Could this be the first portrait Marie-Alice Dumont took of her younger brother Joseph-Napoléon (1897–1985)? About 23 years old at the time, Napoléon introduced his sister to the basics of photography in the summer of 1920. An amateur photographer himself, he was a priest who lived out his vocation. Dumont and her brother would remain close throughout their long lives.

This portrait, taken in 1924, reflects the simplicity of many of Marie-Alice Dumont’s early works. The setup is free of any elaborate aesthetic touches: a large sheet serves as the backdrop, and no props are used. The subject is simply seated on a small wooden chair. Perhaps the client had requested a portrait with a simple, unadorned style.

This portrait of four women was taken in the Dumont family home on the 5e Rang in Saint-Alexandre, where Dumont created her first studio portraits. It gives us a sense of how limited her workspace was. We also get a glimpse of the domestic world she grew up in: Note the wallpaper and the small shelf to the right, displaying religious objects.

Although Marie-Alice Dumont’s early portraits are staged fairly simply, the photographer occasionally made use of a few props. She was experimenting! Here, a few plants and flowers brighten up the otherwise plain setting of a simple backdrop sheet, a rug and a wooden chair with no decorative elements. It is clear that, in the early 1920s, Dumont was gradually and methodically taking hold of her craft.

The Dumont family land is crossed by the Du Loup River. In her youth, Marie-Alice would go there to fish for trout and carp with her brothers, sisters and other neighbourhood children. The fish they brought home were, by the next day, rolled in flour and fried in salted pork fat, much to the family’s delight. Can you spot the photographer’s shadow in the foreground? We can clearly make out the outline of the black cloth she draped over her head and camera to capture this moment during a sunny day in 1920. Indoors and outdoors, Marie-Alice was honing her skills as a photographer.

On this beautiful September weekend in 1925, Marie-Alice headed out with her sisters Marie-Louise (left) and Marie-Jeanne (right) to pick highbush cranberries. She was determined to take the opportunity to practise outdoor photography. The two young women in the photo had just stepped out of the canoe taken to cross the river and gather the small red berries. François Dumont, Marie-Alice’s older brother, remembered those days fondly: “On Sundays, when the weather was nice, young people from the neighbouring farms would come by to eat cranberries. We had so much fun!”

Marie-Alice Dumont photographed weddings throughout her entire career. Early on, she often posed her subjects on the veranda or stairs of her family’s home. Given the small size of the house, this was a convenient way to include everyone in the frame. Once again, the photographer showed creativity and resourcefulness as she learned her trade.

François Pelletier, Marie-Alice’s uncle, was a lay brother in the congregation of the Oblates of Mary Immaculate. In the words of Joseph-Napoléon Dumont, lay brothers “are men who, though not highly educated, still wished to live a religious life. They are invaluable helpers to the Fathers.” In other words, they carried out a variety of manual tasks in service to both religious and secular priests. Little is known about François Pelletier’s day-to-day duties as a lay brother, but according to Joseph-Napoléon, he earned great respect and led an exemplary life within his congregation.

Origène Dumont was the nephew of Marie-Alice Dumont, who took this portrait with her Kodak camera, which she carried with her everywhere. The child had just celebrated his first birthday. In his youth Origène showed a knack for farming, a trade he pursued for decades, following in the footsteps of his father and grandfather. A skilled handyman, he was often said to be like an engineer. In 1947, he married Daria Lavoie, and together they raised a large family.

Marie-Alice Dumont already had many nieces and nephews when she began her photography career in the early 1920s, and many of them posed in front of her lens. Here, five of her sister Émilia and brother-in-law Flavius Ouellet’s children are dressed in their Sunday best for a portrait taken in the little studio at the family home on the 5e Rang.

This photograph is another example of the pared-down setup that characterizes many of Marie-Alice Dumont’s early portraits. A simple rug was enough to stage the young subject. Interestingly, a chair can be seen in the background, seemingly forgotten. Perhaps it was used for a previous shot, maybe even of the baby’s parents? It is also worth noting that a simple piece of string was all it took to distract the child just long enough for the photographer to click the shutter.

Marie-Alice Dumont loved photographing children. In this image, twins Elizabeth and Marie-Ange have been placed on the front steps of the house, sitting on two hand-knitted wool blankets. This was the best of three shots; the other two, taken indoors, turned out blurry because the girls could not sit still. Even in this image, luck was on Dumont’s side: Just as Elizabeth was about to move, a lock of her hair got caught in the leaves of the nearby plant. Marie-Alice often used these front steps, those of the Dumont family’s first house, as a backdrop during her early years as a photographer.

In this photograph, three young women tease and jostle each other playfully under the photographer’s watchful eye. Everything here reflects the spontaneity of the moment: the subjects’ movement, their smiles, the slight blur of the image that reminds us just how quickly each moment in life passes. The Marie-Alice Dumont Fonds includes many of these candid shots that offer a glimpse into the private world of those around her.

Could this be the first portrait Marie-Alice Dumont took of her younger brother Joseph-Napoléon (1897–1985)? About 23 years old at the time, Napoléon introduced his sister to the basics of photography in the summer of 1920. An amateur photographer himself, he was a priest who lived out his vocation. Dumont and her brother would remain close throughout their long lives.

This portrait, taken in 1924, reflects the simplicity of many of Marie-Alice Dumont’s early works. The setup is free of any elaborate aesthetic touches: a large sheet serves as the backdrop, and no props are used. The subject is simply seated on a small wooden chair. Perhaps the client had requested a portrait with a simple, unadorned style.

This portrait of four women was taken in the Dumont family home on the 5e Rang in Saint-Alexandre, where Dumont created her first studio portraits. It gives us a sense of how limited her workspace was. We also get a glimpse of the domestic world she grew up in: Note the wallpaper and the small shelf to the right, displaying religious objects.

Although Marie-Alice Dumont’s early portraits are staged fairly simply, the photographer occasionally made use of a few props. She was experimenting! Here, a few plants and flowers brighten up the otherwise plain setting of a simple backdrop sheet, a rug and a wooden chair with no decorative elements. It is clear that, in the early 1920s, Dumont was gradually and methodically taking hold of her craft.

The Dumont family land is crossed by the Du Loup River. In her youth, Marie-Alice would go there to fish for trout and carp with her brothers, sisters and other neighbourhood children. The fish they brought home were, by the next day, rolled in flour and fried in salted pork fat, much to the family’s delight. Can you spot the photographer’s shadow in the foreground? We can clearly make out the outline of the black cloth she draped over her head and camera to capture this moment during a sunny day in 1920. Indoors and outdoors, Marie-Alice was honing her skills as a photographer.

On this beautiful September weekend in 1925, Marie-Alice headed out with her sisters Marie-Louise (left) and Marie-Jeanne (right) to pick highbush cranberries. She was determined to take the opportunity to practise outdoor photography. The two young women in the photo had just stepped out of the canoe taken to cross the river and gather the small red berries. François Dumont, Marie-Alice’s older brother, remembered those days fondly: “On Sundays, when the weather was nice, young people from the neighbouring farms would come by to eat cranberries. We had so much fun!”

Marie-Alice Dumont photographed weddings throughout her entire career. Early on, she often posed her subjects on the veranda or stairs of her family’s home. Given the small size of the house, this was a convenient way to include everyone in the frame. Once again, the photographer showed creativity and resourcefulness as she learned her trade.

François Pelletier, Marie-Alice’s uncle, was a lay brother in the congregation of the Oblates of Mary Immaculate. In the words of Joseph-Napoléon Dumont, lay brothers “are men who, though not highly educated, still wished to live a religious life. They are invaluable helpers to the Fathers.” In other words, they carried out a variety of manual tasks in service to both religious and secular priests. Little is known about François Pelletier’s day-to-day duties as a lay brother, but according to Joseph-Napoléon, he earned great respect and led an exemplary life within his congregation.

Origène Dumont was the nephew of Marie-Alice Dumont, who took this portrait with her Kodak camera, which she carried with her everywhere. The child had just celebrated his first birthday. In his youth Origène showed a knack for farming, a trade he pursued for decades, following in the footsteps of his father and grandfather. A skilled handyman, he was often said to be like an engineer. In 1947, he married Daria Lavoie, and together they raised a large family.

Marie-Alice Dumont already had many nieces and nephews when she began her photography career in the early 1920s, and many of them posed in front of her lens. Here, five of her sister Émilia and brother-in-law Flavius Ouellet’s children are dressed in their Sunday best for a portrait taken in the little studio at the family home on the 5e Rang.

This photograph is another example of the pared-down setup that characterizes many of Marie-Alice Dumont’s early portraits. A simple rug was enough to stage the young subject. Interestingly, a chair can be seen in the background, seemingly forgotten. Perhaps it was used for a previous shot, maybe even of the baby’s parents? It is also worth noting that a simple piece of string was all it took to distract the child just long enough for the photographer to click the shutter.

Marie-Alice Dumont loved photographing children. In this image, twins Elizabeth and Marie-Ange have been placed on the front steps of the house, sitting on two hand-knitted wool blankets. This was the best of three shots; the other two, taken indoors, turned out blurry because the girls could not sit still. Even in this image, luck was on Dumont’s side: Just as Elizabeth was about to move, a lock of her hair got caught in the leaves of the nearby plant. Marie-Alice often used these front steps, those of the Dumont family’s first house, as a backdrop during her early years as a photographer.

In this photograph, three young women tease and jostle each other playfully under the photographer’s watchful eye. Everything here reflects the spontaneity of the moment: the subjects’ movement, their smiles, the slight blur of the image that reminds us just how quickly each moment in life passes. The Marie-Alice Dumont Fonds includes many of these candid shots that offer a glimpse into the private world of those around her.

Could this be the first portrait Marie-Alice Dumont took of her younger brother Joseph-Napoléon (1897–1985)? About 23 years old at the time, Napoléon introduced his sister to the basics of photography in the summer of 1920. An amateur photographer himself, he was a priest who lived out his vocation. Dumont and her brother would remain close throughout their long lives.

This portrait, taken in 1924, reflects the simplicity of many of Marie-Alice Dumont’s early works. The setup is free of any elaborate aesthetic touches: a large sheet serves as the backdrop, and no props are used. The subject is simply seated on a small wooden chair. Perhaps the client had requested a portrait with a simple, unadorned style.

This portrait of four women was taken in the Dumont family home on the 5e Rang in Saint-Alexandre, where Dumont created her first studio portraits. It gives us a sense of how limited her workspace was. We also get a glimpse of the domestic world she grew up in: Note the wallpaper and the small shelf to the right, displaying religious objects.

Although Marie-Alice Dumont’s early portraits are staged fairly simply, the photographer occasionally made use of a few props. She was experimenting! Here, a few plants and flowers brighten up the otherwise plain setting of a simple backdrop sheet, a rug and a wooden chair with no decorative elements. It is clear that, in the early 1920s, Dumont was gradually and methodically taking hold of her craft.

The Dumont family land is crossed by the Du Loup River. In her youth, Marie-Alice would go there to fish for trout and carp with her brothers, sisters and other neighbourhood children. The fish they brought home were, by the next day, rolled in flour and fried in salted pork fat, much to the family’s delight. Can you spot the photographer’s shadow in the foreground? We can clearly make out the outline of the black cloth she draped over her head and camera to capture this moment during a sunny day in 1920. Indoors and outdoors, Marie-Alice was honing her skills as a photographer.

On this beautiful September weekend in 1925, Marie-Alice headed out with her sisters Marie-Louise (left) and Marie-Jeanne (right) to pick highbush cranberries. She was determined to take the opportunity to practise outdoor photography. The two young women in the photo had just stepped out of the canoe taken to cross the river and gather the small red berries. François Dumont, Marie-Alice’s older brother, remembered those days fondly: “On Sundays, when the weather was nice, young people from the neighbouring farms would come by to eat cranberries. We had so much fun!”

Marie-Alice Dumont photographed weddings throughout her entire career. Early on, she often posed her subjects on the veranda or stairs of her family’s home. Given the small size of the house, this was a convenient way to include everyone in the frame. Once again, the photographer showed creativity and resourcefulness as she learned her trade.

François Pelletier, Marie-Alice’s uncle, was a lay brother in the congregation of the Oblates of Mary Immaculate. In the words of Joseph-Napoléon Dumont, lay brothers “are men who, though not highly educated, still wished to live a religious life. They are invaluable helpers to the Fathers.” In other words, they carried out a variety of manual tasks in service to both religious and secular priests. Little is known about François Pelletier’s day-to-day duties as a lay brother, but according to Joseph-Napoléon, he earned great respect and led an exemplary life within his congregation.

Origène Dumont was the nephew of Marie-Alice Dumont, who took this portrait with her Kodak camera, which she carried with her everywhere. The child had just celebrated his first birthday. In his youth Origène showed a knack for farming, a trade he pursued for decades, following in the footsteps of his father and grandfather. A skilled handyman, he was often said to be like an engineer. In 1947, he married Daria Lavoie, and together they raised a large family.

Marie-Alice Dumont already had many nieces and nephews when she began her photography career in the early 1920s, and many of them posed in front of her lens. Here, five of her sister Émilia and brother-in-law Flavius Ouellet’s children are dressed in their Sunday best for a portrait taken in the little studio at the family home on the 5e Rang.

This photograph is another example of the pared-down setup that characterizes many of Marie-Alice Dumont’s early portraits. A simple rug was enough to stage the young subject. Interestingly, a chair can be seen in the background, seemingly forgotten. Perhaps it was used for a previous shot, maybe even of the baby’s parents? It is also worth noting that a simple piece of string was all it took to distract the child just long enough for the photographer to click the shutter.

Marie-Alice Dumont loved photographing children. In this image, twins Elizabeth and Marie-Ange have been placed on the front steps of the house, sitting on two hand-knitted wool blankets. This was the best of three shots; the other two, taken indoors, turned out blurry because the girls could not sit still. Even in this image, luck was on Dumont’s side: Just as Elizabeth was about to move, a lock of her hair got caught in the leaves of the nearby plant. Marie-Alice often used these front steps, those of the Dumont family’s first house, as a backdrop during her early years as a photographer.

In this photograph, three young women tease and jostle each other playfully under the photographer’s watchful eye. Everything here reflects the spontaneity of the moment: the subjects’ movement, their smiles, the slight blur of the image that reminds us just how quickly each moment in life passes. The Marie-Alice Dumont Fonds includes many of these candid shots that offer a glimpse into the private world of those around her.

Could this be the first portrait Marie-Alice Dumont took of her younger brother Joseph-Napoléon (1897–1985)? About 23 years old at the time, Napoléon introduced his sister to the basics of photography in the summer of 1920. An amateur photographer himself, he was a priest who lived out his vocation. Dumont and her brother would remain close throughout their long lives.

This portrait, taken in 1924, reflects the simplicity of many of Marie-Alice Dumont’s early works. The setup is free of any elaborate aesthetic touches: a large sheet serves as the backdrop, and no props are used. The subject is simply seated on a small wooden chair. Perhaps the client had requested a portrait with a simple, unadorned style.

This portrait of four women was taken in the Dumont family home on the 5e Rang in Saint-Alexandre, where Dumont created her first studio portraits. It gives us a sense of how limited her workspace was. We also get a glimpse of the domestic world she grew up in: Note the wallpaper and the small shelf to the right, displaying religious objects.

Although Marie-Alice Dumont’s early portraits are staged fairly simply, the photographer occasionally made use of a few props. She was experimenting! Here, a few plants and flowers brighten up the otherwise plain setting of a simple backdrop sheet, a rug and a wooden chair with no decorative elements. It is clear that, in the early 1920s, Dumont was gradually and methodically taking hold of her craft.

The Dumont family land is crossed by the Du Loup River. In her youth, Marie-Alice would go there to fish for trout and carp with her brothers, sisters and other neighbourhood children. The fish they brought home were, by the next day, rolled in flour and fried in salted pork fat, much to the family’s delight. Can you spot the photographer’s shadow in the foreground? We can clearly make out the outline of the black cloth she draped over her head and camera to capture this moment during a sunny day in 1920. Indoors and outdoors, Marie-Alice was honing her skills as a photographer.

On this beautiful September weekend in 1925, Marie-Alice headed out with her sisters Marie-Louise (left) and Marie-Jeanne (right) to pick highbush cranberries. She was determined to take the opportunity to practise outdoor photography. The two young women in the photo had just stepped out of the canoe taken to cross the river and gather the small red berries. François Dumont, Marie-Alice’s older brother, remembered those days fondly: “On Sundays, when the weather was nice, young people from the neighbouring farms would come by to eat cranberries. We had so much fun!”

Marie-Alice Dumont photographed weddings throughout her entire career. Early on, she often posed her subjects on the veranda or stairs of her family’s home. Given the small size of the house, this was a convenient way to include everyone in the frame. Once again, the photographer showed creativity and resourcefulness as she learned her trade.

François Pelletier, Marie-Alice’s uncle, was a lay brother in the congregation of the Oblates of Mary Immaculate. In the words of Joseph-Napoléon Dumont, lay brothers “are men who, though not highly educated, still wished to live a religious life. They are invaluable helpers to the Fathers.” In other words, they carried out a variety of manual tasks in service to both religious and secular priests. Little is known about François Pelletier’s day-to-day duties as a lay brother, but according to Joseph-Napoléon, he earned great respect and led an exemplary life within his congregation.

Origène Dumont was the nephew of Marie-Alice Dumont, who took this portrait with her Kodak camera, which she carried with her everywhere. The child had just celebrated his first birthday. In his youth Origène showed a knack for farming, a trade he pursued for decades, following in the footsteps of his father and grandfather. A skilled handyman, he was often said to be like an engineer. In 1947, he married Daria Lavoie, and together they raised a large family.

Marie-Alice Dumont already had many nieces and nephews when she began her photography career in the early 1920s, and many of them posed in front of her lens. Here, five of her sister Émilia and brother-in-law Flavius Ouellet’s children are dressed in their Sunday best for a portrait taken in the little studio at the family home on the 5e Rang.

This photograph is another example of the pared-down setup that characterizes many of Marie-Alice Dumont’s early portraits. A simple rug was enough to stage the young subject. Interestingly, a chair can be seen in the background, seemingly forgotten. Perhaps it was used for a previous shot, maybe even of the baby’s parents? It is also worth noting that a simple piece of string was all it took to distract the child just long enough for the photographer to click the shutter.

Marie-Alice Dumont loved photographing children. In this image, twins Elizabeth and Marie-Ange have been placed on the front steps of the house, sitting on two hand-knitted wool blankets. This was the best of three shots; the other two, taken indoors, turned out blurry because the girls could not sit still. Even in this image, luck was on Dumont’s side: Just as Elizabeth was about to move, a lock of her hair got caught in the leaves of the nearby plant. Marie-Alice often used these front steps, those of the Dumont family’s first house, as a backdrop during her early years as a photographer.

In this photograph, three young women tease and jostle each other playfully under the photographer’s watchful eye. Everything here reflects the spontaneity of the moment: the subjects’ movement, their smiles, the slight blur of the image that reminds us just how quickly each moment in life passes. The Marie-Alice Dumont Fonds includes many of these candid shots that offer a glimpse into the private world of those around her.

Could this be the first portrait Marie-Alice Dumont took of her younger brother Joseph-Napoléon (1897–1985)? About 23 years old at the time, Napoléon introduced his sister to the basics of photography in the summer of 1920. An amateur photographer himself, he was a priest who lived out his vocation. Dumont and her brother would remain close throughout their long lives.

This portrait, taken in 1924, reflects the simplicity of many of Marie-Alice Dumont’s early works. The setup is free of any elaborate aesthetic touches: a large sheet serves as the backdrop, and no props are used. The subject is simply seated on a small wooden chair. Perhaps the client had requested a portrait with a simple, unadorned style.

This portrait of four women was taken in the Dumont family home on the 5e Rang in Saint-Alexandre, where Dumont created her first studio portraits. It gives us a sense of how limited her workspace was. We also get a glimpse of the domestic world she grew up in: Note the wallpaper and the small shelf to the right, displaying religious objects.

Although Marie-Alice Dumont’s early portraits are staged fairly simply, the photographer occasionally made use of a few props. She was experimenting! Here, a few plants and flowers brighten up the otherwise plain setting of a simple backdrop sheet, a rug and a wooden chair with no decorative elements. It is clear that, in the early 1920s, Dumont was gradually and methodically taking hold of her craft.

The Dumont family land is crossed by the Du Loup River. In her youth, Marie-Alice would go there to fish for trout and carp with her brothers, sisters and other neighbourhood children. The fish they brought home were, by the next day, rolled in flour and fried in salted pork fat, much to the family’s delight. Can you spot the photographer’s shadow in the foreground? We can clearly make out the outline of the black cloth she draped over her head and camera to capture this moment during a sunny day in 1920. Indoors and outdoors, Marie-Alice was honing her skills as a photographer.

On this beautiful September weekend in 1925, Marie-Alice headed out with her sisters Marie-Louise (left) and Marie-Jeanne (right) to pick highbush cranberries. She was determined to take the opportunity to practise outdoor photography. The two young women in the photo had just stepped out of the canoe taken to cross the river and gather the small red berries. François Dumont, Marie-Alice’s older brother, remembered those days fondly: “On Sundays, when the weather was nice, young people from the neighbouring farms would come by to eat cranberries. We had so much fun!”

Marie-Alice Dumont photographed weddings throughout her entire career. Early on, she often posed her subjects on the veranda or stairs of her family’s home. Given the small size of the house, this was a convenient way to include everyone in the frame. Once again, the photographer showed creativity and resourcefulness as she learned her trade.

François Pelletier, Marie-Alice’s uncle, was a lay brother in the congregation of the Oblates of Mary Immaculate. In the words of Joseph-Napoléon Dumont, lay brothers “are men who, though not highly educated, still wished to live a religious life. They are invaluable helpers to the Fathers.” In other words, they carried out a variety of manual tasks in service to both religious and secular priests. Little is known about François Pelletier’s day-to-day duties as a lay brother, but according to Joseph-Napoléon, he earned great respect and led an exemplary life within his congregation.

Origène Dumont was the nephew of Marie-Alice Dumont, who took this portrait with her Kodak camera, which she carried with her everywhere. The child had just celebrated his first birthday. In his youth Origène showed a knack for farming, a trade he pursued for decades, following in the footsteps of his father and grandfather. A skilled handyman, he was often said to be like an engineer. In 1947, he married Daria Lavoie, and together they raised a large family.

Marie-Alice Dumont already had many nieces and nephews when she began her photography career in the early 1920s, and many of them posed in front of her lens. Here, five of her sister Émilia and brother-in-law Flavius Ouellet’s children are dressed in their Sunday best for a portrait taken in the little studio at the family home on the 5e Rang.

This photograph is another example of the pared-down setup that characterizes many of Marie-Alice Dumont’s early portraits. A simple rug was enough to stage the young subject. Interestingly, a chair can be seen in the background, seemingly forgotten. Perhaps it was used for a previous shot, maybe even of the baby’s parents? It is also worth noting that a simple piece of string was all it took to distract the child just long enough for the photographer to click the shutter.

Marie-Alice Dumont loved photographing children. In this image, twins Elizabeth and Marie-Ange have been placed on the front steps of the house, sitting on two hand-knitted wool blankets. This was the best of three shots; the other two, taken indoors, turned out blurry because the girls could not sit still. Even in this image, luck was on Dumont’s side: Just as Elizabeth was about to move, a lock of her hair got caught in the leaves of the nearby plant. Marie-Alice often used these front steps, those of the Dumont family’s first house, as a backdrop during her early years as a photographer.

In this photograph, three young women tease and jostle each other playfully under the photographer’s watchful eye. Everything here reflects the spontaneity of the moment: the subjects’ movement, their smiles, the slight blur of the image that reminds us just how quickly each moment in life passes. The Marie-Alice Dumont Fonds includes many of these candid shots that offer a glimpse into the private world of those around her.

Could this be the first portrait Marie-Alice Dumont took of her younger brother Joseph-Napoléon (1897–1985)? About 23 years old at the time, Napoléon introduced his sister to the basics of photography in the summer of 1920. An amateur photographer himself, he was a priest who lived out his vocation. Dumont and her brother would remain close throughout their long lives.

This portrait, taken in 1924, reflects the simplicity of many of Marie-Alice Dumont’s early works. The setup is free of any elaborate aesthetic touches: a large sheet serves as the backdrop, and no props are used. The subject is simply seated on a small wooden chair. Perhaps the client had requested a portrait with a simple, unadorned style.

This portrait of four women was taken in the Dumont family home on the 5e Rang in Saint-Alexandre, where Dumont created her first studio portraits. It gives us a sense of how limited her workspace was. We also get a glimpse of the domestic world she grew up in: Note the wallpaper and the small shelf to the right, displaying religious objects.

Although Marie-Alice Dumont’s early portraits are staged fairly simply, the photographer occasionally made use of a few props. She was experimenting! Here, a few plants and flowers brighten up the otherwise plain setting of a simple backdrop sheet, a rug and a wooden chair with no decorative elements. It is clear that, in the early 1920s, Dumont was gradually and methodically taking hold of her craft.

The Dumont family land is crossed by the Du Loup River. In her youth, Marie-Alice would go there to fish for trout and carp with her brothers, sisters and other neighbourhood children. The fish they brought home were, by the next day, rolled in flour and fried in salted pork fat, much to the family’s delight. Can you spot the photographer’s shadow in the foreground? We can clearly make out the outline of the black cloth she draped over her head and camera to capture this moment during a sunny day in 1920. Indoors and outdoors, Marie-Alice was honing her skills as a photographer.

On this beautiful September weekend in 1925, Marie-Alice headed out with her sisters Marie-Louise (left) and Marie-Jeanne (right) to pick highbush cranberries. She was determined to take the opportunity to practise outdoor photography. The two young women in the photo had just stepped out of the canoe taken to cross the river and gather the small red berries. François Dumont, Marie-Alice’s older brother, remembered those days fondly: “On Sundays, when the weather was nice, young people from the neighbouring farms would come by to eat cranberries. We had so much fun!”

Marie-Alice Dumont photographed weddings throughout her entire career. Early on, she often posed her subjects on the veranda or stairs of her family’s home. Given the small size of the house, this was a convenient way to include everyone in the frame. Once again, the photographer showed creativity and resourcefulness as she learned her trade.

François Pelletier, Marie-Alice’s uncle, was a lay brother in the congregation of the Oblates of Mary Immaculate. In the words of Joseph-Napoléon Dumont, lay brothers “are men who, though not highly educated, still wished to live a religious life. They are invaluable helpers to the Fathers.” In other words, they carried out a variety of manual tasks in service to both religious and secular priests. Little is known about François Pelletier’s day-to-day duties as a lay brother, but according to Joseph-Napoléon, he earned great respect and led an exemplary life within his congregation.

Origène Dumont was the nephew of Marie-Alice Dumont, who took this portrait with her Kodak camera, which she carried with her everywhere. The child had just celebrated his first birthday. In his youth Origène showed a knack for farming, a trade he pursued for decades, following in the footsteps of his father and grandfather. A skilled handyman, he was often said to be like an engineer. In 1947, he married Daria Lavoie, and together they raised a large family.

Marie-Alice Dumont already had many nieces and nephews when she began her photography career in the early 1920s, and many of them posed in front of her lens. Here, five of her sister Émilia and brother-in-law Flavius Ouellet’s children are dressed in their Sunday best for a portrait taken in the little studio at the family home on the 5e Rang.

This photograph is another example of the pared-down setup that characterizes many of Marie-Alice Dumont’s early portraits. A simple rug was enough to stage the young subject. Interestingly, a chair can be seen in the background, seemingly forgotten. Perhaps it was used for a previous shot, maybe even of the baby’s parents? It is also worth noting that a simple piece of string was all it took to distract the child just long enough for the photographer to click the shutter.

Marie-Alice Dumont loved photographing children. In this image, twins Elizabeth and Marie-Ange have been placed on the front steps of the house, sitting on two hand-knitted wool blankets. This was the best of three shots; the other two, taken indoors, turned out blurry because the girls could not sit still. Even in this image, luck was on Dumont’s side: Just as Elizabeth was about to move, a lock of her hair got caught in the leaves of the nearby plant. Marie-Alice often used these front steps, those of the Dumont family’s first house, as a backdrop during her early years as a photographer.

In this photograph, three young women tease and jostle each other playfully under the photographer’s watchful eye. Everything here reflects the spontaneity of the moment: the subjects’ movement, their smiles, the slight blur of the image that reminds us just how quickly each moment in life passes. The Marie-Alice Dumont Fonds includes many of these candid shots that offer a glimpse into the private world of those around her.

Could this be the first portrait Marie-Alice Dumont took of her younger brother Joseph-Napoléon (1897–1985)? About 23 years old at the time, Napoléon introduced his sister to the basics of photography in the summer of 1920. An amateur photographer himself, he was a priest who lived out his vocation. Dumont and her brother would remain close throughout their long lives.

This portrait, taken in 1924, reflects the simplicity of many of Marie-Alice Dumont’s early works. The setup is free of any elaborate aesthetic touches: a large sheet serves as the backdrop, and no props are used. The subject is simply seated on a small wooden chair. Perhaps the client had requested a portrait with a simple, unadorned style.

This portrait of four women was taken in the Dumont family home on the 5e Rang in Saint-Alexandre, where Dumont created her first studio portraits. It gives us a sense of how limited her workspace was. We also get a glimpse of the domestic world she grew up in: Note the wallpaper and the small shelf to the right, displaying religious objects.

Although Marie-Alice Dumont’s early portraits are staged fairly simply, the photographer occasionally made use of a few props. She was experimenting! Here, a few plants and flowers brighten up the otherwise plain setting of a simple backdrop sheet, a rug and a wooden chair with no decorative elements. It is clear that, in the early 1920s, Dumont was gradually and methodically taking hold of her craft.

The Dumont family land is crossed by the Du Loup River. In her youth, Marie-Alice would go there to fish for trout and carp with her brothers, sisters and other neighbourhood children. The fish they brought home were, by the next day, rolled in flour and fried in salted pork fat, much to the family’s delight. Can you spot the photographer’s shadow in the foreground? We can clearly make out the outline of the black cloth she draped over her head and camera to capture this moment during a sunny day in 1920. Indoors and outdoors, Marie-Alice was honing her skills as a photographer.

On this beautiful September weekend in 1925, Marie-Alice headed out with her sisters Marie-Louise (left) and Marie-Jeanne (right) to pick highbush cranberries. She was determined to take the opportunity to practise outdoor photography. The two young women in the photo had just stepped out of the canoe taken to cross the river and gather the small red berries. François Dumont, Marie-Alice’s older brother, remembered those days fondly: “On Sundays, when the weather was nice, young people from the neighbouring farms would come by to eat cranberries. We had so much fun!”

Marie-Alice Dumont photographed weddings throughout her entire career. Early on, she often posed her subjects on the veranda or stairs of her family’s home. Given the small size of the house, this was a convenient way to include everyone in the frame. Once again, the photographer showed creativity and resourcefulness as she learned her trade.

François Pelletier, Marie-Alice’s uncle, was a lay brother in the congregation of the Oblates of Mary Immaculate. In the words of Joseph-Napoléon Dumont, lay brothers “are men who, though not highly educated, still wished to live a religious life. They are invaluable helpers to the Fathers.” In other words, they carried out a variety of manual tasks in service to both religious and secular priests. Little is known about François Pelletier’s day-to-day duties as a lay brother, but according to Joseph-Napoléon, he earned great respect and led an exemplary life within his congregation.

Origène Dumont was the nephew of Marie-Alice Dumont, who took this portrait with her Kodak camera, which she carried with her everywhere. The child had just celebrated his first birthday. In his youth Origène showed a knack for farming, a trade he pursued for decades, following in the footsteps of his father and grandfather. A skilled handyman, he was often said to be like an engineer. In 1947, he married Daria Lavoie, and together they raised a large family.

Marie-Alice Dumont already had many nieces and nephews when she began her photography career in the early 1920s, and many of them posed in front of her lens. Here, five of her sister Émilia and brother-in-law Flavius Ouellet’s children are dressed in their Sunday best for a portrait taken in the little studio at the family home on the 5e Rang.

This photograph is another example of the pared-down setup that characterizes many of Marie-Alice Dumont’s early portraits. A simple rug was enough to stage the young subject. Interestingly, a chair can be seen in the background, seemingly forgotten. Perhaps it was used for a previous shot, maybe even of the baby’s parents? It is also worth noting that a simple piece of string was all it took to distract the child just long enough for the photographer to click the shutter.

Marie-Alice Dumont loved photographing children. In this image, twins Elizabeth and Marie-Ange have been placed on the front steps of the house, sitting on two hand-knitted wool blankets. This was the best of three shots; the other two, taken indoors, turned out blurry because the girls could not sit still. Even in this image, luck was on Dumont’s side: Just as Elizabeth was about to move, a lock of her hair got caught in the leaves of the nearby plant. Marie-Alice often used these front steps, those of the Dumont family’s first house, as a backdrop during her early years as a photographer.

In this photograph, three young women tease and jostle each other playfully under the photographer’s watchful eye. Everything here reflects the spontaneity of the moment: the subjects’ movement, their smiles, the slight blur of the image that reminds us just how quickly each moment in life passes. The Marie-Alice Dumont Fonds includes many of these candid shots that offer a glimpse into the private world of those around her.

Could this be the first portrait Marie-Alice Dumont took of her younger brother Joseph-Napoléon (1897–1985)? About 23 years old at the time, Napoléon introduced his sister to the basics of photography in the summer of 1920. An amateur photographer himself, he was a priest who lived out his vocation. Dumont and her brother would remain close throughout their long lives.

This portrait, taken in 1924, reflects the simplicity of many of Marie-Alice Dumont’s early works. The setup is free of any elaborate aesthetic touches: a large sheet serves as the backdrop, and no props are used. The subject is simply seated on a small wooden chair. Perhaps the client had requested a portrait with a simple, unadorned style.

This portrait of four women was taken in the Dumont family home on the 5e Rang in Saint-Alexandre, where Dumont created her first studio portraits. It gives us a sense of how limited her workspace was. We also get a glimpse of the domestic world she grew up in: Note the wallpaper and the small shelf to the right, displaying religious objects.

Although Marie-Alice Dumont’s early portraits are staged fairly simply, the photographer occasionally made use of a few props. She was experimenting! Here, a few plants and flowers brighten up the otherwise plain setting of a simple backdrop sheet, a rug and a wooden chair with no decorative elements. It is clear that, in the early 1920s, Dumont was gradually and methodically taking hold of her craft.

The Dumont family land is crossed by the Du Loup River. In her youth, Marie-Alice would go there to fish for trout and carp with her brothers, sisters and other neighbourhood children. The fish they brought home were, by the next day, rolled in flour and fried in salted pork fat, much to the family’s delight. Can you spot the photographer’s shadow in the foreground? We can clearly make out the outline of the black cloth she draped over her head and camera to capture this moment during a sunny day in 1920. Indoors and outdoors, Marie-Alice was honing her skills as a photographer.

On this beautiful September weekend in 1925, Marie-Alice headed out with her sisters Marie-Louise (left) and Marie-Jeanne (right) to pick highbush cranberries. She was determined to take the opportunity to practise outdoor photography. The two young women in the photo had just stepped out of the canoe taken to cross the river and gather the small red berries. François Dumont, Marie-Alice’s older brother, remembered those days fondly: “On Sundays, when the weather was nice, young people from the neighbouring farms would come by to eat cranberries. We had so much fun!”

Marie-Alice Dumont photographed weddings throughout her entire career. Early on, she often posed her subjects on the veranda or stairs of her family’s home. Given the small size of the house, this was a convenient way to include everyone in the frame. Once again, the photographer showed creativity and resourcefulness as she learned her trade.

François Pelletier, Marie-Alice’s uncle, was a lay brother in the congregation of the Oblates of Mary Immaculate. In the words of Joseph-Napoléon Dumont, lay brothers “are men who, though not highly educated, still wished to live a religious life. They are invaluable helpers to the Fathers.” In other words, they carried out a variety of manual tasks in service to both religious and secular priests. Little is known about François Pelletier’s day-to-day duties as a lay brother, but according to Joseph-Napoléon, he earned great respect and led an exemplary life within his congregation.

Origène Dumont was the nephew of Marie-Alice Dumont, who took this portrait with her Kodak camera, which she carried with her everywhere. The child had just celebrated his first birthday. In his youth Origène showed a knack for farming, a trade he pursued for decades, following in the footsteps of his father and grandfather. A skilled handyman, he was often said to be like an engineer. In 1947, he married Daria Lavoie, and together they raised a large family.

Marie-Alice Dumont already had many nieces and nephews when she began her photography career in the early 1920s, and many of them posed in front of her lens. Here, five of her sister Émilia and brother-in-law Flavius Ouellet’s children are dressed in their Sunday best for a portrait taken in the little studio at the family home on the 5e Rang.

This photograph is another example of the pared-down setup that characterizes many of Marie-Alice Dumont’s early portraits. A simple rug was enough to stage the young subject. Interestingly, a chair can be seen in the background, seemingly forgotten. Perhaps it was used for a previous shot, maybe even of the baby’s parents? It is also worth noting that a simple piece of string was all it took to distract the child just long enough for the photographer to click the shutter.

Marie-Alice Dumont loved photographing children. In this image, twins Elizabeth and Marie-Ange have been placed on the front steps of the house, sitting on two hand-knitted wool blankets. This was the best of three shots; the other two, taken indoors, turned out blurry because the girls could not sit still. Even in this image, luck was on Dumont’s side: Just as Elizabeth was about to move, a lock of her hair got caught in the leaves of the nearby plant. Marie-Alice often used these front steps, those of the Dumont family’s first house, as a backdrop during her early years as a photographer.

In this photograph, three young women tease and jostle each other playfully under the photographer’s watchful eye. Everything here reflects the spontaneity of the moment: the subjects’ movement, their smiles, the slight blur of the image that reminds us just how quickly each moment in life passes. The Marie-Alice Dumont Fonds includes many of these candid shots that offer a glimpse into the private world of those around her.

Could this be the first portrait Marie-Alice Dumont took of her younger brother Joseph-Napoléon (1897–1985)? About 23 years old at the time, Napoléon introduced his sister to the basics of photography in the summer of 1920. An amateur photographer himself, he was a priest who lived out his vocation. Dumont and her brother would remain close throughout their long lives.

This portrait, taken in 1924, reflects the simplicity of many of Marie-Alice Dumont’s early works. The setup is free of any elaborate aesthetic touches: a large sheet serves as the backdrop, and no props are used. The subject is simply seated on a small wooden chair. Perhaps the client had requested a portrait with a simple, unadorned style.

This portrait of four women was taken in the Dumont family home on the 5e Rang in Saint-Alexandre, where Dumont created her first studio portraits. It gives us a sense of how limited her workspace was. We also get a glimpse of the domestic world she grew up in: Note the wallpaper and the small shelf to the right, displaying religious objects.

Although Marie-Alice Dumont’s early portraits are staged fairly simply, the photographer occasionally made use of a few props. She was experimenting! Here, a few plants and flowers brighten up the otherwise plain setting of a simple backdrop sheet, a rug and a wooden chair with no decorative elements. It is clear that, in the early 1920s, Dumont was gradually and methodically taking hold of her craft.

The Dumont family land is crossed by the Du Loup River. In her youth, Marie-Alice would go there to fish for trout and carp with her brothers, sisters and other neighbourhood children. The fish they brought home were, by the next day, rolled in flour and fried in salted pork fat, much to the family’s delight. Can you spot the photographer’s shadow in the foreground? We can clearly make out the outline of the black cloth she draped over her head and camera to capture this moment during a sunny day in 1920. Indoors and outdoors, Marie-Alice was honing her skills as a photographer.

On this beautiful September weekend in 1925, Marie-Alice headed out with her sisters Marie-Louise (left) and Marie-Jeanne (right) to pick highbush cranberries. She was determined to take the opportunity to practise outdoor photography. The two young women in the photo had just stepped out of the canoe taken to cross the river and gather the small red berries. François Dumont, Marie-Alice’s older brother, remembered those days fondly: “On Sundays, when the weather was nice, young people from the neighbouring farms would come by to eat cranberries. We had so much fun!”

Marie-Alice Dumont photographed weddings throughout her entire career. Early on, she often posed her subjects on the veranda or stairs of her family’s home. Given the small size of the house, this was a convenient way to include everyone in the frame. Once again, the photographer showed creativity and resourcefulness as she learned her trade.

François Pelletier, Marie-Alice’s uncle, was a lay brother in the congregation of the Oblates of Mary Immaculate. In the words of Joseph-Napoléon Dumont, lay brothers “are men who, though not highly educated, still wished to live a religious life. They are invaluable helpers to the Fathers.” In other words, they carried out a variety of manual tasks in service to both religious and secular priests. Little is known about François Pelletier’s day-to-day duties as a lay brother, but according to Joseph-Napoléon, he earned great respect and led an exemplary life within his congregation.

Origène Dumont was the nephew of Marie-Alice Dumont, who took this portrait with her Kodak camera, which she carried with her everywhere. The child had just celebrated his first birthday. In his youth Origène showed a knack for farming, a trade he pursued for decades, following in the footsteps of his father and grandfather. A skilled handyman, he was often said to be like an engineer. In 1947, he married Daria Lavoie, and together they raised a large family.

Marie-Alice Dumont already had many nieces and nephews when she began her photography career in the early 1920s, and many of them posed in front of her lens. Here, five of her sister Émilia and brother-in-law Flavius Ouellet’s children are dressed in their Sunday best for a portrait taken in the little studio at the family home on the 5e Rang.

This photograph is another example of the pared-down setup that characterizes many of Marie-Alice Dumont’s early portraits. A simple rug was enough to stage the young subject. Interestingly, a chair can be seen in the background, seemingly forgotten. Perhaps it was used for a previous shot, maybe even of the baby’s parents? It is also worth noting that a simple piece of string was all it took to distract the child just long enough for the photographer to click the shutter.

Marie-Alice Dumont loved photographing children. In this image, twins Elizabeth and Marie-Ange have been placed on the front steps of the house, sitting on two hand-knitted wool blankets. This was the best of three shots; the other two, taken indoors, turned out blurry because the girls could not sit still. Even in this image, luck was on Dumont’s side: Just as Elizabeth was about to move, a lock of her hair got caught in the leaves of the nearby plant. Marie-Alice often used these front steps, those of the Dumont family’s first house, as a backdrop during her early years as a photographer.

In this photograph, three young women tease and jostle each other playfully under the photographer’s watchful eye. Everything here reflects the spontaneity of the moment: the subjects’ movement, their smiles, the slight blur of the image that reminds us just how quickly each moment in life passes. The Marie-Alice Dumont Fonds includes many of these candid shots that offer a glimpse into the private world of those around her.