During the post-war period from 1947 to the end of the decade, the world of the arts in Quebec was the scene of great upheavals. First, with the signature of the global refusal of the Automatists, the confrontation of ideas between the masters Borduas and Pellan in Montreal took place. In all this turmoil, Jean-Paul Lemieux is sensitive to the arguments advanced by his contemporaries, however he did not adhere to the flashy means employed for the cause of art. He would say later in the 1960s that he "watched this as a spectator and it never influenced his work". - La presse 1963, included in Guy Robert's book, page 87

This turmoil keeps Lemieux away from creation for a period of two years. In the summer of 1950, he took refuge in Port-au-Persil and invited Goodrige Roberts there. It was during these two summer months that the painter regained a taste for work and produced a series of works imbued with gaiety. These stencils capture moments from Lemieux's real life. On his return to Quebec in the fall, he exhibited his creations and they quickly found takers.

“I had invited Goodridge Roberts to come and spend the summer months with us in Port-au-Persil. I have always greatly admired this painter, and I must say today that I am indebted to him for not having sunk into a dangerous negativism. By his aesthetic example more than his encouragement, he helped me regain self-confidence. -Jean-Paul Lemieux

According to comments by Jean-Paul Lemieux collected by Gilles Corbeil and taken up by Marie Carani in the book Jean-Paul Lemieux from the publications of Quebec. (page 53)