Jacques Hurtubise developed, from the year 1966, the stencil technique. He then draws the shape of the desired stain on a piece of paper and uses this design as a stencil on the surface. This same shape repeated several times to create the optical pattern where the negative and positive space are one. According to Jacques Hurtubise: “The shapes themselves did not have much meaning. It was the relationship between the stain and the background that counted.” 1

At the same time, Jacques Hurtubise gave his works names inspired by women who marked history or mythology. These titles allocated to the compositions of this period add complexity to their reading. Indeed, according to Nicolas Mavrikakis, these feminine first names create a new confrontation, “this time between a purely pictorial abstract art and an art of narration, a not very modern form of creation… Hurtubise was in the process of becoming a post-modern” 2.

1. Jacques Hurtubise exhibition catalogue at the Montreal Museum of Contemporary Art and the Vancouver Art Gallery, 1981

2. Mavrikakis, Nicolas (2018). « Tension à l’œuvre chez Jacques Hurtubise », Le Devoir, Montréal, June 18, 2018, [online],, page consultée le 16 septembre 2018.

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Jacques Hurtubise (1939 - 2014)

Lucille, 1967

  • Gallery

    Cosner Art Gallery - Montreal

  • Medium

    Oil on canvas

  • Time

    Post-War Canadian art

  • Dimensions

    101,6 x 101,6 cm | 40'' x 40''

  • Dimensions with frame

    106,7 x 106,7 cm | 42'' x 42''

  • Signed

    Signed and dated lower left. Signed, titled and dated on verso

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