Alexander Henderson - Temporary exhibition at the McCord Museum
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Photography Exhibition

From June 10, 2022, to April 16, 2023

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Alexander Henderson — Art and Nature

The McCord Museum is presenting the first major exhibition devoted to the photographer Alexander Henderson (1831-1913). Captivated by the majesty of territory’s wilderness, Henderson would become one of the country’s leading landscape photographers.

Discover 250 original prints and reproductions of photographs, as well as archival documents relating the life of the photographer. Travel through the great outdoors and urban scenes. Embark on his astonishing journey, from his first excursions around Montreal, and in the regions of Quebec.  In particular the Outaouais, the Gaspé, the North Shore and the majestic Saguenay Fjord, all the way to Western Canada.

 

  • Alexander Henderson, <i>Ice Cone, Montmorency Falls, Quebec</i>, 1876. MP-0000.299.1, McCord Museum
  • Alexander Henderson, <i>The Saint Lawrence in Spring, opposite Montreal</i>, 1875. MP-0000.299.2, McCord Museum
  • Alexander Henderson, <i>Canoe on a Lake</i>,
about 1865. MP-0000.1828.54.3, McCord Museum
  • Alexander Henderson, <i>Pointe De Lévy</i>, about 1870. MP-1968.31.1.110, McCord Museum
  • Alexander Henderson, <i>Making a Bark Canoe, Murray Bay</i>, before 1865. MP-1968.31.1.134, McCord Museum
  • Alexander Henderson, <i>Hermit Mountain, near Glacier House, Selkirks, B.C.</i>, 1892. MP-1979.36.5, McCord Museum

Alexander Henderson, who was born in Scotland, arrived in Montreal in 1855. Though he was operating in the same milieu as fellow photographers Notman and Livernois, the romanticism and aesthetic power of his work set him apart. The privileges he enjoyed and the prejudices he nurtured as a British incomer to Canadian society of the time would shape his observation of both places and people. The exhibition invites a reflection on the colonial vision we can notice in his work.

The McCord Museum’s collection of photographs by Alexander Henderson, the largest in existence, consists of close to two thousand period prints, complemented by the family archives. It is especially precious since virtually all the photographer’s glass negatives – the raw material of his practice – were destroyed. It is believed that the surviving prints represent only a fraction of his total output.

This project was made possible in part through Library and Archives Canada’s Documentary Heritage Communities Program.

Not to be missed!

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