Three major works by Riopelle make their debut at the MNBAQ

“It’s like Christmas!” » The general director of the National Museum of Fine Arts of Quebec (MNBAQ), Jean-Luc Murray, could not contain his enthusiasm on Monday when discovering the three major works of Jean Paul Riopelle, which are added to the imposing collection of the museum institution.

Since the beginning of December, the MNBAQ began receiving some of Riopelle’s 66 works, valued at more than $120 million, which make up the major donation made by British-Columbian patron Michael Audain in December 2021. These works expand the museum’s collection, which already has 447, and will subsequently be exhibited in the brand new Espace Riopelle, which will open its doors in 2026.

Entry into the national collection

On Monday, it was under the watchful eye of the museum’s curators, the restorer Aimie Turcotte, but also a few hand-picked representatives of the media, that these three works were unpacked with the greatest precaution by the handlers of the museum.

Four years ago, what attracted us, what engaged us, was the fact that the two main patrons, MM. Audain and [Pierre] Lassonde, bequeathed 66 major works to a collection that was already the most important in Canada, works that museums cannot afford to acquire, ultimate treasuresnoted Jean-Luc Murray.

The excitement was therefore at its peak in the reserves of the MNBAQwhen the three paintings of the great Quebec master, whose work is marked by great intensity, were revealed to the eyes of this interested public.

This is an important moment for us. […] A privilege that we share with you. […] Especially since these treasures remain in the museum. They will become part of the national collection. They will be there for all Quebecers. We are very proud of thatrepeated the general director of the museum.

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Untitled, 1954an oil on canvas in the form of a large triptych, Indian Summer, 1957a medium-sized oil on canvas, and Geese in the citya mixed technique based on tests of two lithographs from the series Suite, 1972 mounted on canvas, did not fail to amaze the modern art curator Özlem Gülin Dağoğlu, who struggled to hide her emotion.

[Les oies sur la ville] is inspired by his hunting trips to L’Isle-aux-Grues. The goose remained at the center of his imagination until the beginning of the 90s and 92s. This work is truly magnificent. You can almost hear the geese flying overhead [la ville]… she said.

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In addition to these works, three watercolors on paper, small formats produced between 1946 and 1948, were presented to the media. When the ostrich feather goes crazy, 1946, Night Garden, 1947 et Untitled, 1948 were created at a defining moment for the automatist movement.

The years 46, 47 and 48 were key years for the history of Quebec and the history of art. It’s the year of Overall refusal. […] At that time, there was a buzz in art in New York and Paris. It is the refusal of figuration. Quebecers were the first in the world [à lancer ce mouvement-là]. It didn’t start in New York or Paris. It’s in Montreal, Quebecrightly underlines Jean-Luc Murray.

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Complex transport logistics

It took manager Marie-Ève ​​Bertrand six months to organize the logistics of transporting the works included in Michael Audain’s donation, especially since they cannot all travel at the same time due to their high value.

The first works arrived by plane in Montreal at the beginning of December, from where they were transported by truck to Quebec. Others arrived last week and still others this week. In total, around twenty works by Riopelle have joined the National Museum of Fine Arts of Quebec, until now.

Some of the promised works are currently part of the exhibition Riopelle, at the crossroads of timeswhich is on display at the National Gallery of Canada in Ottawa until April. They will then be sent to Quebec.

The construction of Espace Riopelle is on track. The opening of the new pavilion MNBAQwhich will permanently host the work of Jean Paul Riopelle, is planned for fall 2026.

With information from Valérie Cloutier