Vendu pour : 67 250 $

PROVENANCE
Lou Ritchie, Montreal
Estelle Hopmeyer, Montreal
West End Gallery, Quebec
Dr. Norman Tepper, Montreal
Galerie Jean-Pierre Valentin, Montreal
A.K. Prakash & Associates, Toronto
Private Collection, Ontario

BIBLIOGRAPHIE
The Year Book of Canadian Art, Arts and Letters Club, 1913, a similar 1910 canvas reproduced page 155
Louise Beaudry, Couleur et lumière: Les paysages de Cullen et de Suzor-Côté, Fondation de la maison des arts de Laval, 1991, reproduced page 29 and listed page 43
Laurier Lacroix, Marc-Aurèle de Foy Suzor-Coté: Light and Matter, National Gallery of Canada and Musée du Québec, 2002, a similar 1910 canvas entitled A Street in a Canadian Village, Winter, in the collection of the Toronto Club, reproduced page 199
Katerina Atanassova, Forging the Path: The Forerunners (1870 - 1920), McMichael Canadian Art Collection, 2010
A.K. Prakash, Impressionism in Canada: A Journey of Rediscovery, 2015, reproduced plate #14.10, page 472
Katerina Atanassova et al., Canada and Impressionism: New Horizons, 1880 – 1930, National Gallery of Canada, 2019, the 1913 canvas entitled Village in Winter reproduced page 202

EXPOSITION
Fondation de la maison des arts de Laval, Quebec, Couleur et lumière: Les paysages de Cullen et de Suzor-Côté, 1991, catalogue #37
McMichael Canadian Art Collection, Kleinburg, Forging the Path: The Forerunners (1870 - 1920), October 2, 2010 - January 23, 2011

Arthabaska was an iconic subject for Canadian Impressionist Marc-Aurèle Suzor-Coté. He was born into one of the elite families in the village of Arthabaska, on the south shore of the St. Lawrence between Montreal and Quebec City. After his art education in Paris at the École des Beaux-Arts, during his first trip to France from 1891 to 1894, he returned to Quebec and opened a studio in Montreal, and also built a studio on his parents’ property at Arthabaska. He had a great feeling for the countryside there, its hills, woods, rustic homes and sugar bushes, and returned often to paint the area in all lights and seasons - particularly in winter, as in this vital pochade. Suzor-Coté’s vigorous, textured brushwork makes this work special; through his use of long paint-strokes, it seems as if the snow is flowing along with the figure on the sled. Rays of sun striking patches of snow light up the work, adding to the atmosphere. Suzor-Coté was a technical virtuoso, but more than that, as Laurier Lacroix wrote, “He gives us not just a specific geography, but also the spirit of a place.”

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