Journal of Canadian Art History / Annales d'histoire de l'art canadien


Vol VII:1 (1983)


Materials and Techniques of Painters in Québec City, 1760–1850

The study of the materials and techniques of painters working in Québec from 1760 to 1850 can help to clarify the complicated issues of authenticity and dating that surround paintings of this era It is important to know the types of supplies that were available in Québec during these years, and the methods by which the painters learned their techniques

The intensity of colour, the opacity of the paint and glazes, the texture of the surface and the balance of these elements in a painting are affected by the ageing process relative to the materials that the artist has used The consideration of such changes should accompany any interpretation of an artist's intentions Further­more, the analysis of the specific material components of a painting can sometimes resolve questions about the authenticity, origin, or date of a work Of equal importance are the quality and durability of the materials and the proficiency of the technique, both of which can determine the longevity of a painting Examination of paintings produced in Québec from 1760–1850 can lead to some useful generalizations about their materials and techniques

L'Abbé Jean-Antoine Aide-Créquy (1749–1780) et l'essor de la peinture religieuse après la Conquête

translated summary:
Abbe Jean-Antoine Aide-CrÉguy (1749–1780) and the Renascence of Religious Painting After the Conquest

Shortly before the beginning of the Seven Years War, Jean Baptiste Aide-Créquy was born in Quebec. In 1743, at the age of twenty-four, he became a priest. In November of the same year he was appointed as cure of the parish of Baie-Saint-Paul. In 1777–78, he was responsible for the building of the church of Saint-François-Xavier-de-la-Petite-Rivière. Due to problems with his health, he was forced to leave Baie-Saint-Paul in June of 1780. Unfortunately the illness progressed and Aide-Créquy died on December 6, 1780.

La contribution du peintre américain James Bowman (1793–1842) au premier décor intérieur de l'église Notre-Dame de Montréal

translated summary:
The contribution of the American painter James Bowman (1793–1842) to the first interior decoration of the Church of Notre-Dame in Montreal

The American painter James Bowman appears to be a perfect example of the important role played by foreign artists passing through Lower Canada in the first half of the nineteenth century. Despite a relatively short-lived and not very well-known career, it is known that he practised his art in many cities in the United States (Pittsburgh, Philadelphia, Washington, Charleston, Boston, Detroit and Rochester) and in British North America (Quebec City, Montreal and Toronto). Recent research permits one to throw some light on an important aspect of his production, namely his contribution to the first interior decoration of the present Church of Notre-Dame in Montreal.


The Chilkat Dancing Blanket
Cheryl Samuel

FitzGerald as Printmaker: A catalogue raisonné of the first complete exhibition of the printed works
Helen Coy

FitzGerald as Printmaker is the latest publication on the work of noted Winnipeg artist and teacher Lionel Le-Moine FitzGerald (1890–1956) It records the initial attempt to exhibit the complete body of prints done by this artist over a twenty-six year period, from 1922 to 1947 The exhibition was held in Gallery 111 of the University of Manitoba's School of Art Helen Coy, former Curator of the FitzGerald Study Collection, co-ordinated the project and wrote most of the catalogue