Artist Search
   
a b c d e f g h i j k l m n o p q r s t u v w x y z 

 Jean Paul Armand Mousseau  (1927 - 1991)

About: Jean Paul Armand Mousseau
 

Summary

Examples of his work

 
 

Quick facts

Exhibits - current  
 

Biography*

Museums

 
 

Book references

Magazine references pre-2007  
 

Discussion board

Signature Examples*  
 
Buy and Sell: Jean Paul Armand Mousseau
  For sale ads

Auction results*

 
  Wanted ads Auctions upcoming for him*  
  Dealers

Auction sales graphs*

 
 

What's my art worth?

Magazine ads pre-1998*  
 

Market Alert - Free

 
Lived/Active: Quebec / Canada      Known for: abstract painting, murals, scultpure, printmaking

Login for full access
 
View AskART Services









*may require subscription

Available for Jean Paul Armand Mousseau:

Quick facts (Styles, locations, mediums, teachers, subjects, geography, etc.) (Jean Mousseau)

yes

Biographical information (Jean Mousseau)

yes

Book references (Jean Mousseau)

14

Museum references (Jean Mousseau)

11

Auction records - upcoming / past (Jean Mousseau)

20

Auction high record price (Jean Mousseau)

11/19/2008

Analysis of auction sales (Jean Mousseau)

yes

Discussion board entries (Jean Mousseau)

0

Image examples of works (Jean Mousseau)

14

Please send me Alert Updates for Jean Paul Armand Mousseau (free)
What is an alert list?

Ad Code: 3
AskART Artist
from Auction House Records.
La Marseillaise
Artwork images are copyright of the artist or assignee
This biography from the Archives of AskART:
Jean-Paul Mousseau (AKA: Jean-Paul Armand Mousseau) was a painter, muralist, sculptor, printmaker, theatrical designer, architectural consultant, interior designer (discothèques) and educator.  He was born in, lived his whole life in and died in Montreal, Quebec, Canada.
 
His mediums included oil, watercolour, gouache*, pastel, ink, collage*, drypoint*, serigraph*, neon lighting, fiberglass*, plastic resin*, ceramic tile mosaic, and mixed mediums.  Primarily an abstractionist, his focus was on achieving effects through colour, form, line and texture.  His styles included Color Field*, Abstract Expressionism*, Lyrical Abstraction*, Constructivism*, Conceptual Art*, Op Art* and Automatism*.
 
Quote: “… Mousseau is not only an extraordinary painter, capable with some patches of light and shadow of releasing a spectacular unfurling of cosmic phenomena; he is also a craftsman of scope, combining natural skill with a country vigour. Mousseau endows the most ordinary materials with a new dignity and brilliance” – Guy Viau (1967) – Modern Painting in French Canada (see AskART book references).
 
Mousseau, while famous as an artist in the traditional mediums of easel work and graphics, is also famous for his personal mission to combine modern art with architecture in the public spaces of Montreal.  Some integral parts of his legacy are his monumental 15’ X 71’ mural of fiberglass, plastic resin and neon lighting, for Hydro-Quebec, Montreal (1961); his work as artistic adviser to the Montreal Metropolitan Transportation Bureau (1972 - c.1985), creating  murals and choosing colours for the metro stations; and the courses he taught at the École des Beaux-Arts de Montréal (1961-1964) and Laval University (1968), exploring the integration of colours, textures, lighting and unusual materials with architecture.
 
His formal art education includes classes at Notre Dame College, Montreal  (1940 -1945) under Frère Jérôme Paradis (1902-1994); the Ecole du Meuble, Montreal (1945 - 1946) under Paul-Émile Borduas (see AskART); and then privately with him from 1946 to 1951.
 
He was a member of the Contemporary Art Society (1944), and a founding member of Les Automatistes (1) (1946) and the Association of Non-Figurative Artists of Montreal (1956).  He was also one of the 16 signatories of the "Refus Global" manifesto in 1948. (2)
 
In addition to exhibiting with the above artist groups Mousseau’s works were also exhibited in “Recent Quebec Painters” at the National Gallery of Canada, Ottawa (1951); “Espace 55” at the Montreal Museum of Fine Arts (1955); the First Biennial of Canadian Painting at the National Gallery of Canada (1955); “Some French Canadian Painters” at the National Gallery of Canada (1956); in "Canadian Abstract Painting" at the Smithsonian, Washington, D.C.(1956); at the Brussels World’s Fair (1958); in “Festival of Two World’s” Spoleto, Italy (1962); in “Three Hundred Years of Canadian Art” at the National Gallery of Canada (1967); in "Sculpture in Quebec" at the Montreal Museum of Contemporary Art (1970); in "Borduas and the Automatistes" at the Grand Palais, Paris (1971); in "The Collective Unconscious" at the Edmonton Art Gallery (1975); in ”Three Generations of Quebec Painting” at the Montreal Museum of Contemporary Art (1976); in “Thirty Years of Refus Global” at the Montreal Museum of Contemporary Art (1978); in "Frontiers of Our Dreams" at the Winnipeg Art Gallery, Manitoba (1979) in “Contemporary Art Society” at the Edmonton Art Gallery (1980); in “Association of Non-Figurative Artists of Montreal”, Concordia University, Montreal (1983) and in "Toward Automatism" at the National Gallery of Canada (1994). He also exhibited at the Montreal Museum of Fine Arts from 1945 to 1964 (3).
 
The Montreal Museum of Contemporary Art had two retrospectives of his work “Jean-Paul Mousseau: Aspects” in 1967 and, posthumously, “ Mousseau” in 1997.
 
In 2008 his works were included in “Refus Global: 60 Years Later” at the Montreal Museum of Fine Arts.  In 2009 and 2010 his works are included in the Varley Art Gallery (Unionville, Ontario)  exhibition “The Automatiste Revolution: Montreal 1941-1960”, showing at the Varley from October 23, 2009 to February 28, 2010 and at the Albright-Knox Art Gallery (Buffalo, New York) in March 2010.
 
Two past exhibitions are of special note:  In April 1946 he joined Paul-Emile Borduas, Fernand Leduc, Pierre Gauvreau, Jean-Paul Riopelle and Marcel Barbeau (see all in AskART) and Roger Fauteux (b. 1920?) to exhibit at an office space loaned to them on Amherst Street (Montreal).  According to Dennis Reid “It was the first exhibition by a group of abstract painters ever held in Canada,…” (pg 220 “A Concise History of Canadian Painting” – see AskART book references).  And, in 1958, he was one of the 10 Quebec painters who exhibited with the Painters Eleven* at the Park Gallery, Toronto.  It was the only time P11 had a joint show with the avant-garde artists of French Canada.  Some of the other artists included were Jean-Paul Riopelle, Paul Borduas and Alfred Pellan (see all in AskART).
 
His works are in many private and corporate collections. They are also in numerous public collections including the Art Gallery of Alberta (Edmonton), the Art Gallery of Greater Victoria (B.C.), the Art Gallery of Ontario (Toronto), the Leonard & Bina Ellen Art Gallery (Concordia University, Montreal), the Montreal Museum of Fine Arts, the Art Gallery of Windsor (Ontario), the Robert McLaughlin Gallery (Oshawa, Ontario), the Joliette Art Museum (Quebec), the Museum of Quebec (Quebec City) and the Vancouver Art Gallery (B.C.). The National Gallery of Canada has 24 Mousseau works in its permanent collection and the Montreal Museum of Contemporary Art has 92 Mousseaus.
 
Examples of his murals can be viewed, as noted above, in the Montreal Metro System, and the Quebec-Hydro Building.  They can also be seen at Montreal -Trudeau Airport; the Palais de Justice, Drummondville, Quebec; the Montreal Star Building and at Notre Dame College (Montreal).  Examples of his public space sculptures are also at Montreal -Trudeau and at the Jeunesses Musicales concert hall in Mont Orford, Quebec.  There are numerous other examples throughout Quebec.
 
As an important Canadian artist his work is illustrated and discussed in most books about Canadian Art and Canadian Modern Art.  There is also the monograph Mousseau (1996), by Pierre Landry, Francine Couture and François-Marc Gagnon, published by the Montreal Museum of Contemporary Art in conjunction with their 1997 retrospective (see AskART book references).
 
 
Footnotes:
 
(1) Les Automatistes were a group of Quebec artists and intellectuals in the 1940s and 50s. They came together around avant-garde painter and teacher Paul-Emile Borduas. Although inspired by surrealism and particularly by the concept of automatism, Les Automatistes extricated themselves from the illusionistic bias of that movement and applied its principles to abstraction. The group exhibited at the studio of dancer Franziska Boas (1902 -1988) in New York in 1946, four times in Montreal (1946, 1947, 1951,1954) and once in Paris (1947), all relatively small venues. In 1948, Borduas, who was an activist for the separation of church and state in Quebec, wrote and his fellow Automatistes signed, a manifesto called Refus Global which became one of the pillars of the Quiet Revolution, a period of intense social change in Quebec. Les Automatistes, in addition to Borduas, were Jean-Paul Riopelle, Fernand Leduc, Françoise Sullivan, Marcel Barbeau, Pierre Gauvreau, Marcelle Ferron, Jean-Paul Mousseau (see all previous in AskART), Madeleine Arbour, Bruno Cormier, Claude Gauvreau, Muriel Guilbault, Thérèse Leduc, Maurice Perron, Louise Renaud and Françoise Riopelle. Source: “The Dictionary of Art” edited by Jane Turner (see AskART book references).
 
(2) "Refus Global" was an artistic, political, religious and social manifesto, the principal essay of which was written by Paul-Émile Borduas and signed by 15 members of Les Automatistes group. It included texts by Bruno Cormier, Claude Gauvreau, Fernand Leduc and Françoise Sullivan and illustrations of works by members of the group. It was launched at the Librairie Tranquille in Montréal on August 9, 1948 in a first edition of 400 copies at $1.00 each (in 2009 first editions sell at auction for $5,000.00). Refus Global not only challenged the traditional values of Québec but, also fostered an opening-up of Québec society to international thought and artistic freedom. It is considered by many to be the most important and controversial artistic document in Canada. The signatories were artists and intellectuals, in addition to Borduas, they were Jean-Paul Riopelle, Fernand Leduc, Françoise Sullivan, Marcel Barbeau, Pierre Gauvreau, Marcelle Ferron, Jean-Paul Mousseau (see all previous in AskART), Madeleine Arbour, Bruno Cormier, Claude Gauvreau, Muriel Guilbault, Thérèse Leduc, Maurice Perron, Louise Renaud and Françoise Riopelle. Sources: Francois-Marc Gagnon in “The Canadian Encyclopedia” (1985), Hurtig Publishers Ltd.; “A Concise History of Canadian Painting” (1973), by Dennis Reid; and "Documents in Canadian Art" (1987), edited by Douglas Fetherling (see AskArt book references).
 
(3) One exception was 1950, when all submissions by members of Les Automatistes were rejected from the Spring Exhibition, except for Borduas, who had one work accepted.  In response, members organized a salon des refuses titled “The Rebels.”
 
* For more in-depth information about these terms and others, see AskART.com Glossary http://www.askart.com/AskART/lists/Art_Definition.aspx
 
Prepared and contributed by M.D. Silverbrooke

** If you discover credit omissions or have additional information to add, please let us know at registrar@AskART.com.
  go to top home | site map | site terms | AskART services & subscriptions | contact | about us
  copyright © 2000-2014 AskART all rights reserved ® AskART and Artists' Bluebook are registered trademarks

  A |  B |  C |  D-E |  F-G |  H |  I-K |  L |  M |  N-P |  Q-R |  S |  T-V |  W-Z  
  frequently searched artists 1, 2, more...  
  art appraisals, art for sale, auction records, misc artists