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Proquest Dissertations Elizabeth Simcoe (1762-1850): une amateure et intellectuelle anglaise dans les Canadas. Son oeuvre ecrite et dessinee, et le projet colonial. Denis Longchamps These presentee au Departement d'histoire de 1'art Comme exigence partielle au grade de philosophae doctor (Ph.D.) University Concordia Montreal, Quebec, Canada Septembre 2009 © Denis Longchamps, 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-63414-1 Our file Notre reference ISBN: 978-0-494-63414-1 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduce, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. ••I Canada Resume Elizabeth Simcoe (1762-1850): une amateure et intellectuelle anglaise dans les Canadas. Son oeuvre ecrite et dessinee, et le projet colonial. Denis Longchamps Universite Concordia, 2009 Elizabeth Posthuma Gwillim Simcoe etait en voyage officiel dans les Canadas de 1791 a 1796. Elle accompagna son mari, John Graves Simcoe qui prenait le poste de lieutenant-gouverneur de la province du Haut-Canada recemment cree. Tout au long de ce voyage, elle redigea un journal qu'elle envoyait par section a la famille et aux amis en Angleterre. Le journal etait illustre d'esquisses prises in situ dont elle se servait pour peindre des aquarelles. Les etudes pubises a ce jour sont surtout axees sur les ecrits de Madame Simcoe, utilisant sa production artistique comme illustration. Recemment, quelques recherches se sont interessees a son oeuvre peinte, mais de facon tres restreinte, n'examinant qu'un petit nombre d'ceuvres a la fois generalement dans le but de situer son oeuvre dans un discours sur le pittoresque. De plus, les auteurs ont aborde leur sujet d'un point de vue canadien; cependant, Elizabeth Simcoe etait anglaise. La presente dissertation analyse l'oeuvre d'Elizabeth Simcoe, un corpus de plus de sept cents aquarelles, cartes, esquisses et dessins, en considerant d'abord et avant tout son patrimoine culturel et politique anglais, lequel a forme son regard. Appuy6s par des etudes qui critiquent les approches coloniales traditionnelles, nous avons pu donner a iii Madame Simcoe la place qui lui revient, celle d'une amateure et artiste engagee. Tout en appuyant le projet colonial de son mari, Elizabeth Simcoe fit aussi, parfois publiquement, la promotion de l'Empire britannique. iv Remerciements Ce projet fut comme un long voyage avec ses escales, ses merveilleuses decouvertes et ses embuches. Je me suis rendu a bon port grace au soutien de plusieurs personnes. D'abord et avant tout, je voudrais remercier les membres de mon comite de these pour leur patience et lew generosite. Ma gratitude va a Didier Prioul qui en plus a suggere la piste a suivre pour la resolution du dernier chapitre. A Francois-Marc Gagnon, pour toutes les discussions que nous avons eues, un chaleureux merci meme si le mot semble bien petit ici. Un merci aussi pour Kristina Huneault avec qui j'ai embarque dans ce projet. Le travail que nous avons fait ensemble a trouve sa voie dans le projet final. Merci aussi a Jean Belisle, avec qui j'ai eu le plaisir de travailler sur un autre projet, pour F encouragement constant et la confiance temoignee. Si je suis arrive au but, c'est surtout grace au soutien de Catherine Mackenzie qui a pris la direction de mon projet en cours de route. Son enthousiasme pour mon sujet a vite egale ma passion pour la recherche historique. Elle a toute ma reconnaissance pour sa disponibilite, sa patience et sa generosite qui m'ont profondement touche, tout autant que son interet marque pour ce projet et ceux a venir qui en ont decoules. Son support moral a ete" des plus apprecie tout au long de la maladie et du deces de mon pere, Jean- Marc Longchamps, a qui cette dissertation est dediee. Je tiens aussi a remercier le personnel des bibliotheques et centres d'archives que j'ai consulted pour ce projet. Que ce soit en personne, par courrier, par telephone ou par courriel, leur efficacite a ete fort appreciee. Dans aucun ordre particulier, je remercie tout V specialement Peter Barber, de la British Library; Richard Gerrard, registraire du Collections and Conservation Center, de la Ville de Toronto; John Hadman de la Jemima Creed Charity; Stewart Boden et Tamara Harduwar des Archives publiques de POntario; Margaret Lewis, du Allhallows Museum; Normand Trudel et Sylvie Dauphin du Musee Stewart; Conrad Graham du Musee McCord; Lawrence Kanter de la Yale University Art Gallery; Elizabeth Fairman du Yale Centre for British Art; Colin Harris de la New Bodleian Library, Oxford University; Marianne Martin du Colonial Williamsburg Foundation. Ma gratitude va aussi a Ann Gwillim Parker, Hilary Arnold, Alice Thomas, Garry Essar, Sir Richard Head, Diana Parkin. L'encouragement de mes parents et amis m'a souvent permis de rester a flots. Je les remercie pour leur reconfort, leur ecoute, leur participation au projet bien malgre eux en certaines occasions, et surtout pour leur presence qui parle plus fort que tout autre chose. Merci a John Latour, Pierre-Francois Ouellette, Marilyn Martinez, Elaine Cheasley Paterson et Sabina Rak. Un merci tout special a Mary Reid qui a suivi ma carriere etudiante des mes premiers jours a York University en 1993. II y a aussi ceux qui ont lu, commente, corrige, discute les nombreuses ebauches. Ici, je remercie Nathalie Hodgson, Louyse Lacasse et Felicity Tayler, entre autres. Ma reconnaissance va aussi au Service des Archives de Concordia, au personnel des services interbibliotheques de l'Universite Concordia, a Kathleen Perry et a la Faculte et au personnel du departement d'histoire de Fart. J'en oublie surement et bien humblement je m'en excuse. Finalement merci a ma mere Aline pour tout! vi Table des matieres Resume iii Remerciements v Liste des illustrations x Introduction 1 Chapitre 1 : Une milieu intellectuel, artistique et politique 50 1.1 Histoire familiale 57 • Elizabeth Montagu et Sir Gilbert Pickering 57 • Elizabeth Pickering et John Creed 59 • Elizabeth Creed et Elmes Steward 64 • Les deux sceurs Steward : Jemima Steward et Elmes Spinckes Elizabeth Steward et Thomas Gwillim 65 • Les parents d'Elizabeth Posthuma Simcoe Elizabeth Spinckes et Thomas Gwillim fils 69 • Margaret Spinckes et Samuel Graves 73 1.2 Le conjoint d'Elizabeth Posthuma Gwillim : John Graves Simcoe 77 1.3 Les amities 81 • Mary Anne Burges et son frere James Bland Burges 81 • Ann Hunt et sa fille Mary Hunt 89 • Ann Elliott 94 • Three Friends par William Pars 95 • William Boscawen et Hugh Downman 97 • James White et Edward Drewe 101 Chapitre 2 : Une amateure transatlantique 106 2.1 Les arts et la litterature chez les Simcoe 107 • La collection d'oeuvres d'art et la bibliotheque des Simcoe 107 • Evidences des interetsvi d'Elizabeti h Simcoe 114 2.2 Son education artistique 119 2.3 Elizabeth Simcoe, amateure 122 2.4 Une amateure qui copie 129 2.5 Le pittoresque de Gilpin 137 2.6 Le tourisme et la quete du pittoresque 143 2.7 Les sites touristiques canadiens 146 2.8 Elizabeth Simcoe : la flore et la faune canadienne 156 Chapitre 3 : La rencontre avec les etrangers 166 3.1 Journaux de voyage, lettres et autobiographies 168 3.2 Autres lieux, autres femmes 174 3.3 Lady Anne Barnard et PAfrique 183 3.4 Elizabeth Simcoe et les « Indians » 188 3.5 .. .et leurs representations 195 3.6 L'absence des Canadiens-francais 204 3.7 Les Anglais comme « Autre » 207 Chapitre 4 : Topographe et cartographe du projet colonial 210 4.1 Une nouvelle province a 1' image de la mere patrie 213 4.2 Elizabeth Simcoe et la topographie 220 4.3 Et la cartographic 226 4.4 Une carte unique 235 Chapitre 5 : Un cadeau royal 241 5.1 L'album View of North Canada 242 5.2 Les premiers colons 246 viii 5.3 La colonisation va de l'avant 254 5.4 Sites fiiturs et ressources naturelles 258 5.5 Une ambigu'ite : Chepstow Castle, from Mr Gilpin 260 5.6 Guillaume le conquerant et le chateau de Chepstow 263 5.7 Une ceuvre promotionnelle 268 Conclusion : Une amateure engagee dans les Canadas 274 Illustrations 282 Bibliographic 306 Annexe 1 : Inventaire des oeuvres d'Elizabeth Simcoe 336 IX Liste des illustrations 111.
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