I became aware of Alfred Pellan’s work when I was researching the lives of Québécois artists Mimi Parent and Jean Benoît (both students of Pellan), while working on my doctoral thesis on Surrealism. I was immediately enthralled by his Surrealist compositions, his astounding use of colour, and his endless quest for artistic freedom—the latter of which deeply resonates with me. When ACI invited me to submit a proposal for a monograph on Pellan, I welcomed the opportunity to dive deeper into the artist’s oeuvre. I am deeply grateful to Annie Gérin, who introduced me to ACI’s work and to Sara Angel. In my personal life, my ongoing interest in Pellan is shared by my parents, Ines and Klaus Peter Lehmann. Thank you for your support and for our many discussions about art, life, and passion. Sincere thanks also to my grandparents, Eleonore and Hagen Deckert. Thank you, Eleonore, for your insights on colour and the materiality of paint; thank you, Hagen, for your advice on philosophy of history. Many thanks also to Madeleine Bartschies, my best friend, who has supported my work for the past twenty years. I dedicate this book to my father, who suffered two strokes and a heart defect last year. You inspire me to keep on fighting and to smile while doing so. Thank you!
I appreciate the efforts of all the staff at ACI, most notably those with whom I have worked directly. Thank you, Sara Angel, for giving me this opportunity and for trusting me with this project. Many thanks also to Jocelyn Anderson for pushing me further in my discussions and for making me think outside the box (particularly with respect to the Key Works). More than you can imagine, Pellan and ACI have been my guiding lights these past years—which have been filled with many ups and downs. I am deeply grateful to Rosie Prata for her editorial work—our many exchanges helped me refine my arguments. I wish to thank Monique Johnson, Sarah Liss, Annie Champagne, and Christine Poulin as well. And I give special thanks to Title Sponsor Jim Harrison, whose support enriched this project.
Several colleagues supported me throughout my research and writing process. Special thanks go to Dominic Hardy, who has borne witness to the many hours I have spent thinking about Pellan. I can’t imagine this book without him. Thanks also to Édith-Anne Pageot and Lise Bizzoni. I am indebted to UQAM, whose postdoctoral position allowed me to undertake the extensive archival research that provided the foundation for this project. I am grateful to the German Center for Art History in Paris, whose fellowship enabled me to investigate previously unexplored sources. Julia Drost’s insights into transnational phenomena in Surrealism helped me understand the artistic exchanges between Paris and Montreal. Kate Conley’s expertise on women in Surrealism shaped my understanding of Pellan’s erotic images. I would also like to acknowledge my discussions with the late François-Marc Gagnon, whose theories helped me understand Québécois art history.
Finally, the tireless work of collection registrars, curators, archivists, and librarians deserves recognition. Many thanks to the entire team at the Service des archives et de gestion des documents at UQAM, who helped me make sense of Pellan’s vast collection of personal papers, letters, contracts, and work sheets. The team at the Centre d’archives Gaston-Miron (CAGM) at the Université de Montréal helped me identify the audiovisual material included in this book. Thanks also to the many archivists at the BAnQs in Montreal and Quebec City. With their help, I was able to build a database of press clippings on Pellan that dates from the 1920s until his death in 1988. I am deeply indebted to Francine Joly de Lotbinière, who shared her memories of Pellan. Due to the COVID-19 pandemic, I returned to Europe much earlier than expected, and I thank all the amazing people who helped bridge the distance and made further research possible.
From the ACI
The Art Canada Institute gratefully acknowledges the generosity of the Title Sponsor of this book, K. James Harrison and Melinda Harrison.
We thank the Founding Sponsor of the Art Canada Institute: BMO Financial Group.
We are honoured to be presenting this book with the Musée national des beaux-arts du Québec and the Fondation du Musée national des beaux-arts du Québec as cultural partners.
The Art Canada Institute also thanks the other Title Sponsors of the 2022–2023 Canadian Online Art Book Project: Rudy and Elizabeth Kerklaan; Sydney and William R. Pieschel Foundation; Scotiabank; Eleanor and Francis Shen; Elian Terner and Poonam Puri; Morden Yolles.
The Art Canada Institute extends deep thanks to the Estate of Alfred Pellan for their support with this project. As well, we thank the following for their assistance: André Le Coz Estate (Nathalie Le Coz); Art Gallery of Ontario (Alexandra Cousins); Art Windsor-Essex (Nicole McCabe); Bibliothèque et Archives nationales du Québec (Edwin Bermudez, Martin Couture, Suzanne Grégoire, Louise-Marie Ménard); The Brechin Group Inc. (Jacqueline M.E. Vincent); Canada Council Art Bank (Saada El-Akhrass); Cégep de Granby (Jolaine O. Boulanger); Christian Cassidy; City of Kingston Civic Collection (Miranda Riley); Cleveland Museum of Art (James Kohler); CNAC / MNAM, Dist. RMN-Grand Palais / Art Resource (John Benicewicz); COVA-DAAV (Bernard Guérin, Jane Labiak); Dalhousie Art Gallery (Michele Gallant); Davis Museum at Wellesley College (Helen A. Connor); Fondation du Musée national des beaux-arts du Québec (Emilie L. Cayer); Global Affairs Canada Visual Art Collection (Carolyn Hickey); Heffel Fine Art Auction House (Daniel Gallay); Henri Tranquille Estate (Gisèle Rocheleau); Leonard & Bina Ellen Art Gallery (Larissa Dutil, Julia Eilers Smith); Library and Archives Canada (Marie Julie Hyppolite); Montreal Museum of Fine Arts (Marie-Claude Saia); Musée d’art contemporain de Montréal (Florence Morissette); Musée d’art de Joliette (Julie Alary Lavallée); Musée National d’Art Moderne / Centre Georges Pompidou / Agence photographique de la RMN-Grand Palais (Christophe Mauberret); Musée national des beaux-arts du Québec (Eve-Lyne Beaudry, Julie Bouffard, Stéphanie Drolet); National Gallery of Canada (Raven Amiro); Ottawa Art Gallery (Rebecca Basciano); Photo-Journal Estate (Galerie Clarence Gagnon); Power Corporation of Canada (Paul Maréchal); Robert Humblot Estate (Brigitte Humblot); Robert La Palme Estate (Jean-Pierre Pilon); Société de la Place des Arts de Montréal (Sophie Bélanger); Société d’histoire de la Haute-Yamaska (Cecilia Capocchi); Théâtre du Nouveau Monde (Karine Tanguay); Université de Sherbrooke (Kathy Rose); University of Manitoba Libraries (James Kominowski); Vancouver Art Gallery (Danielle Currie, Ian Lefebvre); Winnipeg Architecture Foundation (Marieke Gruwel); Winnipeg Art Gallery (Nicole Fletcher).
The ACI recognizes the additional private collectors who have given permission for their works to be published in this edition.
IMAGE SOURCES
Every effort has been made to secure permissions for all copyrighted material. The Art Canada Institute will gladly correct any errors or omissions.
Credit for Cover Image
Alfred Pellan, Jeune comédien (Young Actor), c.1935/after 1948. (See below for details.)
Credits for Banner Images
Biography: Alfred Pellan in his Studio, 1946. (See below for details.)
Key Works: Alfred Pellan, Mutons…, 1974. (See below for details.)
Significance & Critical Issues: Alfred Pellan, Jardin rouge (Red Garden), 1958. (See below for details.)
Style & Technique: Alfred Pellan, Pique-mégots, 1974. (See below for details.)
Sources & Resources: Alfred Pellan, Citrons ultra-violets (Ultraviolet Lemons), 1947. (See below for details.)
Where to See: Installation view of Alfred Pellan : Le rêveur éveillé, 2014. (See below for details.)
Credits: Alfred Pellan, À la femme allongée (To the Reclining Woman), from artist book Délirium concerto, 1982. (See below for details.)
Credits for Photographs and Works by Other Artists
À la plage (Saint-Jean-de-Luz) (On the Beach [Saint-Jean-de-Luz]), 1929–30, by John Lyman. Collection of the National Gallery of Canada, Ottawa, Presented by the executors of Dr. Max Stern, 1988, in accordance with his wishes (30182). Photo credit: NGC.
Alfred and Madeleine on their wedding day, July 23, 1949, photographer unknown. Collection of Musée national des beaux-arts du Québec, Madeleine and Alfred Pellan Fonds (P38.S17.D49.P1).
Alfred Pellan and Germain Lefebvre on the release of Lefebvre’s book, 1973, photographer unknown. Collection of BAnQ, Photo-Journal.
Alfred Pellan and his students at the École des Beaux-Arts de Montréal (with Jean Benoît and Mimi Parent, centre), 1944, photographer unknown. Collection of BAnQ, Fonds La Presse, Montreal.
Alfred Pellan in his studio, 1946. Photograph by Ronny Jaques. Collection of Library and Archives Canada, Ottawa. Archives / Collections and Fonds, Reference: R3133-668-9-F, Volume number: 12 (4325078).
Alfred Pellan painting the Canadian West, panel from the mural at the Canadian Embassy in Rio de Janeiro, 1942, photographer unknown. Collection of Musée national des beaux-arts du Québec, Gift of Daniel Cogé (CE.2006.01). Photo credit: MNBAQ, Patrick Altman.
Alfred Pellan receiving the Louis-Philippe-Hébert Prize, 1972, photographer unknown. Collection BAnQ, Télé-radiomonde, Montreal.
Alfred Pellan’s set and costume designs for the characters Olivia (played by Elizabeth Lesieur) and Maria (played by Marjolaine Hébert) for the 1968 production of Twelfth Night at the Théâtre du Nouveau Monde, Montreal. Collection of Théâtre du Nouveau Monde, Montreal. Photo credit: André Le Coz.
Alfred Pellan’s set and costume designs for the characters Sébastien (played by Jean Besré) and Viola/Césario (played by Monique Miller) for the 1968 production of Twelfth Night at the Théâtre du Nouveau Monde, Montreal. Collection of Théâtre du Nouveau Monde, Montreal. Photo credit: André Le Coz.
Alfred, Réginald, and Diane as children, date unknown, photographer unknown. Collection of Musée national des beaux-arts du Québec, Madeleine and Alfred Pellan Fonds (P38.S17.D1.P1).
Bathsheba at her Bath, 1654, by Rembrandt Harmenszoon van Rijn. Collection of the Louvre Museum, Paris.
Blunden Harbour, c.1930, by Emily Carr. Collection of the National Gallery of Canada, Ottawa (4285). Photo credit: NGC.
A bronze sculpture based on Alfred Pellan’s Mini-bestiaire, displayed in Le Jardin Pellan at the Musée national des beaux-arts du Québec, Quebec City, 2013. Courtesy of Wikimedia Commons. Photo credit: Jean Gagnon.
Canadian Pavilions at Expo 67, May 1967. Photograph by Laurent Bélanger. Courtesy of Wikimedia Commons.
Caricature of Alfred Pellan at City Hall published in Le Devoir, Montreal, on November 13, 1956, by Robert La Palme. Collection of BAnQ, Le Devoir, Montreal.
Caricature of Alfred Pellan published in Le Jour, Montreal, on July 21, 1945, by Robert La Palme. Collection of BAnQ, Le Jour, Montreal.
Charles Maillard, c.1940, photographer unknown. Collection of BAnQ, Centre d’archives de Québec, Montreal (03Q,P1000,S4,D83,PM31).
Exhibition catalogue cover of Forces nouvelles: 1935–1939 (Paris: Musée d’art moderne de la ville de Paris, 1980).
Exposition Prisme d’Yeux at Librairie Tranquille, May 1948, photographer unknown. Collection of Université de Sherbrooke, Fonds Henri Tranquille (P43/A1/3).
Exquisite corpse drawing created by Pellan and his students, from Trois générations d’art québécois : 1940, 1950, 1960, Musée d’art contemporain de Montréal, 1976. Collection of BAnQ Vieux-Montréal, Fonds Ministère de la Culture et des Communications, Claude Gosselin, Montreal (06M,E6,S7,SS1,D761851-761931).
A Gust of Wind, 1902, by Lucien Simon. Collection of the Pushkin State Museum of Fine Arts, Moscow.
Installation view of Alfred Pellan : Le rêveur éveillé, 2014, Musée national des beaux-arts du Québec, Quebec City. Photo credit: MNBAQ, Idra Labrie.
Installation view of Alfred Pellan : Le rêveur éveillé, 2014, Musée national des beaux-arts du Québec, Quebec City. Photo credit: MNBAQ, Idra Labrie.
Madeleine Poliseno and Alfred Pellan at Lac Clef (Saint-Donat), c.1948, photographer unknown. Collection of Musée national des beaux-arts du Québec, Madeleine and Alfred Pellan Fonds (P38.S17.D48.P1).
Pellan and his father on his last trip at the controls of the Frontenac which provided service between Quebec and Montreal, August 30, 1945, photograph by Photo moderne enr. Collection of Musée national des beaux-arts du Québec, Madeleine and Alfred Pellan Fonds (P38.S17.D45.P1).
Pellan (top) and his friends from the École nationale supérieure des beaux-arts de Paris, 1928, photographer unknown. Collection of Musée national des beaux-arts du Québec, Madeleine and Alfred Pellan Fonds (P38.S17.D28.P1).
Pellan in Jean Bailleul’s atelier at the École des beaux-arts de Québec, 1923, photographer unknown. Collection of Musée national des beaux-arts du Québec, Madeleine and Alfred Pellan Fonds (P38.S17.D23.P1).
Photo booth portrait of André Breton with glasses, c.1924–29. Courtesy of Wikimedia Commons.
Portrait de Sarah (Portrait of Sarah), 1935, by Robert Humblot. Private collection. Photo credit: MAK.
Salon de l’École des beaux-arts de Québec, May 26, 1923, photographer unknown. Collection of BAnQ, Le Soleil, Quebec City.
Still Life with Strawberries, c.1880, by Pierre-Auguste Renoir. Private collection.
Study of the Drawing Room of the Artist, c.1940, by Prudence Heward. Private collection. Photo credit: Sotheby’s Inc.
Maria Rosa Lehmann is a scholar and teacher who specializes in transnational phenomena and local strategies of avant-garde and performance art. Learn More
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Born in Quebec, Alfred Pellan (1906–1988) spent his formative years in Paris and returned to conservative French Canada in the 1940s with revolutionary ideas about modern art. Learn More
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