George Broomfield Canadian, 1906-1992

George Broomfield’s Percé Village from Bonaventure Island, painted in 1947, offers a sweeping view of one of Canada’s most storied coastal landmarks. From his vantage point on Bonaventure Island, Broomfield captures the cluster of village buildings anchored against the vastness of sea and sky, with the monumental silhouette of Percé Rock standing sentinel offshore. The painting is suffused with a quiet dignity, reflecting both the enduring spirit of the Gaspé region and the artist’s careful attention to light, form, and rhythm. Like many of his contemporaries, Broomfield was drawn to the unique character of this place—its isolation, its rugged beauty, and its deep connection to Quebecois identity.

Percé Rock has long served as a magnet for Canadian artists seeking to explore the meeting of land, sea, and culture. Clarence Gagnon was among the earliest to immortalize the region in his luminous oils, often emphasizing the harmonious coexistence of rural life and natural grandeur. Albert Cloutier and André Biéler, working in the 1930s and '40s, brought a modernist sensibility to the region’s dramatic vistas, focusing on bold design and expressive colour. Marc-Aurèle Fortin’s richly textured scenes often featured the rock and surrounding village bathed in jewel-like tones, while John Goodwin Lyman approached the subject with his characteristically refined palette and interest in European aesthetics, blending the familiar with the formal. These varied interpretations together helped elevate Percé from a local curiosity to a national symbol.

In this broader context, Broomfield’s Percé Village from Bonaventure Island stands not only as a personal artistic statement but also as part of a dynamic visual tradition. His painting pays homage to the generations of Canadian artists who found inspiration in this remote corner of Quebec, each drawn by the rock’s imposing form and the cultural richness of the village nestled at its base. The work contributes to a shared national narrative—one that views landscape not simply as geography, but as a mirror of identity, history, and artistic legacy.