The Charles Huot Paintings in
Saint-Sauveur Church, Quebec City
by Sylvain Allaire
| 2 | 3
1 Gaston Carriere, Histoire documentaire de la Congrégation des Missionnaires
Oblats de Marie Immaculée dans l'Est du Canada (University
of Ottawa, 1967), p. 81, quoting the Codex Historicus de Saint-Sauveur.
2 Ibid., p. 81.
3 "The Reverend Father Superior gave notice that he had received plans
and a submission from Mr Hamel," in Codex Historicus de Saint-Sauveur, meeting of 7 September, 1886.
4 Rev Fr Ferdinand Grenier, quoted in Missions de la congrégation des
Missionnaires Oblats de Marie Immaculée (1888), pp 542-3.
5 La Minerve, 16 July, 1886.
6 Ibid., 4 February, 1887.
7 Huot had a reader's card for the printroom of the Bibliothèque Nationale.
He also acquired through his friend Lefèvre three pictures: Paradise, the
Adoration of the Magi and the Adoration of the Shepherds. (Noted
by Jean-René Ostiguy, Charles Buot, Canadian Artists Series
(Ottawa: NGC, 1979) p. 13.
8 The five known sketches were preserved by Huot and his daughter Alice.
The National Gallery of Canada has recently acquired Bell. The Musée
du Québec owns the others except The Transfiguration, which
is part of a private collection.
9 The relevant passage from Lefèvre's letter is reproduced in Bulletin No
27, Charles Huot ..., by Robert Derome (Ottawa: NGC, 1976), footnote 70, p. 38.
10 Rostocker Zeitung, September 26, 1889. Clipping preserved
at the French-Canadian Civilization Research Centre, in the University
11 Ernest Gagnon, "M Charles Huot et l'Église de Saint-Sauveur" in La Revue Canadienne,
vol III (1890), pp. 463-465.
12 Louis Fréchette, "La décoration de l'Église
de Saint-Sauveur à Québec", La Semaine Religieuse de Montréal
(2 July, 1892), pp 4-8, and (9 July 1892), pp 22-28.
13 Paul Chenavard (1807-1895), Dante's Bell (184:6), Musée
Fabre, Montpellier; Hell (184:8-1851), grisaille cartoon for the Panthéon,
Musée des Beaux-Arts de Lyon. In 1887, Ambruster printed a lithograph of the work.
14 Karl Pavlovitch Bryulov (1799-1852), The Last days of Pompeii (1830-1833), Museum of
Russia, Leningrad. Reproduced in the exhibition catalogue "La peinture russe à l'époque
romantique," Galeries nationales du Grand Palais (Paris, November 1976), no. 12, pp 34-35.
15 Peter von Cornelius (1783-1867), The Last Judgment (1836-1839), fresco
for the Ludwigskirche, Munich. The building has disappeared; the cartoons
(1834-1835) are preserved in Basel.
16 The Good Samaritan (1877) was exhibited in the Salon de Paris
of 1877 and is preserved in the Musée Tavet-delacour in Pontoise,
17 L. Fréchette, op. cit., p. 26.
18 Ibid., pp 24-25.
19 Ibid., p. 23.
20 See "Chenavard" in the index of Beaudelaire: Complete Works, Bibliothèque de la Pléiade (Gallimard, 1961).
21 Théophile Gautier, "Le Panthéon, peintures murales" in L'Art Moderne
(Paris, 1856), pp 1-83.
22 La peinture russe à l'époque romantique (Paris: Galeries Nationales du
Grand Palais, 1976), pp 34-35.
23 Charles Huot, "Causerie artistique: l'Oeuvre de Tissot", in La Nouvelle France
(Quebec City: April, 1903), pp 188-192.
24 Saint-Sauveur was the first work in Huot's long career as a decorator after his return from
Europe at the age of thirty-five. His works are to be found in more than a dozen churches: Saint-Joseph
in Carleton, sixteen paintings and roundels (c. 1894); Saint-Pascal in Kamouraska, two paintings,
(c. 1900); Saint-Patrice in Rivière-du-Loup, a large canvas and way-of-the-cross (1902-1904);
Maison des Soeurs Antoniennes, a way-of-the-cross (c. 1903); Saint Gervais in Bellechasse, two
large canvasses and two roundels (c. 1902-1905); Saint Jérôme in Hébertville,
three works from the seminary in Chicoutimi (c. 1903-1904); Chapelle Saint Antoine, Lac Bouchette,
twenty-two canvasses (1908-1920); Notre-Dame d'Hébertville, seven paintings (1914-1916). His only
non-religious decoration is the Quebec National Assembly (1910-1930). See Bulletin
No. 27 Charles Hout..., by Robert Derome (Ottawa: NGC,
25 Napoléon Bourassa displays a more unified eclecticism in the Chapel of Nazareth (1870-1872) [since
destroyed] and in the church of Notre-Dame de Lourdes (1872-1880), both in Montreal. Even though Ozias Leduc
copied existing compositions for his first two decorations, in the Joliette Cathedral (1892-1894) and the Church of
Saint-Hilaire (c. 1896-1899), he nevertheless displayed a sensitivity to colour and showed a higher
appreciation of the architectural matrix.
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