Artistic representations

Samuel de Champlain’s publications are full of vivid descriptions of encounters with new landscapes, waterways and peoples. He wrote extensively about his explorations and experiences in North America. Over time, historians and artists have studied Champlain’s work closely and have used it to create both written and visual portrayals of his life and his role in the history of Canada.

Very little is known about what Champlain actually looked like, so artists have had to rely on their imagination and their interpretation of the writings of Champlain and of historians to create visual representations of him and his experiences.

Canadian representations of Samuel de Champlain: The art of George A. Reid and C.W. Jefferys

In the early 20th century, two Canadian artists – George Agnew Reid and Charles William Jefferys – used their historical knowledge, artistic skills and imagination to produce numerous works of art focusing on Samuel de Champlain and his role in Canadian history. Through their work, these artists attempted to bring history to life and to excite Canadians about their country’s past.

George Agnew Reid

George A. Reid was principal of the Central Ontario School of Art and Design, now the Ontario College of Art and Design University (OCAD), from 1912 to 1918.

He painted numerous murals for public spaces in Toronto, including Jarvis Collegiate, the Royal Ontario Museum and Toronto City Hall.

C.W. Jefferys

“The history of a country is to be read not only in its written or printed records. These, while of the greatest value and importance, do not tell us all we desire to know. Old buildings, early architecture, tools, vehicles, weapons and clothing, contemporary pictures of people, places and events must be examined to fill out the story.” – C. W. Jefferys, The Picture Gallery of Canadian History, 1942-1950

“Among the heroic individuals of early Canada treated by Jefferys, Champlain and Brock stand out before all others. The artist possessed a strong personal interest in Champlain.” – Dennis Duffy, “Art-history: Charles William Jefferys as Canada’s Curator,” 1976

Champlain represented through pageantry and performance: The Quebec tercentenary

In July, 1908, a large two-week celebration was held in Quebec City to commemorate the 300th anniversary of its founding. The festivities included historical pageants in which scenes from Canadian history were re-enacted in front of large audiences on the Plains of Abraham. An actor represented Samuel de Champlain as the founder of Quebec.

Scenes from the pageant were later re-created as works of art. Frank Craig created several paintings (see the photo gallery slideshow), depicting scenes I and II of the second pageant, for publication in The King’s Book of Quebec (1911).

The image below was designed for a postage stamp created to commemorate Quebec’s tercentenary. The detail in the image provides a window into how Champlain’s role as an explorer has been visually interpreted over time.

These visual representations demonstrate how both live performance and visual art have been used to portray Champlain’s role in the larger story of Canada. The historical pageants and other celebrations held at Quebec City in 1908 attempted not only to tell this story, but also to promote national unity and a shared vision of what it meant to be Canadian at that time.

Champlain represented through commemorative monuments

In the late 19th and early 20th centuries, seven statues commemorating Samuel de Champlain were installed in communities in three Canadian provinces and one American state. In nearly every case, they were intended to celebrate the 300th anniversary of Champlain’s explorations.