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What do Superman, Prince Valiant, Cerebus the Aardvark, and Spawn have in common? Their creators — Joe Shuster, Harold Foster, Dave Sim, and Todd McFarlane are Canadians. And while many of the cutting-edge talents of contemporary comix and graphic novels are also from Canada — artists such as Chester Brown, Seth, Dave Cooper, and Julie Doucet — far too few Canadians realize their country had a remarkable involvement with the "funnies" long before.

Winner of the 1999 International Gallery of Superb Printing Gold Award for Superb Craftsmanship in Production Franz Johnston is the missing man of Canadian painting. The most prolific and financially successful of the original Group of Seven, Johnston’s paintings were among the most sought after in Canada in the years between the mid-1920s and his death in 1949. They appear in the collections of dozens of discriminating private collectors, and in institutions such as the National Gallery, the Art Gallery of Ontario, the McMichael Canadian Collection, and the Canadian War Museum.

Frederick Horsman Varley was unique among the members of the Group of Seven. One of the greatest Canadian portraitists of the twentieth century, he is an intriguing example of an artist who, despite his fame as a portrait painter, remains better known for his landscapes. This is due mainly to his position as one of the founding members of the Group of Seven and their deliberate attempt to raise awareness of our national identity by depicting the Canadian landscape.

From 1876 to 1915, Edward James Lennox was a formidable force in Toronto’s architectural community. Many of his buildings are still landmarks in a city that continues to evolve.Born and educated in Toronto, Lennox looked to the past for inspiration but was never captured by it. His prototypical Annex houes on Madison Avenue, Old City Hall, and Casa Loma bear witness to his technical expertise and aesthetic sensibilities.

Daylight in the Swamp is the bush memoirs of Selwyn Dewdney, a noted Canadian artist and recorder of native rock art. His two great loves, art and the Canadian north, come together in this book. His respect for native culture and art is reflected in his own work, his insight into native rock art, and his passion for canoeing and the northern experience.The third theme of the book is history spanning the period from 1910 through to the 1970s during which the old north largely vanished.

"[Continuity with Change] seeks to document and demonstrate that middle positions between Change and Continuity are possible and desirable." — Canadian Architect "[Continuity with Change] is well produced with a large number of good photographs, maps, and drawings ...

In this witty and compelling defence of the art field itself, Joan Murray, one of the country's most outspoken art historians, discusses the great figures of Canadian art and the rise of our national are in institutions such as the Art Gallery of Ontario.

Churches of Nova Scotia is as much a human interest book as it is about ecclesiastical buildings. Both text and photographs tell the story of more than 30 Nova Scotia churches, but in the telling, the relationship between the interior life and history of the churches and the exterior and architecture of the church buildings is explored. The book is well balanced, containing a selection of churches from all parts of the province and representing a variety of denominational and ethnic identities, time periods, and architectural styles.

Would you want to live in a factory-molded cube made of plastic, asbestos, and UFFI? With an "H-bomb shelter" and the nuclear furnace underneath? Or a house designed by God to harmonize with the cosmic Muzak? The Canadian Home explains how our housing came to be including the pagan origins of "colonial" homes, why "Tudor" is not Tudor, and where so many predictions went wrong.

Canadian Art in the Twentieth Century is a survey of the richest, most controversial and perhaps most thoroughly confusing centuries in the whole history of the visual arts in Canada - the period from 1900 to the present. Murray shows how, beginning with Tonalism at the start of the century, new directions in art emerged - starting with our early Modernists, among them Tom Thomson and the Group of Seven. Today, Modernism has lost its dominance. Artists, critics, and the public alike are confronted by a scene of unprecedented variety and complexity.