Snow Scene, Bienville (Spring, Bienville), 1922
Inscriptionssigned, dated in brown ink, "Albert H. Robinson / 1922" (recto, lower right); inscribed, "Inventory Number: 002727" (verso); with partial label black ink stamp of Jules Loeb Collection, No. 58 (verso, top horiztontal stretcher).
ProvenanceEstate Mr. Randolph S. Hewton, R.C.A.;
Galerie Walter Klinkhoff, Montreal, as Spring;
Collection of Mr. and Mrs. Jules Loeb, Ontario;
Walter Klinkhoff Gallery, Montreal;
Estate of the late William. I.M. Turner Jr, Montreal.
ExhibitionsMuseum of Fine Arts of Montreal, Montreal, 1950, 71st Annual Spring Exhibition as Snow Scene, Bienville, PQ;
Kitchener-Waterloo Art Gallery, Kitchener, September 1982 - December 1983, Albert H. Robinson: The Mature Years, cat. no. 10.
LiteratureJennifer Watson, Albert H. Robinson: The Mature Years, (Kitchener: Kitchner-Waterloo Art Gallery), cat. no. 10, repr. p. 32
Jennifer Watson, chief curator of the exhibition, cites a letter A.Y. Jackson wrote to Clarence Gagnon in March 1927, “With various friends, Jackson and sometimes Hewton or Edwin H. Holgate (1892-1977), often meeting Clarence A. Gagnon (1881-1942), Robinson would return in March to the lower Saint-Lawrence, his object being largely villages of the north shore as a letter explained: ‘The south shore is more sophisticated than the north. less intimate. less colour. it depends more on its contours and big spaces it needs canvases. its [sic] too intricate for sketching.’” Watson continues, “Cacouna was the first of this series in 1921. In subsequent years, Robinson worked at Baie Saint Paul, Bienville, La Malbaie (Murray Bay), Les Éboulements, Saint Fidèle, and Saint Tite des Caps. The titles of pictures inscribed and exhibited reveal he also visited neighbouring villages, among them Charny, Lévis, Saint Agnès. Robinson seemingly focussed upon barns and old houses, although he did accept more contemporary buildings which made the village a ‘jumble.’ Of such subjects, Jackson remarked particularly of Bienville, “when the snow was melting, and the roads were covered with slush.”
Watson concludes, “Robinson’s sketches are invariably lively and spontaneous: it is rather his canvases which show a distinct development. At the same time, his impressionist treatment of primarily foreground remains and should be considered a hallmark, as should his marvellous coloured sky.”