Even before the beginning of its construction in the early 60s, Montréal’s
métro was promised to have a style of its own: Every station was to be
conceived by a distinct architect. Instead of travelling on a system where
all stations are alike – which is the case for most metros in the world –
Montrealers would commute in a system where every station is unique and
decorated with artworks. In fact, initiators of the project, leaded by mayor
Jean Drapeau, insisted that art be integrated to stations. Thenceforth, the
population of Montréal came into contact with an aspect of our culture that
was until then only seen in museums.
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Artworks are not found in all 26 stations of the
1966 original system. By then, financing of art usually relied on the
generosity of companies or organizations. Besides, artworks where not
automatically included in stations’ plans, but integrated afterwards.
The métro’s first artwork was inaugurated in 1967 – more than a year
after the opening of the métro. It was Frederic Back’s painted glass
mural at Place-des-Arts and was donated by Steinberg’s, the former food
store chain. Other donators of that period, were: Gouvernment of Québec
(Champ-de-Mars), the Société Saint-Jean-Baptiste (Sherbrooke), Caisses
populaires Desjardins (Crémazie and Berri-UQAM), the Société des
Artisans (Papineau) and the Macdonald Tobacco Co. (McGill).
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Peel Station
Circles by Jean-Paul Mousseau
Photo credit : Ville de Montréal.
Gestion de
documents et archives
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The painter and caricaturist Robert LaPalme acted as art director for the
integration of art in the métro. He showed a clear preference for
representational works that would recall Montréal’s history. Themes chosen
to be exploited in some stations had been included in a list. Among them: A
mural recalling the produce growers and the feed and vegetable markets of
Montreal at Saint-Laurent station; the passage from the French to the
English regimes at Jarry; Kings that ruled over Canada at Rosemont; The
arrival of les Filles du Roi at Jean-Talon; the creative and eccentric
elements of the city at Beaudry. These are all projects that were never
realised due to lack of funding. On the other hand, artist Marcelle Ferron
held on to her idea and succeeded to impose an abstract stained-glass work
for Champ-de-Mars station – certainly one of the network’s most spectacular
work.
| During the construction of extensions, in the 70s and
the 80s, architects were asked to take care of the integration of
artworks into the architecture of stations from the time of their
conception. While a few architects chose to realise the artwork
themselves, most others asked to artists with whom they’ve cooperated
during construction time. By giving this responsibility to architects,
the goal was to integrate art at its best into architecture and thus,
allowing it to have all the place it deserved. In addition, obligation
to respect a theme or to create a representational work were conditions
of the past; freedom of expression was the new rule. In some cases, the
artwork even became functional. For instance, Jean-Noël Poliquin’s
stainless steel tubular elements at Fabre station just not only have a
decorative purpose, for they also serve as hand rails and they support
the station’s benches. |
Square-Victoria Station
Art Nouveau métro entrance by Hector Guimard
Photo credit : Quartier international de Montréal |
Through the architecture of its stations and its artworks, the Montréal
métro is an important witness of the different eras – from the 60s to the
80s – that saw it arise. Our métro is also one of the world’s largest
underground art museums. This page offers you a virtual visit of artworks
that can be found in 50 stations on the network. Click on the icons on your
left to obtain enlargements of artworks.
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