My first visit to the Musée de la province de Québec was with my father, Jean, when I was twelve years old. I thank him with all my heart for that moment. It was a spring Sunday afternoon, and we walked hand in hand to the imposing building in the Battlefields Park. With the carefree spirit of youth, I naively chose the place I would one day occupy within its walls. Many guides shaped my studies to achieve that dream. I offer my deepest thanks to Sister Gabrielle Daigneault, who taught me art history at Collège Mérici; to Maurice Sérullaz at the Sorbonne in Paris; and to the professors and fellow students I encountered at Université Laval and the Université de Montréal, many of whom I was fortunate to cross paths with again during my career as a curator at the Musée national des beaux-arts du Québec (MNBAQ). I fondly remember the late Marie Carani, François-Marc Gagnon, and David Karel, and I think often of Yves Lacasse, Denis Martin, Guy Mercier, John R. Porter, Didier Prioul, and Fernande Saint-Martin. Several of their works inspired and informed this book. The advancement of research in Quebec and Canadian art history has always driven my journey, and I was fortunate to share this passion with my mentors and colleagues at the MNBAQ.
One of the memorable moments of my career was meeting Anna Hudson, then curator at the Art Gallery of Ontario in Toronto, who worked with me as co-curator of the 2009 exhibition Le nu dans l’art moderne canadien, 1920–1950 (The Nude in Modern Canadian Art, 1920–1950). Through Anna, I learned about Sara Angel and the creation of the Art Canada Institute at Massey College, University of Toronto. I am grateful to both for inviting me, in 2016, to write Jean Paul Lemieux : sa vie et son œuvre (published in English as Jean Paul Lemieux: Life & Work), which marked the beginning of the catalogue raisonné project I have been working on ever since.
Art historians rely on a skilled team to carry out their research. I extend my heartfelt thanks to the archivists and librarians of various institutions and museums, especially to Nathalie Thibault, archivist at the MNBAQ, for her unwavering generosity.
I would like once again to thank Sara Angel and her team at the Art Canada Institute for making this book possible. A special acknowledgment goes to Jocelyn Anderson, who extended the invitation to write it in 2021, and of course to Emma Doubt, who succeeded her, as well as to Tara Ng. I express my gratitude to Annie Champagne for her contributions to enhancing the manuscript. Her dedication to making it accessible to a wide readership is truly remarkable.
I dedicate this book to Claude Lépine, my beloved and the devoted father of our children.
Image Sources
Every effort has been made to secure permissions for all copyrighted material. The Art Canada Institute will gladly correct any errors or omissions.
The Art Canada Institute would like to thank the following for their assistance: Archives nationales d’outre-mer (Amélie Hurel, Hervé Malfuson); Archives of Ontario (Chloe Montpetit); Art Gallery of Ontario (Alexandra Cousins); Art Windsor-Essex (Nicole McCabe); Bibliothèque de l’Assemblée nationale (Sophie Chouinard, Pascale Santerre); Bibliothèque de l’Université Laval (Simon Pierre Barrette, Valérie Boulva, Marie-Ève Truchon); Bibliothèque et Archives nationales du Québec (Camille G. Jobin, Kimberly McGarr); Biennale d’art contemporain autochtone (Michaël Patten); Cameron Art Museum (Susan Whisnant); Cathédrale de Chartres (L. Bouis); Centre de conservation du Québec (Isabelle Carrier); Centre culturel canadien (Christophe Lebrun); Château Ramezay—Musée et site historique de Montréal (Christine Brisson); Chiguer Art Contemporain (Abdelilah Chiguer); Chislehurst Digitization Inc. (Jacqueline Vincent); Copyright Visual Arts (Liana Miles); Cowley Abbott Fine Art (Julia De Kwant); Le Devoir (Karine Varela); Estate of Francis Back (Sylvie Despatie for Raphaëlle Back and Félix Back); Estate of Simone Hudon (Jacqueline Beaulac); Estate of Marcel Jean (Annie Jean); Estate of Jean Paul Lemieux (Rosi Maria Di Meglio at Lacerte Art Contemporain); Estate of Paul Lacroix (Rosi Maria Di Meglio at Lacerte Art Contemporain); EXMURO (Anne-Marie Beaudet, Michelle Drapeau); Gilcrease Museum (Garrett Gibson); Grand Théâtre de Québec (Lucie Cloutier, Jean-François Ermel); Kent Monkman Studio (Sadie MacDonald); Library and Archives Canada (Margaret Couper); Le Lieu—Centre en Art Actuel / Inter, art actuel (Geneviève Fortin); Lisson Gallery (Charlotte Parmley); London Public Library (Kevin Davidson); Maison Simons (Anne Sanfacon); Manif d’art (Marie-Ève Lussier-Lévesque); McCord Stewart Museum (Anne-Frédérique Beaulieu); Méduse (Isabelle Desroches); Ministère de la Culture et des Communications, Québec (Émilie Deschênes); Ministère de la culture, France (Irène Jourd’Heuil); Le Monastère des Augustines (Ariane Blanchet-Robitaille); Montreal Museum of Fine Arts (Marie-Claude Saia); Musée d’art de Joliette (Julie Alary Lavallée, Nathalie Galego); Musée de la civilisation (Patricia Bresson, Frédérick Bussières, Anne Laplante); Musée des beaux-arts Beaverbrook (John Leroux, Dawn Steeves); Musée Huron-Wendat (Audrey Éberlé, Émilie Gallant); Musée national des beaux-arts du Québec (Julie Bouffard); Museum of Canadian History (Katia Macias-Valadez, Erin Wilson); National Gallery of Canada (Geneviève Daigneault); OYÉ (Jonathan Gagné); Pierre-François Ouellette Art Contemporain (Pierre-François Ouellette); Pointe-à-Callière, cité d’archéologie et d’histoire de Montréal (Éric Major, Mathieu Trépanier); Pôle culturel du monastère des Ursulines (Marie Bélanger, Arnaud Bessière, Vincent Dion); Power Corporation of Canada (Paul Maréchal); PVP Media (Michèle Ouellet); Royal Collection Trust (Karen Lawson); Royal 22nd Regiment Museum (Dany Hamel); Studio Daniel Buren (Sophie Streefkerk); ULaval nouvelles (Alexandra Perron); l’Université du Québec à Montréal, Service des archives et de gestion des documents (Béatrice Lecomte, Gabriel Pilon); Ville de Montréal (Geneviève Matteau, Isabelle Riendeau, Stéphanie Rose); Zed l’agence (Lucie Fillion); Jocelyne Alloucherie; Danielle April; Eruoma Awashish; Paul Béliveau; BGL; Ludovic Boney; Guy Sioui Durand; Claudie Gagnon; Nicole Giguère; Marc-Antoine Hallé; Erick Labbé; Diane Landry; Robert Lepage and Ex Machina; Francis Lhotelin; Martin Akwiranoron Loft; Richard Mill; François Morelli; Sophie Morin; Nicolas Ruel; Teharihulen Michel Savard; Danny Taillon; and Giorgia Volpe.
The ACI recognizes the additional private collectors who have given permission for their works to be published in this edition.
Credits for Cover Images
Jean Paul Lemieux, preparatory sketch for “Québec (projet de peinture murale)” (“Québec [Mural Project]”), 1949. (See below for details.)
Diane Landry, Brise-glace (Icebreaker), 2013. (See below for details.)
Credits for Banners
Preface: Richard Mill, Sans titre (M-1351) (Untitled [M-1351]), 1989. (See below for details.)
Historical Overview: Charles I Grignion, Vue de l’intérieur de l’église des Récollets (A View of the Interior of the Recollect Church), 1761. (See below for details.)
Key Artists: Jean Paul Lemieux, La Fête-Dieu à Québec (Corpus Christi, Quebec City), 1944. (See below for details.)
Institutions, Associations & Events: Louis-Prudent Vallée, Le monument à Wolfe et la prison de Québec (The Monument to Wolfe and Quebec City Prison), c.1875. (See below for details.)
Community Builders: Robert Lepage and Ex Machina, Le projet Riopelle (The Riopelle Project), 2023. (See below for details.)
Sources & Resources: The Believing gallery in the Gérard-Morisset Pavilion, Musée national des beaux-arts du Québec, Quebec City, 2020, photograph by Denis Legendre. (See below for details.)
Where to See: Jules-Ernest Livernois, La Pinacothèque de l’Université Laval, Québec (The Pinacotheca at Université Laval, Quebec City), c.1890. (See below for details.)
Copyright & Credits: A New Map of the Province of Quebec, According to the Royal Proclamation, of the 7th of October 1763, 1776, by John Carver. (See below for details.)
Credits for Works and Photographs
L’abbé Philippe-Jean-Louis Desjardins (TheAbbé Philippe-Jean-Louis Desjardins), c.1826–30, by Antoine Plamondon, after Jean-Baptiste Guérin. Monastère des Augustines, Quebec City, collection of the Monastère de l’Hôtel-Dieu de Québec. Photo credit: Monastère des Augustines.
Académie d’homme assis, de trois quarts dos, la tête penchée vers l’avant (Academic Drawing of a Seated Male, Three-Quarter Back View, Head Tilted Forward), c.1778–81, by François Baillairgé. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase (1975.238). Photo credit: MNBAQ, Patrick Altman.
Alfred Pellan in Jean Bailleul’s sculpture studio at the École des beaux-arts de Québec, Quebec City, 1923, photographer unknown. Collection of the Musée national des beaux-arts du Québec, Quebec City, Fonds Madeleine et Alfred Pellan (P38.S17.D23.P1). Photo credit: MNBAQ.
The Allan Gilmour and Company Shipyard at Anse au Foulon, Quebec City, Seen from the West, 1840, by Robert Clow Todd. Collection of the National Gallery of Canada, Ottawa, Purchased 1987 (29696). Photo credit: NGC.
Ameriquains qui vont à la guerre sur l’eau (Americans Going to War on the Water), n.d., by Louis Nicolas, illustration from the Codex Canadensis, page 16. Collection of Gilcrease Museum, Tulsa. Photo credit: Gilcrease Museum.
L’ancien Collège des Jésuites, Québec, QC, vers 1870 (Old Jesuit monastery from tower of basilica, Quebec City, QC, about 1870), c.1900, by Livernois & Bienvenu. Collection of the McCord Stewart Museum, Montreal, Gift of Mrs. Charlotte Learmont (MP-0000.1627). Courtesy of the McCord Stewart Museum.
L’ange gardien (The Guardian Angel), 1671, by Frère Luc (né Claude François). Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase, Restoration carried out by the Centre de conservation du Québec (1974.255). Photo credit: CCQ, Michel Élie.
Apparition de la Vierge et de l’Enfant Jésus à saint Antoine (The Apparition of the Virgin and Child Jesus to Saint Anthony), 1630–31, by Simon Vouet. Collection of the Saint-Roch Church, Quebec City. Courtesy of Wikimedia Commons. Photo credit: Jacques Beardsell / Centre de Conservation du Québec.
Apprivoiser son âme (Taming One’s Soul), 2021, by Eruoma Awashish, installation view from the exhibition Kakike Ickote (Feu éternel) (Kakike Ickote [Eternal Fire]) at the Maison Hazeur, presented as part of Passages Insolites (Unusual Passages), Quebec City, 2023. Collection of the artist. Courtesy of EXMURO art public. Photo credit: Stéphane Bourgeois.
Les arches d’entente (The Arches of Understanding), 2020, by Ludovic Boney. Collection of the Musée de la civilisation, Quebec City (2019-318-1). Courtesy of Ludovic Boney. Photo credit: MCQ, Guillaume D. Cyr.
Les arches d’entente (The Arches of Understanding), 2020, by Ludovic Boney. Collection of the Musée de la civilisation, Quebec City (2019-318-1). Courtesy of Ludovic Boney. Photo credit: MCQ, Guillaume D. Cyr.
The Arnolfini Portrait, 1434, by Jan van Eyck. Collection of the National Gallery, London. Courtesy of Wikimedia Commons.
Assomption de la Vierge (Assumption of the Virgin), 1671, by Frère Luc (né Claude François). Monastère des Augustines, Chapel Collection of the l’Hôpital Général, Quebec City. Photo credit: Monastère des Augustines.
Atelier des plâtres à l’intérieur de l’École des beaux-arts (Plaster Workshop Inside the École des beaux-arts), 1950, by Lida Moser. Collection of Bibliothèque et Archives nationales du Québec, Fonds Lida Moser, Archives nationales à Québec, Montreal (346508). Photo credit: BAnQ.
L’atelier du peintre (The Painter’s Studio), 1909, by Charles Huot. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase, Restoration carried out by the Centre de conservation du Québec (1957.22). Photo credit: MNBAQ, Patrick Altman.
Au fil d’une vie (Thread of a Life), 1999, by Danielle April. Collection of La Maison Simons, Carrefour de l’Estrie, Sherbrooke. Courtesy of Danielle April. Photo credit: Danielle April.
Autoportrait au paysage (Self-Portrait in the Landscape), c.1841–43, by Théophile Hamel. Collection of the Musée de la civilisation, Quebec City, Séminaire de Québec Collection (1991.104). Courtesy of Musée de la civilisation. Photo credit: Red Méthot – Icône.
Autoportrait dans l’atelier (Self-Portrait in the Studio), c.1849, by Théophile Hamel. Collection of the Musée national des beaux-arts du Québec, Quebec City, Gift of Madame Gustave Hamel in 1930 or earlier, Restoration carried out by the Centre de conservation du Québec (1934.237). Photo credit: MNBAQ, Jean-Guy Kérouac.
Autoportrait (Self-Portrait), 1826, by Jean-Baptiste Roy-Audy. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase, Restoration carried out by the Centre de conservation du Québec (1953.76). Photo credit: MNBAQ, Denis Legendre.
Autoportrait (Self-Portrait), c.1875–78, by Zacharie Vincent Telari-o-lin. Collection of the Musée de la civilisation, Quebec City, Séminaire de Québec Collection (1991.102). Photo credit: MCQ.
Axe head, 1000–400 BCE, by a once-known St. Lawrence Iroquoian creator. Collection of the Musée de la civilisation, Quebec (2007-143). Photo credit: MCQ, Red Méthot – Icône.
Le baptême du Christ (The Baptism of Christ), 1821, by Jean-Baptiste Roy-Audy. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase, Restoration carried out by the Centre de conservation du Québec (1976.677). Photo credit: MNBAQ, CCQ, Jacques Beardsell.
Basket, 1911 or earlier, by Mrs. Paul Thomas. Collection of the Canadian Museum of History, Gatineau (III-H-44). Courtesy of Canadian Museum of History.
La bataille des plaines d’Abraham (The Battle of the Plains of Abraham), c.1900, by Charles Huot. Collection of the Royal 22nd Regiment Museum, Quebec City (1950 020 001). Photo credit: Royal 22nd Regiment Museum.
The Believing gallery in the Gérard-Morisset Pavilion, Musée national des beaux-arts du Québec, Quebec City, 2020. Photo credit: MNBAQ, Denis Legendre.
Brise-glace (Icebreaker), 2013, by Diane Landry. Collection of Méduse, Quebec City. Courtesy of Diane Landry. Photo credit: Ivan Binet.
Le buste de Louis XIV, roi de France de 1643 à 1715 (Bust of Louis XIV, King of France from 1643 to 1715), 1928, by the Rudier Foundry, after Gian Lorenzo Bernini. Courtesy of Wikimedia Commons. Photo credit: Wilfredo Rafael Rodriguez Hernandez.
Calice (Chalice), 1850 or later, by Nicolas Dolin (attributed). Collection of the Musée de la civilisation, Quebec City, Séminaire de Québec Collection, Restoration carried out by the Centre de conservation du Québec (1991.806.1). Photo credit: MCQ.
Le cardinal de Richelieu (Cardinal Richelieu), 1754 (after the 1639 original), by an unknown Canadian artist, after an unknown French artist. Monastère des Augustines, collection of the Monastère de l’Hôtel-Dieu de Québec, Quebec City. Photo credit: Monastère des Augustines.
Carte de cabinet du portrait de son Excellence Lord Dufferin, gouverneur général du Canada (Cabinet Card of the Portrait of His Excellency Lord Dufferin, Governor General of Canada), 1872, by Notman & Fraser. Collection of the Ivey Family London Room, London Public Library. Photo credit: London Public Library.
Carte de l’Amerique Septentrionalle [sic] (Map of North America), 1909/10, after the 1688 original, by an unknown artist after Jean-Baptiste-Louis Franquelin. Collection of the Library of Congress, Geography and Map Division, Louisiana: European Explorations and the Louisiana Purchase, Washington, D.C. (2002622264). Photo credit: Library of Congress.
Carte de l’océan Atlantique (Map of the Atlantic Ocean), 1601, by Guillaume Levasseur. Collection of the Library of Congress, Geography and Map Division, Washington, D.C. (2021668640). Photo credit: Library of Congress.
Carte géographique de la Nouvelle France faite par le sieur de Champlain Saint Tongois capitaine ordinaire pour le roy en la marine (Geographical Map of New France Made by Mr. de Champlain of Saintonge, Ordinary Captain for the King’s Navy), 1612, by Samuel de Champlain and David Pelletier (engraver), from Les voyages du sieur de Champlain Xaintongeois, capitaine ordinaire pour le Roy, en la marine, by Samuel de Champlain (Paris: Jean Berjon, 1613). Collection of the Norman B. Leventhal Map & Education Center, Boston Public Library (F1030.1 .C43 1613). Photo credit: Norman B. Leventhal Map & Education Center, Boston Public Library.
Les castors du roi (The King’s Beavers), 2011, by Kent Monkman. Collection of the Montreal Museum of Fine Arts, Gift of the artist and W. Bruce C. Bailey in honour of Nathalie Bondil and the 150th anniversary of the Montreal Museum of Fine Arts (inv.2011.401). Courtesy of Kent Monkman. Photo credit: MMFA.
Le char de l’agriculture (The Chariot of Agriculture), 1880, by Louis Jobin. Collection of the Musée national des beaux-arts du Québec, Quebec City, Gift of the City of L’Ancienne-Lorette (1975.285.01). Photo credit: MNBAQ, Jean-Guy Kérouac.
Chasuble (frontal view), c.1720, by the Ursuline Workshop of Quebec. Monastère des Augustines, collection of the Monastère de l’Hôtel-Dieu de Québec, Quebec City (2018.56.1). Photo credit: Monastère des Augustines.
Chasuble (posterior view), c.1720, by the Ursuline Workshop of Quebec. Monastère des Augustines, collection of the Monastère de l’Hôtel-Dieu de Québec, Quebec City (2018.56.1). Photo credit: Monastère des Augustines.
Château Frontenac and Dufferin Terrace, Quebec City, QC, 1915 (?), c.1915, by Wm. Notman & Son. Collection of the McCord Stewart Museum, Montreal, Purchase, funds graciously donated by Maclean’s magazine, the Maxwell Cummings Family Foundation and Empire-Universal Films Ltd. (VIEW-8009). Courtesy of the McCord Stewart Museum.
Le Château Frontenac et la terrasse Dufferin vus de l’Université Laval, Québec (Château Frontenac and Dufferin Terrace Viewed from Université Laval, Quebec City), c.1894, by Jules-Ernest Livernois. Collection of the Musée national des beaux-arts du Québec, Quebec, gift from the Michel Lessard Collection (2010.144). Photo credit: MNBAQ, Jean-Guy Kérouac.
Château Frontenac, Quebec City, 2022. Photograph by Wilfredo Rafael Rodriguez Hernandez. Courtesy of Wikimedia Commons.
Chevalier de la résignation infinie (Knight of Infinite Resignation), 2009, by Diane Landry. Collection of the artist. Courtesy of Diane Landry. Photo credit: Ivan Binet.
Chief headdress, eighteenth and early nineteenth centuries, by a once-known Wendat artist. Collection of the Musée de la civilisation, Quebec City, Picard family collection, Restoration carried out by the Centre de conservation du Québec (64-28). Photo credit: MCQ, Red Méthot – Icône.
Le Christ en croix (Christ on the Cross), 1823, by Jean-Baptiste Roy-Audy. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase, Restoration carried out by the Centre de conservation du Québec (1976.678). Photo credit: MNBAQ, CCQ, Jacques Beardsell.
Les chutes de Lorette (Lorette Falls), c.1860, by Zacharie Vincent Telari-o-lin. Collection of the Musée de la civilisation, Quebec City (2006-979). Photo credit: MCQ
Ciboire (Ciborium), 1641, by an unknown French artist. Monastère des Augustines, collection of the Monastère de l’Hôtel-Dieu de Québec, Quebec City. Photo credit: Monastère des Augustines.
Cinghalais fumant le narguilé (Sinhalese Man Smoking a Hookah), 1905/6, by Charles Huot. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase, Restoration carried out by the Centre de conservation du Québec (1987.161). Photo credit: MNBAQ, Patrick Altman.
La Citadelle de Québec vue du fleuve Saint-Laurent (The Citadel of Quebec Viewed from the Saint Lawrence River), c.1890, by William Notman. Collection of the Musée national des beaux-arts du Québec, Quebec City, gift from the Yves Beauregard Collection (2006.670). Photo credit: MNBAQ, Jean-Guy Kérouac.
The Citadel of Quebec from the Ice, 1831, by James Pattison Cockburn. Collection of the National Gallery of Canada, Ottawa, Purchase, 1979, with funding from the Government of Canada under the Cultural Property Export and Import Act (23444). Photo credit: NGC.
Clément Cazeau, c.1846, by Gerome Fassio. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase (1982.47). Photo credit: MNBAQ, Patrick Altman.
Climats, terre de sang (Climates, Land of Blood), 2010, by Jocelyne Alloucherie. Courtesy of Jocelyne Alloucherie. Photo credit: Jocelyne Alloucherie.
Collections, le temps suspendu (Collections, Time Suspended), 2014, by Claudie Gagnon. Collection of the Musée d’art de Joliette, artwork created as part of the Quebec government’s Politique d’intégration des arts à l’architecture et à l’environnement des bâtiments et des sites gouvernementaux et publics (Policy of integrating art into the architecture and environment of government and public buildings and sites). Courtesy of Claudie Gagnon. Photo credit: Musée d’art de Joliette.
Le cône de glace de la chute Montmorency (The Ice Cone of Montmorency Falls), c.1830, by James Pattison Cockburn. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase (1996.95). Photo credit: MNBAQ, Jean-Guy Kérouac.
Corn ear vessel, c.1350–1600, by a once-known St. Lawrence Iroquoian creator. Collection of Pointe-à-Callière, Montréal Archaeology and History Complex, housed at the Laboratoire et Réserve d’archéologie du Québec (CdEx-3-Vase 84). Photo credit: Pointe-à-Callière, Montréal Archaeology and History Complex, Julie Toupin.
Coupe présentée à George Taylor (Cup Presented to George Taylor), 1827, by Laurent Amiot. Collection of the National Gallery of Canada, Ottawa, Purchase, 2000, with funding from the Government of Canada under the Cultural Property Export and Import Act (40385.1-2). Photo credit: NGC.
La cour intérieure du Séminaire de Québec (The Inner Courtyard of the Séminaire de Québec), c.1902, by Charles Huot. Collection of the Musée national des beaux-arts du Québec, Quebec City, Gift of Monseigneur J. A. Doucet (1943.155). Photo credit: MNBAQ, Patrick Altman.
Cove Fields, Quebec, 1906, by Edmund Morris. Collection of the National Gallery of Canada, Ottawa, Gift of Alexander C. Morris, Toronto, 1928 (3656). Photo credit: NGC.
Cover of Champlain : La naissance de l’Amérique française, edited by Raymonde Litalien and Denis Vaugeois (Quebec City: Septentrion; Paris, Nouveau Monde éditions, 2004). Courtesy of Internet Archive.
Cover of Coup d’œil sur les arts en Nouvelle-France, by Gérard Morisset (Quebec City: Les éditions Dugall Ltée, 1941). Photo credit: Galerie 1001.
Cover of Henry Daniel Thielcke : La vie d’un peintre royal méconnu, by Patrick White (Quebec City: Les Presses de l’Université Laval, 2022). Courtesy of Les Presses de l’Université Laval.
Cover of Histoire du Canada, vol. 9, by François-Xavier Garneau (Montreal: Éditions de l’Arbre, 1946). Photo credit: Librairie La Cargaison.
Cover of Inter, art actuel, no. 131 (March 2019). Courtesy of Le Lieu—Centre en art actuel.
Cover of L’art comme alternative : Réseaux et pratiques d’art parallèle au Québec 1976–1986, by Guy Sioui Durand (Quebec City: Les Éditions Interventions (Inter Éditeur), 1997). Courtesy of Guy Sioui Durand.
Cover of Québec plein la vue, edited by John R. Porter and Didier Prioul (Quebec City: Musée du Québec, 1994). Courtesy of the MNBAQ.
Cover of Québec : Une ville et ses artistes, edited by Denis Castonguay and Yves Lacasse (Quebec City: Musée national des beaux-arts du Québec, 2008). Courtesy of the MNBAQ.
Cover of the catalogue for Manif d’art 1, manifestation internationale d’art de Québec, du 1er septembre au 15 octobre 2000 (Manif d’art 1—The Biennial of Quebec City, September 1–October 15, 2000), graphic design by Paquebot Design. Courtesy of Manif d’art—The Biennial of Quebec City.
Cover of the essay Québec et son évolution, by Gérard Morisset, Cahiers d’Histoire, no. 4 (1952). Photo credit: Abe Books.
Cover of Voyage au cœur des collections des Premiers Peuples, edited by Marie-Paule Robitaille (Quebec City: Septentrion and Musée de la civilisation, 2014). Courtesy of Septentrion.
Customs building at Pointe-à-Carcy, c.1880. Photographer unknown. Collection of Bibliothèque et Archives nationales du Québec, Fonds J.E. Livernois Ltée, Archives nationales à Québec (323739). Photo credit: BAnQ.
Le débat sur les langues : séance de l’Assemblée législative du Bas-Canada le 21 janvier 1793 (The Language Debate: The Sitting of the Legislative Assembly of Lower Canada on 21 January 1793), 1910–13, by Charles Huot. Collection of the National Assembly of Quebec, National Assembly Chamber, Quebec City. Courtesy of the Fonds Assemblée nationale du Québec. Photo credit: Francesco Bellomo.
Défaite des Iroquois au Lac de Champlain Champlain (Defeat of the Iroquois at Lake Champlain), n.d., by Samuel Champlain and David Pelletier (engraver), from Les voyages du sieur de Champlain Xaintongeois, capitaine ordinaire pour le Roy, en la marine by Samuel de Champlain (Paris: Jean Berjon, 1613). Collection of the Beinecke Rare Book and Manuscript Library, Yale University Library, New Haven (2000533). Courtesy of Yale University Library.
“Les démolitions à Québec—La porte St. Louis” (“Demolitions in Quebec City—St. Louis Gate”), illustration from L’opinion publique, vol. 2, no. 37 (September 14, 1871), page 445. Collection of Bibliothèque et Archives nationales du Québec, Montreal (2744053). Photo credit: BAnQ.
La dérive (Drift), 2008, by Giorgia Volpe, installation view from the exhibition C’est arrivé près de chez vous (It Happened in Your Neighbourhood) at the Musée national des beaux-arts du Québec, 2008–9. Courtesy of Giorgia Volpe. Photo credit: Giorgia Volpe.
Le Dernier Huron (Zacharie Vincent) (The Last of the Hurons [Zacharie Vincent]), 1838, by Antoine Plamondon. Collection of the National Gallery of Canada, Ottawa, Gift of the Schaeffer family, Thornhill, Ontario, 2018 (48622). Credit photo: NGC.
Dévoilement de la statue Monseigneur François de Laval en 1908 (Unveiling of the Statue of Monsignor François de Laval in 1908), 1908/9, by J.A. Kirouac & Cie. Collection of Bibliothèque et Archives nationales du Québec, Montreal (CP 019234). Photo credit: BAnQ.
Le docteur François-Olivier Boucher (Doctor François-Olivier Boucher), c.1826–31, by Jean-Baptiste Roy-Audy. Collection of the Musée national des beaux-arts du Québec, Quebec, Gift of Pierre-Olivier Boucher and Odette Lapalme in memory of Paul Boucher, D. Sc. Soc., Restoration carried out by the Centre de conservation du Québec (2000.231). Photo credit: MNBAQ, CCQ, Jacques Beardsell.
Le dortoir des Augustines au monastère de l’Hôtel-Dieu de Québec (Dormitory of the Augustinian Sisters at the Hôtel-Dieu de Québec Monastery), c.1925, by Jules-Ernest Livernois. Collection of the Musée national des beaux-arts du Québec, Quebec City, Gift of the Michel Lessard Collection (2011.143). Photo credit: MNBAQ, Denis Legendre.
Le dragage de la rivière Saint-Charles, Québec (The Deepening of the St. Charles River, Quebec), 1913, by Henry Ivan Neilson. Collection of the Musée national des beaux-arts du Québec, Quebec City, Gift of Maryse Dionne (2011.92). Photo credit: MNBAQ, Idra Labrie.
École d’aviation (Flying School), 2000, by Diane Landry, installation view from the exhibition Diane Landry: Flying School (École d’aviation) & Mandala Naya, at the Rice Gallery, Houston, 2005. Collection of the Cameron Art Museum, Wilmington. Courtesy of Diane Landry. Photo credit: Diane Landry.
École d’aviation (Flying School), 2000, by Diane Landry, presented in the exhibition hi-tech / lo-tech, curated by Murray Horne, 2004, at Wood Street Galleries, Pittsburgh. Collection of the Cameron Art Museum, Wilmington. Courtesy of Diane Landry.
École des beaux-arts de Québec, c.1903–46, by Thaddée Lebel. Collection of the Musée national des beaux-arts du Québec, Quebec City, Gift from the Yves Beauregard Collection (2006.3047). Photo credit: MNBAQ, Jean-Guy Kérouac.
Encensoir (Censer), c.1820, by Laurent Amiot. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase (1954.263). Photo credit: MNBAQ.
Engraving after Samuel de Champlain’s drawing Abitation de Quebecq (The Habitation de Québec), 1608, from his book Les voyages du sieur de Champlain Xaintongeois, capitaine ordinaire pour le Roy, en la marine (Paris: Jean Berjon, 1613). Courtesy of Wikimedia Commons.
Engraving after Samuel de Champlain’s drawing Québec et ses environs (Quebec City and Its Surroundings), 1613, from his book Les voyages du sieur de Champlain Xaintongeois, capitaine ordinaire pour le Roy, en la marine (Paris: Jean Berjon, 1613). Collection of Library and Archives Canada, Ottawa (3919870). Photo credit: Library and Archives Canada.
Les époux Arnolfini, tiré du cabaret de tableaux vivants Dindons et limaces (The Arnolfini Couple, from the cabaret of tableaux vivants Turkeys and Slugs), 2008, by Claudie Gagnon. Collection of the Musée national des beaux-arts du Québec, Quebec City, Photothèque (2009.89). Photo credit: MNBAQ, Jean-Guy Kérouac.
Les époux Arnolfini, tiré du cabaret de tableaux vivants Dindons et limaces (The Arnolfini Couple, from the cabaret of tableaux vivants Turkeys and Slugs), 2008, by Claudie Gagnon. Collection of the Musée national des beaux-arts du Québec, Quebec City, Photothèque (2009.89). Photo credit: MNBAQ, Jean-Guy Kérouac.
Ex-voto des trois naufragés de Lévis (Ex-Voto of the Three Shipwrecked at Lévis), 1754, by an unknown artist. Collection of the Sainte-Anne-de-Beaupré Shrine, Quebec. Courtesy of the Musée de sainte Anne, Quebec.
Fan, c.1860, by a once-known Wendat artist. Collection of the Musée de la civilisation, Quebec City, acquired with the assistance of a movable cultural property grant awarded by the Department of Canadian Heritage under the Cultural Property Export and Import Act (2007-365). Photo credit: MCQ, Annabelle Fouquet – Perspective Photo.
The Ferry, Quebec, 1907, by James Wilson Morrice. Collection of the National Gallery of Canada, Ottawa, Purchased 1938 (4301). Photo credit: NGC.
La France apportant la foi aux Hurons de Nouvelle-France (France Bringing Faith to the Hurons of New France), c.1666, by an unknown artist. Collection of the Pôle culturel du monastère des Ursulines, Quebec City (1997.1017). Photo credit: Pôle culturel du monastère des Ursulines.
François de Laval, premier évêque de Québec (François de Laval, First Bishop of Quebec), 1708, by an unknown artist. Collection of the Musée de la civilisation, Quebec City, Séminaire de Québec Collection (1993.15131). Photo credit: MCQ.
Gaspard-Joseph Chaussegros de Léry, fils (Gaspard-Joseph Chaussegros de Léry, Son), 1751–52, by Marie-Anne Loir (attributed). Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase (1967.101). Photo credit: MNBAQ, Idra Labrie.
Gérard Morisset, c.1945, photographer unknown. Collection of Bibliothèque et Archives nationales du Québec, Fonds de L’Action catholique, Archives nationales à Québec, Montreal (315511). Photo credit: BAnQ.
Gérin-Lajoie : « Ne restez pas là, c’est très dangereux!!! » (Gérin-Lajoie: “Don’t stay there, it’s very dangerous!!!”), November 25, 1965, by Raoul Hunter. Collection of Bibliothèque et Archives nationales du Québec, Montreal, Fonds Raoul Hunter, Archives nationales à Québec (339267). Photo credit: BAnQ.
Gilded pedestal, seventeenth century, by an unknown artist. Collection of the Pôle culturel du monastère des Ursulines, Quebec City (1995.1844). Photo credit: Pôle culturel du Monastère des Ursulines.
Giovanni Domenico Balzaretti, c.1835–40, by Gerome Fassio. Collection of the Musée national des beaux-arts du Québec, Quebec City, Gift of Pierre-Paul Côté and Louise Monaghan (2000.235). Photo credit: MNBAQ, Idra Labrie.
Gordon Donald Simons, Barbara Lynn Schneider, and their sons Richard and Peter Simons, date unknown. Photograph by Simon Séguin-Bertrand. Courtesy of Le Droit.
La gourmandise (Gluttony), c.1642, by Jacques de l’Ange. Collection of the Milwaukee Art Museum, Gift of Frank A. Murn (M2006.45). Photo credit John R. Glembin.
Le grand escalier du Grand Séminaire, Québec (The Grand Staircase of the Grand Séminaire, Quebec City), from the album Maisons d’éducation de la province de Québec (Educational Institutions of the Province of Quebec), c.1895, by Jules-Ernest Livernois. Collection of the Musée national des beaux-arts du Québec, Quebec, Gift of the Yves Beauregard Collection (2014.115.16). Photo credit: MNBAQ, Idra Labrie.
Guillaume-Estèbe House, built around 1752 and integrated into the Musée de la civilisation, Quebec City, date unknown. Photograph by Pierre Soulard. Photo credit: MCQ.
Halte dans la forêt (A Halt in the Forest), 1889, by Louis-Philippe Hébert. Collection of the National Assembly of Quebec. Courtesy of World of Images. Photo credit: Réal Filion.
Hausse-col décoratif (Ornamental Gorget), 1798–1800, by Charles Duval. Collection of the McCord Stewart Museum, Montreal, Gift of David Ross McCord (M984.301.84). Photo credit: McCord Stewart Museum.
La Haute-Ville et l’hôtel du Parlement vus de l’Université Laval, Québec (Upper Town and the Parliament Building Seen from Université Laval, Quebec City), c.1890, by Jules-Ernest Livernois. Collection of the Musée national des beaux-arts du Québec, Quebec City, Gift from the Michel Lessard Collection (2011.108). Photo credit: MNBAQ, Denis Legendre.
Horatio Walker painting in his garden, Île d’Orléans, 1933. Photograph by Melvin Ormand Hammond. Collection of the Archives of Ontario, Toronto (F 1075-12-0-0-27). Courtesy of Wikimedia Commons.
Huron-Wendat Museum, Wendake, Quebec, 2012. Photograph by Pierre-Olivier Fortin. Courtesy of Wikimedia Commons.
L’Incendie du quartier Saint-Jean à Québec, vu vers l’ouest (The Fire in the Saint-Jean Quarter, Seen Looking Westward), c.1845–48, by Joseph Légaré. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase, Restoration carried out with the support of Les Amis du Musée (1958.470). Photo credit: MNBAQ, Denis Legendre.
Indien (Indigenous Figure), c.1885, by Louis Jobin. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase (1936.28). Photo credit: MNBAQ, Denis Legendre.
Inner courtyard of Université Laval, Old Quebec District, Quebec City, c.1900. Photographer unknown. Collection of Bibliothèque et Archives nationales du Québec, Fonds J.E. Livernois Ltée, Archives nationales à Québec, Montreal (323031). Photo credit: BAnQ.
Installation view of Giorgia Volpe’s Le musée de l’eau (The Museum of Water), 2023–24, in Saint-Charles River Linear Park, Quebec City, date unknown. Courtesy of Giorgia Volpe. Photo credit: Giorgia Volpe.
Installation view of Giorgia Volpe’s work Passage migratoire no 2 (Migratory Passage No. 2), 2017, presented as part of Passages Insolites (Unusual Passages), Quebec City, 2017. Courtesy of Giorgia Volpe. Photo credit: Stéphane Bourgeois.
Installation view of Jocelyne Alloucherie’s exhibition L’envers (The Reverse) at the Canadian Cultural Centre, Paris, 2006. Courtesy of Jocelyne Alloucherie. Photo credit: Canadian Cultural Centre, Brice Derez.
Installation view of Robert Lepage and Ex Machina’s projection Moulin à images (Image Mill), 2008–14, in the Old Port, Quebec City, date unknown. Courtesy of Robert Lepage and Ex Machina. Photo credit: Nicolas Ruel.
Installation view of Robert Lepage and Ex Machina’s projection Moulin à images (Image Mill), 2008–14, in the Old Port, Quebec City, date unknown. Courtesy of Robert Lepage and Ex Machina. Photo credit: Nicolas Ruel.
Installation view of Robert Lepage and Ex Machina’s projection Moulin à images (Image Mill), 2008–14, in the Old Port, Quebec City, date unknown. Courtesy of Robert Lepage and Ex Machina. Photo credit: Nicolas Ruel.
Installation view of Robert Lepage and Ex Machina’s projection Moulin à images (Image Mill), 2008–14, in the Old Port, Quebec City, date unknown. Courtesy of Robert Lepage and Ex Machina. Photo credit: Nicolas Ruel.
Installation view of the exhibition Ludovic Boney : Mémoires ennoyées (Ludovic Boney: Drowned Memories) at Pierre-François Ouellette Art Contemporain, Montreal, 2022. Courtesy of Ludovic Boney. Photo credit: Ludovic Boney, Pierre-François Ouellette.
Interior of the Livernois Gallery, c.1886, by Jules-Ernest Livernois. Collection of the Bibliothèque et Archives nationales du Québec, J.E. Livernois Ltée Fonds, Archives nationales à Québec, Montreal (323811). Courtesy of the Bibliothèque et Archives nationales du Québec.
Jacques Cartier, 1848, by Théophile Hamel. Collection of the Musée national des beaux-arts du Québec, Purchase (2009.12). Photo credit: MNBAQ, Jean-Guy Kérouac.
Labour aux premières lueurs du jour (Ploughing—the First Gleam), 1900, by Horatio Walker. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase, 1929, Restoration carried out by the Centre de conservation du Québec (1934.530). Photo credit: MNBAQ, Idra Labrie.
La leçon de couture (The Sewing Lesson), 1886, by Charles Huot. Collection of the Montreal Museum of Fine Arts, Purchase, Donald Luc Boisvert and Gaston Lamontagne Fund (2021.27). Photo credit: MMFA, Christine Guest.
Madame Clément Cazeau, née Julie Hamelin (Mrs. Clément Cazeau, née Julie Hamelin), c.1846, by Gerome Fassio. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase (1982.48). Photo credit: MNBAQ, Patrick Altman.
Madame Cyrice Têtu, née Caroline Dionne, et son fils Amable (Mrs. Cyrice Têtu, née Caroline Dionne, and Her Son Amable), 1852, by Théophile Hamel. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase, Restoration carried out with a contribution from the Friends of the Museum (1954.109). Photo credit: MNBAQ, Jean-Guy Kérouac.
Madame François-Olivier Boucher, née Marie-Luce Deligny (Mrs. François-Olivier Boucher, née Marie-Luce Deligny), c.1826–31, by Jean-Baptiste Roy-Audy. Collection of the Musée national des beaux-arts du Québec, Quebec City, Gift of Pierre-Olivier Boucher and Odette Lapalme in memory of Paul Boucher, D. Sc. Soc., Restoration carried out by the Centre de conservation du Québec (2000.232). Photo credit: MNBAQ.
Madame Giovanni Domenico Balzaretti, née Madeleine Romain (Mrs. Giovanni Domenico Balzaretti, née Madeleine Romain), c.1835–40, by Gerome Fassio. Collection of the Musée national des beaux-arts du Québec, Quebec City, Gift of Pierre-Paul Côté and Louise Monaghan (2000.236). Photo credit: MNBAQ, Idra Labrie.
La Maison Simons on côte de la Fabrique, Quebec City, 2014. Photograph by Jean Gagnon. Courtesy of La Maison Simons.
La Maison Simons on côte de la Fabrique, Quebec City, 1920s. Photographer unknown. Courtesy of La Maison Simons.
Marc Dugas, founder of Engramme, at the opening of the exhibition Noces de papier (Paper Wedding), Quebec City, April 17, 2013. Photograph by Matthieu Dessureault. Courtesy of Matthieu Dessureault, Université Laval.
Le massacre des Hurons par les Iroquois (The Massacre of the Hurons by the Iroquois), 1827–28, by Joseph Légaré. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase (1957.204). Photo credit: MNBAQ, Idra Labrie.
Médaille de l’École des beaux-arts de Québec (Medal of the École des beaux-arts de Québec), 1928–31, by Pierre-Aimé Normandeau. Collection of the Musée national des beaux-arts du Québec, Quebec City, Gift of Muriel H. Plamondon (2000.346). Courtesy of the MNBAQ. Photo credit: MNBAQ.
The Méduse complex, Quebec City, 2023. Photograph by Francis Lhotelin. Courtesy of Francis Lhotelin.
Mémoires ennoyées 2 (Drowned Memories 2), 2021, by Ludovic Boney. Various collections. Courtesy of Ludovic Boney. Photo credit: Ludovic Boney, CFO.
Mercenaria mercenaria (also known as the hard clam or northern quahog), 2016. Collection of the Yale Peabody Museum, New Haven (YPM IZ 033295). Courtesy of Wikimedia Commons. Photo credit: E.A. Lazo-Wasem.
Merrymaking, 1860, by Cornelius Krieghoff. Collection of the Beaverbrook Art Gallery, Fredericton, Gift of the Beaverbrook Foundation (1959.12). Photo credit: Beaverbrook Art Gallery.
Model of the future Riopelle Space at the Musée national des beaux-arts du Québec in Quebec City, scheduled to open in early 2026. Courtesy of the MNBAQ. Photo credit: fabg.
Le monument à Wolfe et la prison de Québec (The Monument to Wolfe and the Quebec City Prison), c.1875, by Louis-Prudent Vallée. Collection of the Musée national des beaux-arts du Québec, Quebec City, Gift of Pierre Lahoud (2014.29). Photo credit: MNBAQ, Idra Labrie.
Monument de Marie de l’Incarnation (Monument to Marie de l’Incarnation), 1942, by Émile Brunet. Collection of the Pôle culturel du monastère des Ursulines, Quebec City (2024.0224). Photo credit: Pôle culturel du monastère des Ursulines.
Moose and Deer Hunting, 1842, by Millicent Mary Chaplin. Collection of Library and Archives Canada, Ottawa (1956-62-44). Photo credit: Library and Archives Canada.
Morrin College, Quebec City, 2020. Photograph by Wilfredo Rafael Rodriguez Hernandez. Courtesy of Wikimedia Commons.
Mort – Espace – Liberté (Death – Space – Freedom) or Passé, présent, future (Past, Present, Future) (detail), 1969, by Jordi Bonet. Collection of the Grand Théâtre de Québec. Photo credit: Grand Théâtre de Québec, Louise Leblanc.
Mort – Espace – Liberté (Death – Space – Freedom) or Passé, présent, future (Past, Present, Future) (detail), 1969, by Jordi Bonet. Collection of the Grand Théâtre de Québec. Photo credit: Grand Théâtre de Québec, Louise Leblanc.
Mort – Espace – Liberté (Death – Space – Freedom) or Passé, présent, future (Past, Present, Future) (detail), 1969, by Jordi Bonet. Collection of the Grand Théâtre de Québec. Photo credit: Grand Théâtre de Québec, Louise Leblanc.
Murals on Dufferin-Montmorency viaduct pillars, presented as part of Passage mural (Mural Passage), organized by Street Art in Action in collaboration with Québec Nova Murale and EXMURO, Quebec City, 2023. Photographer unknown. Courtesy of EXMURO art public.
The Musée de la civilisation, Quebec City, 2009. Photograph by Claude Gagnon. Courtesy of Wikimedia Commons.
Le musée de physique de l’Université Laval, Québec (The Physics Museum at Université Laval, Quebec City), c.1890, by Jules-Ernest Livernois. Collection of the Musée national des beaux-arts du Québec, Quebec City, Gift of the Michel Lessard Collection (2010.184). Photo credit: MNBAQ, Jean-Guy Kérouac.
Le musée de zoologie de l’Université Laval, Québec (The Zoology Museum at Université Laval, Quebec City), from the album Maisons d’éducation de la province de Québec (Educational Institutions of the Province of Quebec), c.1895, by Jules-Ernest Livernois. Collection of the Musée national des beaux-arts du Québec, Quebec City, Gift of the Yves Beauregard Collection (2014.115.07). Photo credit: MNBAQ, Idra Labrie.
The Musée provincial du Québec, Quebec City, 1944. Photograph by Léopold Arcand. Collection of Bibliothèque et Archives nationales du Québec, Fonds du ministère de la Culture et des Communications, Archives nationales à Québec, Montreal (155957). Photo credit: BAnQ.
A New Map of the Province of Quebec, According to the Royal Proclamation, of the 7th of October 1763, 1776, by John Carver. Collection of the Library of Congress, Geography and Map Division, Washington, D.C. (74694799). Photo credit: Library of Congress.
Notre-Dame du Saguenay (Our Lady of the Saguenay), 1881, by Louis Jobin. Collection of the Société historique du Saguenay. Photo credit: OYÉ.
Notre-Dame du Saguenay (Our Lady of the Saguenay), 1881, by Louis Jobin. Collection of the Société historique du Saguenay. Photo credit: Sophie Morin.
Les oiseaux (Birds), n.d., by Louis Nicolas, illustration from the Codex Canadensis, page 41. Collection of the Gilcrease Museum, Tulsa. Photo credit: Gilcrease Museum.
Old Quebec, Quebec City, 2014. Photograph by Philippe Renault / Alamy Stock Photo.
On [Mgr de Laval] donne la confirmation la 1re fois (We [Mgr de Laval] Administer Confirmation for the First Time), c.1686, by Claude Chauchetière, from Narration annuelle de la Mission du Sault depuis la fondation jusqu’en 1686. Collection of the Archives départementales de la Gironde, Bordeaux. Photo credit: Fonds Robert-Derome, UQAM.
On travaille aux champs (Working in the Fields), c.1686, by Claude Chauchetière, from Narration annuelle de la Mission du Sault depuis la fondation jusqu’à l’an 1686. Collection of Bibliothèque et Archives nationales du Québec, Archives nationales à Québec, Montreal (368878). Photo credit: BAnQ.
Opening of the Alfred Pellan exhibition at the Musée de la province de Québec, Quebec City, June 12, 1940. Photographer unknown. Collection Archives UQAM, Fonds Alfred Pellan (131P-010/58). Courtesy of the Université du Québec à Montréal.
Our House, Number 13 St. Ursula Street, Quebec, from July 1838 to September 1842, c.1838–40, by Millicent Mary Chaplin. Collection of Library and Archives Canada, Ottawa (1956-62-44). Photo credit: Library and Archives Canada.
Parement d’autel dit de la Nativité (Altar Frontal Known as The Nativity), second half of the seventeenth century, by Marie Lemaire des Anges (née Marie Lemaire) (attributed) and the Ursuline Workshop of Quebec. Collection of the Pôle culturel du monastère des Ursulines, Quebec City, Restoration carried out by the Centre de conservation du Québec (1995.63). Photo credit: Pôle culturel du monastère des Ursulines; MNBAQ, Patrick Altman.
Parement d’autel dit de l’éducation de la Vierge (Altar Frontal Known as The Education of the Virgin), second half of the seventeenth century, by Marie de l’Incarnation (née Marie Guyart) (attributed) and the Ursuline Workshop of Quebec. Collection of the Pôle culturel du monastère des Ursulines, Quebec (1995.1091). Photo credit: Pôle culturel du monastère des Ursulines.
Parement d’autel dit de l’Immaculée Conception (Altar Frontal Known as The Immaculate Conception), second half of the seventeenth century, by Marie Lemaire des Anges (née Marie Lemaire) (attributed). Collection of the Pôle culturel du monastère des Ursulines (1995.1100). Photo credit: Pôle culturel du monastère des Ursulines.
Parement d’autel dit de sainte Marie-Madeleine pénitente (Altar Frontal Known as Saint Mary Magdalene Penitent), second half of the seventeenth century, by Marie de l’Incarnation (née Marie Guyart) (attributed). Collection of the Pôle culturel du monastère des Ursulines, Quebec City (1995.1094). Photo credit: Pôle culturel du monastère des Ursulines.
A partial view of the golden baldachin inside the Notre-Dame de Québec Basilica-Cathedral, Quebec City, 2021. Courtesy of Wikimedia Commons. Photo credit: Wilfredo Rafael Rodriguez Hernandez.
Parure de traite (Trade Ornament), 2021, by Ludovic Boney, installation view from the exhibition Voix autochtones d’aujourd’hui : savoir, trauma, résilience (Indigenous Voices of Today: Knowledge, Trauma, Resilience) at the McCord-Stewart Museum, Montreal, 2021–ongoing. Collection of the artist. Photo credit: CFO.
Patène (Paten), 1850 or later, by an unknown artist. Collection of the Musée de la civilisation, Quebec City, Séminaire de Québec Collection, Restoration carried out by the Centre de conservation du Québec (1991.806.2). Photo credit: MCQ.
Paysage au monument à Wolfe (Landscape with Monument to Wolfe), c.1845, by Joseph Légaré. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase (1955.109). Photo credit: MNBAQ, Patrick Altman.
A performance of Le projet Riopelle (The Riopelle Project), created by Robert Lepage and Ex Machina, at Duceppe, Montreal, 2023. Photograph by Danny Taillon. Courtesy of Duceppe.
La petite chouette (The Small Owl), n.d., by Louis Nicolas, illustration from the Codex Canadensis, page 41. Collection of the Gilcrease Museum, Tulsa. Photo credit: Gilcrease Museum.
La Pinacothèque de l’Université Laval, Québec (The Pinacotheca at Université Laval, Quebec City), c.1890, by Jules-Ernest Livernois. Collection of the Musée national des beaux-arts du Québec, Quebec City, Gift from the Michel Lessard Collection (2010.185). Photo credit: MNBAQ, Jean-Guy Kérouac.
La place du marché, Québec (Market Place, Quebec City), 1829/30, by James Pattison Cockburn. Collection of the Musée national des beaux-arts du Québec, Quebec City, Bequest of Kate Aishton Mercu (1944.110). Photo credit: MNBAQ, Idra Labrie.
Le pont de glace à Québec (The Ice Bridge in Quebec), 1920, by Clarence Gagnon. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase, 1920, Restoration carried out by the Centre de conservation du Québec (1934.636). Photo credit: MNBAQ, Denis Legendre.
La porte Dalhousie, Québec (Dalhousie Gate, Quebec City), c.1829, by James Pattison Cockburn. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase (1953.70). Photo credit: MNBAQ, Louis Hébert.
Porte de jour (Daylight Door), 2004, by Jocelyne Alloucherie. Municipal Public Art Collection of the City of Montreal. Courtesy of Jocelyne Alloucherie. Photo credit: City of Montreal.
Portrait de mère Marie de l’Incarnation (Portrait of Mother Marie de l’Incarnation), 1672, by Hugues Pommier (attributed). Collection of the Pôle culturel du monastère des Ursulines, Quebec City. Courtesy of Wikimedia Commons.
Portrait of Athanase David, c.1915, photographer unknown. Collection of Bibliothèque et Archives nationales du Québec, Collection of the Centre d’archives de Québec, Archives nationales à Québec, Montreal (370771). Photo credit: BAnQ.
Portrait of Guy Sioui Durand, 2023, by Martin Akwiranoron Loft. Courtesy of Guy Sioui Durand. Photo credit: Martin Akwiranoron Loft.
Présentation d’un chef nouvellement élu au Conseil de la tribu huronne de Lorette (Presentation of a Newly Elected Chief to the Council of the Huron Tribe of Lorette), 1840, by Henry Daniel Thielcke. Collection of the Château Ramezay Museum, Montreal (1998.121). Photo credit: Château Ramezay.
Profil et élévations d’une nouvelle cathédrale et paroisse proposés à faire dans la ville de Québec (Profile and Elevations of a New Cathedral and Parish Proposed for the City of Quebec), 1745, by Gaspard-Joseph Chaussegros de Léry. Collection of the Archives nationales d’outre-mer, Aix-en-Provence, France (BAC, 3DFC 424A). Photo credit: Archives nationales d’outre-mer.
Projectile points, made of chert and quartz, found at the historic and archaeological site of Samuel de Champlain’s Habitation de Québec. Place-Royale archaeological reference collection, Quebec City. Courtesy of the City of Québec. Photo credit: Chantal Gagnon.
Projet de figure de proue du navire « Royal Edward » (bâbord) (Figurehead Design for the Ship “Royal Edward” [Port]), 1793, by François Baillairgé. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase (1975.256). Photo credit: MNBAQ.
Projet de figure de proue du navire « Royal Edward » (tribord) (Figurehead Design for the Ship “Royal Edward” [Starboard]), 1793, by François Baillairgé. Collection of the Musée national des beaux-arts du Québec, Quebec, Purchase (1975.255). Photo credit: MNBAQ, Denis Legendre.
Quebec City, The Capital of New-France, a Bishoprick, and Seat of the Soverain Court, c.1759, by Thomas Johnston, after Nicolas de Fer and François Chereau. Collection of the John Carter Brown Library, Brown University, Providence (M987.57). Courtesy of the John Carter Brown Library.
The Quebec coat of arms on the pediment of the National Assembly of Quebec, Quebec City, 2007. Courtesy of Wikimedia Commons. Photo credit: Claude Boucher.
The Quebec Driving Club meeting at the Place d’Armes, c.1826, by James Smillie Jr., after William Wallace. Collection of the National Gallery of Canada, Ottawa, Purchased 2010 (43037). Photo credit: NGC.
Quebec Taken from the House of James Caldwell, 1822, by Charles Ramus Forrest. Collection of the National Gallery of Canada, Ottawa, Purchase, 1975 (18508). Photo credit: NGC.
Québec vue de la Pointe-Lévis (View of Quebec City from Pointe De Lévy), c.1840–42, by Joseph Légaré. Collection of the Montreal Museum of Fine Arts, Purchase, Gift of the Succession J.A. DeSève and Horsley and Annie Townsend Bequest (inv.1980.3). Photo credit: MMFA, Denis Farley.
Réciprocité (Reciprocity), 2009, by Teharihulen Michel Savard. Collection of the Huron-Wendat Museum, Wendake, Quebec (2024.2.1). Courtesy of Teharihulen Michel Savard. Photo credit: Huron-Wendat Museum.
Le repos de la Sainte Famille durant la Fuite en Égypte (The Holy Family Rest on the Flight into Egypt), c.1750, by Jean Restout (attributed). Collection of the Musée de la civilisation, Quebec City, Séminaire de Québec Collection (1991.541). Photo credit: MCQ, Jessy Bernier – Icône.
Retable principal (Main Altarpiece), 1726–36, by Pierre-Noël Levasseur. Collection of the Pôle culturel du monastère des Ursulines, Ursuline Chapel, Quebec City. Photo credit: Pôle culturel du monastère des Ursulines.
Robert Lepage performing in the play 887, which he created with Ex Machina, at the Théâtre du Nouveau Monde, Montreal, 2016. Photograph by Erick Labbé. Courtesy of Robert Lepage and Ex Machina.
The Royal Mail Crossing the Saint Lawrence, 1860, by Cornelius Krieghoff. Private collection. Photo credit: Cowley Abbott Fine Art.
La Sainte Famille à la Huronne (The Holy Family with a Huron Woman), c.1671, by Frère Luc (né Claude François). Collection of the Pôle culturel du monastère des Ursulines, Quebec City (1997.1008). Photo credit: Pôle culturel du monastère des Ursulines.
Sainte Marie-Madeleine or La Madeleine en pleurs (Saint Mary Magdalene or The Weeping Magdalene), 1819, by Jean-Baptiste Roy-Audy. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase, Restoration carried out with a contribution from the Friends of the Museum (1980.04). Photo credit: MNBAQ, Idra Labrie.
Saint Jean Baptiste, socle de la première colonne de droite (Saint John the Baptist, Base of the First Column on the Right), first half of the eighteenth century, by Pierre-Noël Levasseur. Collection of the Pôle culturel du monastère des Ursulines, Ursuline Chapel, Quebec City. Courtesy of the Canadian Museum of History, Gatineau. Photo credit: Marius Barbeau.
Saint Jérôme entendant la trompette du Jugement dernier (Saint Jerome Hearing the Trumpet of the Last Judgment), 1717, by Pierre Dulin. Collection of the Musée de la civilisation, Quebec City, Séminaire de Québec Collection, Restoration carried out by the Centre de conservation du Québec (1991.538.1). Photo credit: MCQ, Red Méthot – Icône.
Se la couler douce (Taking It Easy), 2015–21, by Giorgia Volpe, performance and installation presented as part of the Symposium international d’art-nature des Jardins du précambrien at the Derouin Foundation, Val-David, Quebec. Courtesy of Giorgia Volpe. Photo credit: Giorgia Volpe, Jean-François Boisvert.
Sir George R. Dalhousie, c.1828, by Jarvis Frary Hanks. Collection of Library and Archives Canada, Ottawa (1971-64-94). Courtesy of Library and Archives Canada,
Skirt and redingote dress, c.1875, by a once-known Wendat artist. Collection of the Musée de la civilisation, Quebec City, Restoration carried out by the Centre de conservation du Québec (2009-3-2 and 2009-3-1). Photo credit: MCQ, Red Méthot – Icône.
Sœur Saint-Alphonse (Sister Saint-Alphonse), 1841, by Antoine Plamondon. Collection of the National Gallery of Canada, Ottawa, Purchase, 1937 (4297). Photo credit: NGC.
Statue de sainte Ursule, patronne des Ursulines (Statue of Saint Ursula, Patron Saint of the Ursulines), eighteenth century, by Pierre-Noël Levasseur. Collection of the Pôle culturel du monastère des Ursulines, Ursuline Chapel, Quebec City (2024.0236). Photo credit: Pôle culturel du monastère des Ursulines.
Théière Regency (Regency Teapot), c.1815, by Laurent Amiot. Collection of the National Gallery of Canada, Ottawa, Purchased 2009 (42518). Photo credit: NGC.
Title page of Les voyages du sieur de Champlain Xaintongeois, capitaine ordinaire pour le Roy, en la marine, by Samuel de Champlain (Paris: Jean Berjon, 1613). Collection of the Bibliothèque nationale de France, Paris, Département de l’Arsenal (4-H-554). Photo credit: BNF.
La traite du matin (The Morning Milking), 1910, by Horatio Walker. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase before 1929 (1934.533). Photo credit: MNBAQ, Jean-Guy Kérouac.
La traite du matin (The Morning Milking), 1925, by Horatio Walker. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase, 1926 (1934.532). Photo credit: MNBAQ, Patrick Altman.
The Two Dog Wampum, 1721–81, by a once-known artist. Collection of the McCord Stewart Museum, Montreal, Gift of David Ross McCord (M1904). Photo credit: McCord Stewart Museum.
Université Laval’s coat of arms, created in 1951 by Robert D. Watt, Chief Herald of Canada, assisted by the heralds of the Canadian Heraldic Authority. Courtesy of Wikimedia Commons.
Université Laval’s École d’art, La Fabrique Building, Charest Boulevard East, Quebec City, 2012. Photograph by Aquastephie. Courtesy of Wikimedia Commons.
Ursuline Monastery, Quebec City, 2012. Photograph by Jean Gagnon. Courtesy of Wikimedia Commons.
Vanitas 19-04-20, 2019, by Paul Béliveau. Private collection. Courtesy of Paul Béliveau. Photo credit: Paul Béliveau.
Les vents déferlants (The Winds Unfurling), 2002, by Paul Béliveau. Collection of the City of Quebec. Courtesy of Paul Béliveau. Photo credit: Ville de Québec.
Les vents déferlants (The Winds Unfurling) (detail), 2002, by Paul Béliveau. Collection of the City of Quebec. Courtesy of Paul Béliveau. Photo credit: Paul Béliveau.
Venus and Adonis, c.1642, by Simon Vouet. Collection of the J. Paul Getty Museum, Los Angeles, Sold to the J. Paul Getty Museum, 1971 (71.PA.19). Courtesy of Wikimedia Commons.
The Vidéo Femmes team in front of the building at 10 rue McMahon, where their offices were located, Quebec City, 1983. Photograph attributed to Louise Bilodeau. Collection of Nicole Giguère. Photo credit: Nicole Giguère.
View from Mrs. Chaplin’s Dressingroom Window, Quebec, 1839, by Millicent Mary Chaplin. Collection of Library and Archives Canada, Ottawa (1956-62-46). Photo credit: Library and Archives Canada.
A view of the golden baldachin and the high altar inside the Notre-Dame de Québec Basilica-Cathedral, Quebec City, 2021. Courtesy of Wikimedia Commons. Photo credit: Wilfredo Rafael Rodriguez Hernandez.
La vision de saint Roch (The Vision of Saint Roch), c.1825, by Joseph Légaré. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase, Restoration carried out with the support of Les Amis du Musée (1973.220). Photo credit: MNBAQ, Patrick Altman.
Vue de la Prise de Québec, le 13 septembre 1759 (View of the Taking of Quebec, September 13, 1759), 1797, by an unknown artist, after Hervey Smythe. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase (1978.375). Photo credit: MNBAQ, Jean-Guy Kérouac.
Vue de l’intérieur de l’église des Récollets (View of the Interior of the Récollets Church), 1761, by Charles I Grignion. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase (1954.159). Photo credit: MNBAQ, Patrick Altman.
Vue de Paris, de la chambre de François Baillairgé (View of Paris from the Room of François Baillairgé), 1780, by François Baillairgé. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase (1975.237). Photo credit: MNBAQ, Denis Legendre.
Vue de Québec (View of Quebec City), 1838–39, by John Richard Coke Smyth. Collection of Power Corporation of Canada, Montreal (1981.069.1). Courtesy of the Musée national des beaux-arts du Québec, Quebec City. Photo credit: MNBAQ.
Vue du Palais épiscopal et de ses ruines, comme elles paraissent sur la montagne depuis la Basse-Ville (A View of the Bishop’s House with the Ruins, as They Appear in Going Up the Hill from the Lower to the Upper Town), 1761, by Antoine Benoist, after Richard Short. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase (1954.125). Photo credit: MNBAQ, Denis Legendre.
Wampum belt, 1678, by a once-known Wendat artist. Collection of the Cathédrale de Chartres, France. Photo credit: DRAC Centre-Val de Loire-F. Lauginie.
Wampum belt, eighteenth century, by a once-known artist. Collection of the McCord Stewart Museum, Montreal, Gift of David Ross McCord (M1905). Courtesy of the McCord Stewart Museum.
Zacharie Vincent et son fils Cyprien (Zacharie Vincent and His Son Cyprien), c.1852–53, by Zacharie Vincent Telari-o-lin. Collection of the Musée national des beaux-arts du Québec, Quebec City, Purchase (1947.156). Photo credit: MNBAQ, Patrick Altman.
Michèle Grandbois is an independent art historian. She taught art history before becoming a curator at the Musée national des beaux-arts du Québec (1987–2014). Learn More
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