Adrien Hébert

The painter Adrien Hébert was born in Paris on April 12, 1890, he is the son of the famous Quebec sculptor Louis-Philippe Hébert. From 1902 to 1911, Adrien Hébert studied at the Council of Arts and Manufactures under the direction of the painters Joseph Saint-Charles, Edmond Dyonnet and Joseph Franchère. He will then complete the Art Association of Montreal under the direction of William Brymner. During his youth, he traveled several times between Quebec and France. After studying at the École des Beaux-Arts in Paris, he returned to Montreal, both to work as a drawing teacher at the Conseil des arts and manufactory but also to exhibit for the first time at the library of St-Sulpice. In addition to teaching, he collaborates with various magazines as an illustrator. In 1931, Adrien Hébert received the order from the City of Montreal to create the historic painting for the Mount Royal chalet: Jacques-Cartier landed in Hochelaga in 1535. He was elected a member of the Royal Academy of Canada the following year and became an academician in 1941.

He received the Jessie Dow Prize from the Art Association of Montreal twice in 1936 and 1940. Adrien Hébert was elected vice-president of the Arts Club of Montreal and then president in 1938. However, he left his post due to an accident involving automobile that makes him lose the use of an eye. His reception table at the Royal Academy will be L'Archevêché de Québec, which will be deposited in 1942. In 1944, he exhibited with Marc-Aurèle Fortin and Edwin Holgate at the Museum of the Province of Quebec.

In the 1950s, Adrien Hébert visited his nephew Armand Hébert in Saguenay, where he created several landscapes. On his return to Montreal, he received for the third time the Jessie Dow Prize from the Art Association of Montreal for his work S.S. Empress of Canada. The painter participates in an exhibition dedicated to the winners of the Salons des printemps from 1908 to 1965 at the Montreal Museum of Fine Arts. He died on June 20, 1967, at the age of 77.

The best years of Adrien Hébert are from 1924 to 1950 at a time when the city of Montreal is changing and energizing, where its architecture evolves and where the Port of Montreal is bustling with activity. Hébert paints the crowd that swarms at the exit of the shops and embarks on the tram, the facade of the buildings, the vehicles that circulate.

Throughout his life, he stays regularly in France. In 1954, he traveled briefly to Africa.

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