Early Life, Family and Training

Madeleine Laliberté was born on 22 December 1912 in Victoriaville, Quebec. She was the daughter of Wilfrid Laliberté and Alexandrine Bourbeau, growing up in a landscape that would eventually inform much of her visual language. Her early years in Quebec provided the foundation for a life dedicated to the canvas, rooted in the traditions of her home province.

Her formal artistic education began at the École des Beaux-Arts in Quebec City. It was here that she first refined her technical skills and developed the discipline required for a professional career in painting. This initial training provided the necessary groundwork before she sought broader perspectives beyond the borders of Canada.

Seeking to expand her understanding of form and light, Laliberté eventually traveled to Paris. In the French capital, she studied at the Académie de la Grande Chaumière, an experience that allowed her to engage with the evolving European traditions of the era. This period of study marked a significant transition from her provincial beginnings to a more international engagement with the medium.

Studies and Artistic Activity in Europe and America

Her formal training took her far beyond the borders of Quebec. After her initial studies, she traveled to Paris to refine her technique at the Académie de la Grande Chaumière. It was there, between 1937 and 1938, that she studied under Marcel Gromaire. This period of European instruction provided a foundation for the decades of work that followed. By 1940, she was exhibiting her work in Quebec City, sharing a platform with Jean Soucy.

The mid-1940s saw her expanding her horizons once more, this time in New York City. From 1942 to 1944, she studied with Amédée Ozenfant, a period that marked a significant chapter in her development. Her commitment to the canvas remained steady for many years, though her relationship with her craft was not without its pauses. In 1958, she made the decision to quit painting, a hiatus that lasted for a decade before she resumed her practice.

Notable Works and Artistic Output

Laliberté’s output reflects a steady engagement with both the human form and the landscapes of her surroundings. In 1947, she produced Paysage de la Petite-Rivière-Saint-François, a work that captures the specific character of the Quebec region. Her portraiture also holds a significant place in her repertoire, seen in pieces such as Juge Laliberté and the undated La Famille. These works demonstrate a focused interest in the people and social structures of her time.

As her career progressed, her subject matter shifted through various stages of observation. Around 1954, she turned her attention to the natural world with Les Poissons. This period of activity continued until she stepped away from the easel in 1958, a hiatus that lasted a decade before she returned to her practice. Her later work, such as Madame Laliberté from about 1960, marks a final chapter in a long and varied period of creative production.

Where to See the Works Today

The presence of Madeleine Laliberté in major Canadian institutions ensures that her visual language remains part of the national conversation. Her paintings are held within the permanent collections of the National Gallery of Canada, where her contributions to the country's artistic landscape are preserved. This inclusion places her work alongside significant figures of her era, allowing for a continued study of her specific perspective and technique.

In Quebec, her legacy is particularly concentrated. The Musée national des beaux-arts du Québec maintains several of her works, offering a window into her development and her engagement with the local landscape and subjects. Furthermore, the Musée Des Beaux in Québec City holds six of her pieces, providing a substantial presence for those interested in her mid-century output. These collections offer a way to encounter the textures and forms she explored throughout her career.

A specific instance of her being the subject of art can be found at the Musée des beaux-arts du Canada. This institution holds the work Portrait de Madeleine Laliberté, a piece that captures her likeness through oil on masonite. Such works provide a rare, direct connection to the woman behind the canvas, grounding her historical importance in a tangible, personal form.