Frequently Asked Questions

This project, which will profoundly transform the MNBAQ, involves the construction of a world-class building to house the largest private collections of Riopelle’s works. These collections are being provided to the MNBAQ by a group of Canadian patrons. Together with the national collection, they will comprise the world’s largest public collection of the artist’s work. The project will enrich the MNBAQ’s activities, programs, and strategic vision of a Musée that is accessible to all Quebeckers while enhancing Quebec City’s landscape with a stunning new building in the Plains of Abraham.

Thanks to the MNBAQ and the generosity of several exceptional patrons, Quebeckers have a unique opportunity to welcome and showcase a group of extraordinary works by Jean Paul Riopelle from private collections, making them accessible to the public.

This project will entail a significant addition to the national collection and will enrich Quebec’s heritage by giving one of our most illustrious artists a place of honour at the MNBAQ. The new pavilion’s facilities will also provide new opportunities for artists and visitors. This historic development will allow the MNBAQ, in collaboration with the public, to define the Musée of tomorrow.

Jean Paul Riopelle was one of the most internationally influential Quebec artists of his era, and one of the most recognized masters of Quebec’s modern art movement in France and the United States.

Riopelle paved the way for Quebec’s remarkable art to achieve recognition around the world. His contribution to the history of art is both indisputable and extraordinary. Riopelle’s art transcends borders: his works can be found in public and private collections in over 60 cities in 18 countries on six continents. With links to figures such as Joan Mitchell, Alberto Giacometti, Joan Miró, Sam Francis, and Zao Wou-Ki, he remains one of the most admired Canadian artists in the world. A source of great pride in Quebec, Riopelle’s eminence as an artist is well deserved.

In addition, the programming at the new pavilion will provide a space for diversity, with a focus on women and First Nations: for instance, there will be opportunities for dialogue between contemporary and emerging artists and the works of Riopelle.

The MNBAQ’s Riopelle collection consists of 447 pieces, making it the largest public collection in the world. The MNBAQ currently anticipates that 68 major Riopelle works (39 from Michael J. Audain and 29 from Pierre Lassonde) will join this collection. This exciting news will create a ripple effect that may result in the MNBAQ acquiring other works by Riopelle that have not yet been confirmed as donations.

Several options were considered before a new building was chosen as a solution. This option proved to be the best suited to meet the vision of the Riopelle Foundation, the group of patrons, and the MNBAQ.

It also allows the Musée to preserve certain elements of the built heritage: namely, the central pavilion, which would have needed major repairs and renovations. Because existing elements (such as the storage area) will be retained, the location of the project minimizes its impacts. The choice of location will also improve visitor reception.

Through its past achievements, such as the 1991 expansion (involving the annexation of Quebec City’s former prison and the addition of the central pavilion) and the building of the Pierre Lassonde pavilion in 2016, the MNBAQ has demonstrated expertise in construction projects.

To avoid cost overruns and undue delays, all stages of the project will be managed meticulously and carried out with the utmost care.

The jury chose the concept proposed by Les architectes fabg following a meticulous examination of the four finalists.

Each finalist team was asked to develop its initial conceptual approach in the form of a functional solution, with due regard to the project’s needs technical and budgetary constraints. At the conclusion of this process, the level of advancement of the sketches was meant to offer an overall view of the project’s conception. It was also intended to reveal the quality and depth of the reflection of the firm selected with the aim of initiating the integrated design process with MNBAQ and Jean Paul Riopelle Foundation teams. More specifically, the jury members had to determine whether each proposal met several high-standard criteria, including:

• Respectful integration with the landscape and historical and architectural context of the location (particularly the Charles- Baillairgé Pavilion, a heritage building);
• Creation of a strong landmark at the entrance to the Plains of Abraham historic site that harmonizes with the museum complex day and night;
• Design of a distinctive, thoughtful, and high-quality structure that communicates with the nature around it and reflects the vocation of the future pavilion, namely the display of Jean Paul Riopelle’s art;
• Creation of an accessible and innovative museum space in terms of visitor experience;
• Appropriateness of the formal treatment and recovery of as many systems and networks as possible (mechanically, electrically, and structurally) to meet the LEED certification target;
• Technical feasibility and compliance with the construction budget.