Literature continued

Pierre L’Allier, Adrien Hébert, Musée du Québec, 1993, reproduced pages 52 and 161

Adrien Hébert: Parcours, exhibition catalogue for Adrien Hébert, Musée du Québec, 1993, reproduced page 15

Caroline Beaulne, “Adrien Hébert: De la réalité à la representation; Étude des scènes de rues de Montréal (1925 – 1940),” master’s thesis, Université du Québec à Montréal, 2009, listed pages viii, 60, 73, 75, 79, 93, 96, 111, 112 and 122, reproduced pages 94 and 110

Adrien Hébert was renowned for his modernist style and unique vision, and his impressive oeuvre captured the distinctive energy of urban spaces. His compositions celebrated the bustling atmosphere of Montreal amid the rapid modernization of the twentieth century and highlighted the vitality of its harbours, train stations, markets and city streets.

As the son of Quebec sculptor Louis-Philippe Hébert and the brother of sculptor Henri Hébert, Adrien was exposed to art at a young age, and his fascination with the aesthetics of the everyday world started early. Born in Paris, Hébert is said to have often skipped art classes to observe the boats and passersby along the Seine River. He was inspired by the French Impressionists and would later study at the Art Association of Montreal under esteemed artist William Brymner, who notably encouraged his students to explore modernism in their work.

In 1924, Hébert began to paint the port of Montreal, delighting in its multi-faceted infrastructure and the daily rhythms of the tugboats, cranes, steamers and workers. Hébert’s subjects were rare for the time; he moved away from the traditional themes of Quebec regional painting and instead sought to depict the realities of the changing cityscape.

His circa 1936 – 1937 canvas Christmas at Morgan’s is an exceptional example of Hébert’s dedication to capturing the essence of the modern city. Henry Morgan & Company, known colloquially as Morgan’s, is widely recognized as the first department store in Canada. The Morgan family was innovative: from relocating their store uptown to Sainte-Catherine Street in 1891 and launching what would become Montreal’s primary shopping district to creating eye-catching window displays to draw in patrons, Morgan’s was an instrumental part of the city’s evolving retail landscape. After decades as a beloved fixture of Montreal, Morgan’s was acquired by the Hudson’s Bay Company in 1960 and later renamed La Baie.

Hébert masterfully captures the jubilant energy of the season in this charming theatrical vignette, set against the illuminated backdrop of the holiday window. Dancing snowmen figures sway between twinkling trees dressed in festive garlands, casting a warm glow upon the rush of holiday shoppers below. The window is a fantastical counterpoint, a magical realm, in contrast to the realistic muted tones of the crowd, bundled in their winter garb. Hébert highlights small, intimate scenes among the crowd of passersby: families gather on the sidewalk; eager children reach upwards, hoping for a glance at the window; gentlemen wearing hats and wool overcoats animatedly chat to a police officer, while a small dog trots along the snowy sidewalk towards an unsuspecting cluster of birds. The drama of the modern city unfolds as a production before us, and the pedestrians are its players.

This painting was shown at the Fifty-Fourth Spring Exhibition at the Art Association of Montreal in 1937 alongside a related work, The Eaton’s Window, Montreal, which featured a charming holiday image of Montreal crowds taking in the window display of the nearby Eaton’s department store. Hébert’s scenes were both met with critical acclaim and were praised for their rare subjects and spirited compositions, brimming with the life of the city street.

Christmas at Morgan’s not only captures a key architectural landmark of 1930s Montreal but also exemplifies Hébert’s quintessential blend of modernism and realism. It stands as a testament to his deep appreciation for the beauty in the dynamic, cacophonous and transitory rhythms of the modern city. Held in the Hudson’s Bay Company Collection since the 1970s, this work also speaks to the legacy of two iconic Canadian department stores and their integral role in shaping the fabric of Montreal’s urban life.