St. Adele, Quebec, 1926

Estate of Arnold O. Brigden, Winnipeg Gift to the Winnipeg Art Gallery, 1973

"The Brigden Collection", Winnipeg Art Gallery, 29 May-13 October 1974 "Some Canadian Landscape Painters from the Winnipeg Art Gallery Collection", Winnipeg Art Gallery, 10 October 1981-28 February 1982 "Little Pictures", Winnipeg Art Gallery, 19 February-17 April 1983 "Stored Secrets: The Vault on View", Winnipeg Art Gallery, 11 September- 27 November 1994 "The View from Here", Winnipeg Art Gallery, 20 May-31 December 2000 "The Collection on View: Tom Thomson and the Group of Seven", Winnipeg Art Gallery, 27 June 2015-2 April 2018 "Salon Style: 20th Century Painting", Winnipeg Art Gallery, 12 October 2018-18 May 2020

Naomi Jackson Groves, "A.Y.’s Canada", Toronto/Vancouver, 1968, page 44 Mary Jo Hughes, "The View from Here: Selections from the Canadian Historical Collection", Winnipeg, 2000, reproduced page 22 Tricia Wasney, "Panoramas: The North American Landscape in Art", http://www.virtualmuseum.ca/panoramas, launched 3 April 2001

The rural landscapes of Quebec came to be known as A.Y. Jackson’s hallmark subject matter. Although he had painted in the Eastern Townships prior to World War I, it wasn't until February and March of 1921 that he began painting in the Lower Saint Lawrence region. In the following decades, Jackson made nearly annual trips in late winter and early spring, capturing the essence of the many small villages along both the north and south shores. These rural communities appealed to Jackson and his fellow artists, as they preserved a traditional way of life amidst a rapidly modernizing and growing society. "St. Adele, Quebec" demonstrates Jackson’s skill at rendering the charming Quebec landscape, with its winding country road and the church steeple emerging from a row of farmhouses. Jackson expertly captured the heart of Quebec, and fondly recalled, “I have worked in villages on both the north and south shores of the St. Lawrence. I have happy memories of a great many places.” The charming oil painting was completed in 1926, as the Group of Seven’s influence was steadily increasing. They had the support of the National Gallery and friends at the Arts and Letters Club and the Canadian Forum, and in 1924 and 1925, the Group artists were well-represented in Canadian art shows at the prestigious Wembley exhibition in England.