River of Dreams celebrates the unique ways that Impressionism was practised by artists in Quebec, offering a close look at the work of such luminaries as Clarence Gagnon, Henrietta Mabel May, James Wilson Morrice, and Marc-Aurèle de Foy Suzor-Coté. These artists documented the shoreline of the St. Lawrence and its surrounding regions, from Montréal downriver to Mont-Saint-Hilaire, Arthabaska, Québec, Beaupré, and Charlevoix.

The Quebec Impressionists were painting at a time of considerable industrial and social change in Quebec, and their choices about what to paint proved pivotal in cementing an image of the province as a site of both industry and leisure — whether in scenes of the industrial port of Montréal, or others capturing the traditional rural way of life in small villages.

Featuring a lead essay by curator Anne-Marie Bouchard; reflections on individual painters by leading artists, curators, and scholars; and more than 175 full-colour images (including reproductions of more than 100 paintings; examples of textiles, pottery, and Indigenous trade goods of the period; and archival photographs), River of Dreams is a magnificent tribute to a movement that shaped Canadian art.

Anne-Marie Bouchard is a curator based in Quebec City who specializes in Quebec art. At the usée national des beaux-arts du Québec she curated numerous exhibitions, among them A Private Passion: Modern Art in Québec from the Pierre Lassonde Collection, and 350 Years of Art Practice in Québec.

Anne-Marie Bouchard's profile page

Sarah Milroy is a Toronto writer and art critic. She served as editor and publisher of Canadian Art magazine (1991-96) and as art critic of the Globe and Mail (2001-10). Milroy has contributed to publications on the work of Gathie Falk, Jack Chambers, Greg Curnoe and Fred Herzog, and is a regular contributor to Canadian Art, Border Crossings and The Walrus.

Sarah Milroy's profile page

“These essays are not only informative but also deeply engaging, making me feel like I was part of a rich, multi-faceted exploration of Quebec Impressionism. I found myself getting lost in the stories, gaining a newfound appreciation for the artistic and historical significance of this movement. Visually, the book is a pure delight. Each page felt like a treasure trove, offering high-quality reproductions not just of paintings but also textiles, pottery, Indigenous trade goods, and archival photographs. These aren’t just illustrations; they’re vivid portals into the past, drawing me deeper into the Quebecois artistic heritage.”

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