Starting in 1926, Jean-Paul Lemieux enrolled at the École des beaux-arts de Montréal with the aim of becoming a professional painter. However, the reputation of the school at the time, under the direction of Charles Maillard, where intolerance toward modern art was palpable, did not allow Lemieux to fully thrive. In fact, he would not keep particularly positive memories of his time there. Nevertheless, he said: "To be honest, the only one I respected [at the school] was Edwin Holgate. He had a large studio near Burnside Street where he taught life drawing classes. I had great trust in Holgate. I admired him both as a painter and as a teacher. I met him at the École des beaux-arts, where he taught wood engraving. Holgate was a renowned teacher. Everyone wanted to take his classes. He was a demanding and wonderful craftsman."

— Jean-Paul Lemieux, quoted on page 52 of Jean-Paul Lemieux by Marie Carani, Publications du Québec, Musée du Québec.

In Jean-Paul Lemieux's painting Nu (Nude), the influence of Holgate is evident, particularly in terms of technique and the atmosphere of the composition, which recalls Holgate's famous painting Les Baigneuses (The Bathers) from 1937. Created in the same year, Lemieux's depiction of a woman seen from behind uses similar techniques and a comparable color palette to those Holgate employed in his own works.