Page 4 — Biographical Study

Part 2. Sculptor in Montreal (1888-1901)

The Atelier Gratton et Laperle

In 1888, Hébert went to Paris; he would not permanently return to Montreal until 1894. Olindo Gratton and Philippe Laperle took over their employer's atelier, located on rue Labelle. Laperle was a fast learner. By 1884, he was able to fill Hébert's position as professor of wood sculpture in the Council's school; soon after he most likely became a close assistant to Gratton. Both men thus possessed the necessary expertise in religious sculpture to carry on in Hébert's absence.

In a move to retain the confidence of the atelier's previous clientele, Gratton and Laperle displayed two of their productions in the storefront windows of Montreal businesses during the summer of 1888; this was a common marketing strategy at the time. Although Gratton and Laperle were now autonomous entrepreneurs, they would still produce two cement high reliefs for Hébert — based on his ideas — that were intended for the facade of Saint-Henri-des-Tanneries Church in Montreal (1888-90). Like Hébert, they contributed statuary work to the projects of architects Perrault and Mesnard on several occasions. Examples include the twelve statues for the chancel of Notre-Dame-de-Bonsecours Chapel (Montreal, 1889-90) and a Saint Henri for the Saint-Henri Church (1890).

La Presse the French language daily, and Le Monde Illustré magazine published, in 1889 and 1890 respectively, laudatory articles on the two associates, considering them in the context of the current art scene. Concurrently, Le Monde Illustré took a particular interest in an exhibition of works by francophone artists (held at the former "Salle Cavallo") and in the careers of Hébert and Alexandre Carli.

For unknown reasons, Gratton and Laperle separated around 1891. Gratton continued at the studio on rue Labelle, while Laperle became affiliated with the ornamental sculptor Alfred Lefrançois. Around 1893, Elzéar Soucy (1876-1970) was brought into the atelier of Lefrançois and Laperle. Laperle was then busy working on the colossal statues for the apsidal tower of Bonsecours. After this project, he disappeared from view. Given that he and Gratton were similarly competent, it seems strange that Laperle's career should end so abruptly.


"Diocesan Sculptor"

The years from 1891 to 1901 marked a very fruitful period for Gratton. He was no longer associated with Laperle, but he remained Hébert's tenant until 1894. In May 1891, following Hébert's example, he attempted to break into the new market for patriotic statues with the creation of the first commemorative statuette of Monseigneur Antoine Labelle, the well-known priest of Saint-Jérôme. Gratton surely would have preferred to erect a permanent memorial fitted with a bronze statue, however, his efforts did lead to two temporary memorials situated at Lake Labelle (1894) and at Saint-Ignace du Nominingue (1898).1
[Footnote 1: Gratton's statuette was also used as the prototype for the Labelle Monument, erected in Labelle in 1955.]

The prevailing ideology of the time increasingly favoured art that was dedicated to important figures in national history. With his Labelle, Gratton attempted to participate in this trend, thus hoping to gain access to a market that promised more money and longer-lasting success than the religious art market could ever offer. The latter, suffering from a lack of funds, only permitted the use of the most economical materials (wood and plaster versus bronze). Gratton would never attain the success in patriotic sculpture that he had hoped for.

On the other band, it appears that his efforts in this field had the effect of strengthening his reputation as a religious statuary. In 1891-92, Father Sentenne (Notre-Dame, Montreal) entrusted him with the production of numerous ornaments and two wood angels for Notre-Dame's Notre-Dame-du-Sacré-Cœur Chapel. Encouraged by Sentenne's support, Gratton went on to carve two sculptural groups in 1892: one of these was a life-size Ecce Homo that would guard the Chapel's entrance until the fire of 1978. This commission gave Gratton the same standing as the other artists (painters) who Sentenne had brought together to decorate the Chapel. Gratton's association with a project of such a high calibre must have been influential in his being awarded, in 1892, a commission to execute the first of the thirteen colossal copper-on-wood repoussé statues that he would make for the present-day Marie-Reine-du-Monde et Saint-Jacques-le-Majeur Cathedral-Basilica. This series (1892-93 and 1898-1900) marks the culminating point of his career. Although the names of some other artists have been associated with a few of these works, all thirteen, in fact are by Gratton.

The immensity of this project exemplifies the large religious and patriotic commissions about which Bourassa had dreamed. The Cathedral was conceived as a miniature Saint Peter's in Rome by Montreal bishop Ignace Bourget. It stands as Quebec's most significant architectural and iconographic statement of the ultramontane ideology. With its allusion to the pontifical see, it occupies the most privileged position in the hierarchy of churches in Quebec. Compared to other architectural achievements of the time, it is rivalled only by the Palais législatif in Quebec City, which also boasts statuary on its facade.

The Cathedral's special impact lies in its statuary, an important part of the building's symbolism. While the sculptures in Rome represent Christ and his apostles, those on the Cathedral-Basilica represent several saints. The presence of these saints affirms the divine origin of the Church, which gives its bishops the role of teaching the precepts of Christian life. This authority is transferred to the Montreal episcopate, who guides the faithful, who are represented — notably — by the donors, who in turn represent the entire hierarchy of the diocese. The message revolves around the life of Christ, which the faithful are encouraged to imitate following Franciscan virtues. Ripe with meaning, this statuary remains unique in the context of Quebec's monumental religious sculpture.

In the same genre, Gratton produced patron saints for several of the diocese's churches. He also carved eleven statues for the chapel of the Petit Séminaire in Sainte-Thérèse (circa 1897- 99). Almost all the commissions Gratton received were related to the production of works for major construction and renovation projects; these statues were, for the most part, connected to the principal devotion of the respective church. Enjoying a high profile, Gratton was amongst the Montrealers who visited, in 1893, the Chicago World's Colombian Exposition, and then, around 1895, he was included in a biographical listing of businessmen, published in conjunction with the unveiling of the De Maisonneuve Memorial (Hébert, Montreal).

Gratton found success during this period, despite the economic crisis that had hit Montreal, but it was probably out of financial necessity that he marketed a small plaster bust of Sir Wilfrid Laurier in 1896. His teaching positions throughout the decade were probably also a response to the recession.


Teacher

In 1887, Gratton temporarily replaced Hébert as instructor of the sculptural modelling course at the Council of Arts and Manufactures' school. In 1894, he took over Arthur Vincent's modelling and wood sculpture course at the same school. Gratton headed this course until 1899, sharing the position with Hébert from 1895 to 1898 (only the modelling component was offered after 1897). In 1895, the Council moved several of its classes, including Gratton's, to the Monument National, which was the new headquarters of the Association Saint-Jean-Baptiste in Montreal, an organization which shared the same educational objectives as the Council. Gratton and Hébert taught at this location alongside painters Meloche, Edmond Dyonnet and Joseph Saint-Charles.

The shared teaching arrangement between Hébert and Gratton left the theoretical component to the former, while the latter supervised the execution of projects. This arrangement ensured that Gratton continue to have the opportunity to pass on his vast technical knowledge to the students. During his last year at the school, the artist was the sole teacher of modelling — this demonstrates the confidence that the Council had in him.

In 1899, he ceded his position to Alexandre Carli. The demands placed on him by his statuary work for the Cathedral is undoubtedly the reason for his leaving the school. As a professor at the Council's school, Gratton takes his place in the succession of artists who provided an academic education to sculptors in Montreal — from Napoléon Bourassa through Elzéar Soucy (who taught until the Council's dissolution in 1928). This material is certainly open to further historic research.

Gratton must have enjoyed teaching. Few documents supply information on the courses that he taught, however, there are a few exceptions: the annual report that he prepared for the administration in 1887, in which he explains the interrelationship between drawing and modelling; and a few articles appearing in the Montreal press during 1897 and 1898, which similarly saw drawing and modelling to be complementary disciplines.

The Reader will find in Tableau C (p. 101) a partial and somewhat hypothetical, list of Gratton's students: noteworthy in 1887 are Cullen and George W. Hill (1862-1934), and in 1898-99, Alfred Laliberté. As their professor, Gratton would have offered these artists the foundation necessary for the art of sculpture. The most well-known among the remaining students is Elzéar Soucy. It seems that it was this artist who would, through his lengthy teaching career in Montreal, most faithfully pass on the teachings of Gratton. The more obscure artists from this list who practiced sculpture around 1900, and others such as Cléophas Soucy (1879-1960), who was a stone carver, would certainly be worthy of historical research.

Gratton may also have sculpted ornaments used to decorate hearses. The sculptor also appears to have prepared models for stone carvers. Such collaborations include the production of the Granger Memorial (1900), which was conceived by Meloche for Notre-Dame-des-Neiges Cemetery in Montreal. Several years later, Elzéar Soucy would remark that any sculptor hoping to survive had to be versatile.

Biographical Study: 3. Sculptor in Sainte-Thérèse (next page) >>