Race, Place, and Identity in the Nineteenth-Century Short Story - Literature and Painting in Quebec: From Imagery to Identity - page 57

2.2 Marc-Aurèle de Foy Suzor-Coté, La mort de Cadieux , 1907. Huile sur toile,
89,4 x 119,4 cm. Musée national des beaux-arts du Québec, 1952.51. Photo:
Jean-Guy Kérouac / The Death of Cadieux , 1907. Oil on canvas, 89.4 x 119.4 cm.
Musée national des beaux-arts du Québec, 1952.51. Photo: Jean-Guy Kérouac.
(see chapter five), displays the same intent to consecrate a national hero
that we saw in Taché's tale:
Suzor-Coté's painting is seen from an elevated viewpoint, which flat-
tens and compresses space to focus on the human drama. Cadieux's
reclining body stands out by its central position on the canvas, the
handsome countenance of the martyred hero, and the gestures of the
hands, the left one grasping his heart as if to feel its final beat. The white
and red patches of his shirt and doublet contrast with the earth tones of
his other clothing and the varied colours and intricate weave of the foli-
age, rendered in divided and diversified strokes, which enlighten and