National Gallery of Canada / Musée des beaux-arts du Canada

Annual Bulletin 7, 1983-1984

Annual Index
Author & Subject

The Influence of Cézanne on Adrien Hébert

by Jean-René Ostiguy

Pages  1  |  2  |  3  |  4  


1 The signatures and dates, written in pen and India ink, were probably a belated addition by the artist.

2 Works by Moret and Maufra were included in the catalogue of the Exposition d'art français, presented by the Art Association of Montreal in December 1909 and January 1910, when the artist was a student in the city.

3 The idea for this magazine, whose title refers to a three-pronged harpoon made by North American Indian people, came about as a result of friendly encounters between various intellectuals and artists, including Adrien Hébert, after their return from Europe in 1914.

4 Jane Mortier, a concert artist, gave a recital in Montreal on 27 February 1918. See Léo-Pol Morin's article, "Mme Jane Mortier, salle du YMCA, le 27 février, "Le Nigog, Vol. l, no.3 (March 1918), pp. 103-105.

5 Robert Mortier, "Cézanne," Le Nigog, Vol. 1, no.4 (April 1918), pp. 119-120.

6 Cézanne's bibliography, which may be consulted either in Venturi's Cézanne, son art; son oeuvre (ed. Paul Rosenberg, Paris, 1936) or in the small catalogue of the Cézanne exhibition at the Musée de l'Orangerie in 1936, includes only twenty articles in French-language magazines before 1918. Unless I am mistaken, none of these articles is illustrated.

7 See the reproductions of his works in Édouard Joseph's Dictionnaire biographique, Vol. III, p. 61.

8 See note 6. Other explanations come to mind For instance, Hébert may have obtained the revised edition of Ambroise Vollard's Paul Cézanne (Paris: G. Crès, 1919). Nothing is known of any visits Hébert may have made to well- known American museums. 1t should be noted, however, that the Metropolitan Museum of Art acquired its first Cézanne in 1913 and did not buy any more works by the Master of Aix until 1929.

9 The collection, the only one of its kind in Canada, may have been donated by Pauline Rolland or by Adrien himself after Henri's death in 1950. There is also a stock of documentation on Adrien Hébert in the Salle Gagnon.

10 Paul Dumas, "Exposition rétrospective d'Adrien Hébert," L'information médicale et paramédicale (Montreal), Vol. XXIII, no. 21 (21 September 1971), pp. 18-19.

11 "Exposition de tableaux et d'études. Remarquable exposition de peintures par Adrien Hébert au Cercle universitaire. Un robuste talent," La Presse, 29 December 1921, p. 9.

12 Fernand Préfontaine returned to Montreal on 6 November 1921 for the funeral of his first wife, Rose Anne Bélanger, who died on 6 October in Paris. See La Presse, 25 October 1921, p. 9.

13 In this connection, see Ellen C. Oppler, Fauvism Re-examined (New York and London: Gar1and Publishing, 1976), pp. 282-285.

14 Reported to the author by Bernadette Guillemette, who has written scholarly work on Fernand Préfontaine.

15 See En cherchant mes souvenirs 1911-1940, (Montreal. Éditions Fidès, 1968), pp. 96-97.

16 See the articles by François Fosca and Raymond Escholier in the magazine Art et Décoration, November 1921, p. 174, and November 1922, p. 169.

17 See Paul Dumas' tribute in his article, "Exposition rétrospective d'Adrien Hébert," loc. cit.

18 Postcard from Adrien Hébert to Pauline Hébert, dated 20 May 1923 (archives of the Hébert family, Montreal).

19 Henri Girard, "Adrien Hébert, le poète du port de Montréal," in La Revue Moderne (Montreal), Oecember 1933.

20 In Quebec, as in the United States (T. Benton) and Mexico (D. Rivera), the abandonment of the forms of Cézanne that lead to Cubism was prompted by a desire to adapt to the experiences of another continent.

21 Adrien Hébert, "Existe-t-il une peinture d'interprétation spécifiquement canadienne-française?" Culture, Vol. III ( 1942), pp. 301-302.

22 Louis Vauxcelles in Cil Blas, 30 September 1908, quoted in Ellen C. Oppler, op. cit., p. 308.

23 In reviewing the Salon d'Automne of 1921, Waldemar George commented on Favory's painting Le Repos (see L'amour de l'art, No. 10, p. 311), referring to the artist's "predilection for the great themes." Many art historians have elaborated on the meaning of this phrase, including René Huyghe and Jean Rudel in their articles on the "escapists from Cubism." Two factors help explain the return to humanity in French art. an easing of tension in the postwar era, and the rise, later on, of the "Vie Nouvelle" movement.

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