, every piece had to be removed from its frame, photographed using a special camera, and then put back with care.

"Some of these, you're talking about works that are hundreds of years old — delicate," said Leroux. "And we had two guys just constantly unframing and framing works while we were shooting them. And so ... it was a huge amount of work that actually took the most time."

Leroux said the gallery used about $100,000 worth of photo equipment for the project, including lights and a Phase One 150 megapixels camera recommended to them by the photo department at the National Gallery of Canada.

A serigraph on paper in shades of grey, yellow and green of a landscape with two square light yellow houses to the right, with a clothesline carrying yellow-ish sheets spanning across the front of the work.
Clothesline, a 1965 serigraph-on-paper by Canadian artist Christopher Pratt. (Submitted by the Beaverbrook Art Gallery)

Some of the works in the permanent collection have never been exhibited in the gallery before, and may never be, according to Leroux. 

While documenting each piece, the team found a few hidden gems — items that were a line of data on a page but tucked away out of sight.

"Oh lots of things by really well-known artists," said Leroux, of their unexpected finds.

"There's one pencil drawing of a woman in the 1860s. It's one of the finest drawings we have. I had no idea we had it."

Despite displaying their permanent collection for all the world to see, Leroux said he still expects people to want to visit the gallery in person. And scholars can quickly see what works they have in the collection by any certain artist, or done in a certain time period.

"It's an adjunct, it's a really valuable tool," he said.

"In fact, if anything, I think it's going to encourage more people to come.... But I really think it's one of the most important things we can do in the digital world — to share it and to share it with love and care and the idea that we're all in this together."

An abstract acrylic painting of reds, yellows, and oranges, done in almost a rainbow shape with lots of wavy lines across a grey canvas.
Sunkiss, a 1980 acrylic-on-canvas by Canadian artist Jacques Hurtubise. (Submitted by the Beaverbrook Art Gallery)
A photo of an impressionist painting of figures on a beach, with several white tents, and sailboats in the background.
Personnages sur la plage, a 19th century oil-on-canvas by French artist Eugène Boudin. (Submitted by the Beaverbrook Art Gallery)
A charcoal, ballpoint and gouache on paper art work done in shades of black of the impression of a woman reclining on a table on her left elbow, facing the artist.
Reclining Woman: Elbow, a 1981 charcoal, black ballpoint and gouache on paper by British artist Henry Moore. (Submitted by the Beaverbrook Art Gallery)
A photo of an oil painting of a pastoral landscape. The foreground is in darker tones, with the impression of a narrow road through the center heading to a town in the far distance. There are two bushy trees to the right, and a line of three green trees on the left, with two skinny ones on the outside and a short and fuller one in the middle.
The Hay Wagon, a 1967 oil-on-canvas by Canadian artist Edward Bannister. (Submitted by the Beaverbrook Art Gallery)
An oil painting done in dark colours of military members surrounded by ruins and a few civilian onlookers painted in brighter colours.
Canadians at Lievin Castle, a 1918 oil-on-canvas by British artist Augustus Edwin John. (Submitted by the Beaverbrook Art Gallery)
A painting of an industrial city.
'Industrial View, Lancashire, a 1956 oil-on-canvas by British artist L.S. Lowry. (Submitted by the Beaverbrook Art Gallery)

With files from Information Morning