Women wearing red do not go unnoticed. This grouping shows her as spiritually engaged, romanticized, close to the earth.

We can think of this sampling as two small dots on the art history timeline, one from the 1840s, the other from the 1920s and 1930s. The status of women and therefore their representation in art has changed dramatically during this time period. In the earlier works we see the women held within their social roles, while the later works show evidence of women's increasing independence.

Joseph Légaré
Josephte Ourné, 1840

This portrait of the daughter of an Indian chief exemplifies a 19th-century European perspective that romanticized the native woman in her environment. This is elaborated by the brightness of her figure set against dark surroundings, the formality of her costume, and her stylized pose in turning to look at the viewer.
The background of the painting, the forest and water, represent the world in which she lives. She carries a fish and bird, suggesting her relationship to the land. She is cloaked in a bright red tunic, adorned with feathers, glass beads, and trade silver, defining her individuality primarily in European terms. Today we are able to see Légaré's perspective, in his depiction of this native woman within the conventions of his time.

Antoine Plamondon
Sister Saint-Alphonse, 1841

In this portrait of Marie-Louise-Émilie Pelletier, the artist contrasts sombre tones with bright red to express the pious pursuit of religious service by a young woman.
The daughter of a prosperous merchant, Marie-Louise rejected high society life, choosing instead to enter a convent and devote herself to charitable work. Red brings lifeblood to an otherwise austere setting. The red chair imposes a sense of stability and stillness. The red book she holds, central to the painting, signals her religious devotion. A triangular composition, defined by starched religious robes, isolates the subject. Even though Marie-Louise was in poor health, the artist fabricates vitality, using red to highlight her cheeks and lips.
Paintings such as Sister Saint-Alphonse, commissioned by the subject's family, served as important records before the widespread use of photography changed the nature of portraiture at the end of the century.

Alfred Pellan
Girl with Anemones, 1932
© Estate Alfred Pellan / SODRAC

With its use of contrasting shapes, colours, and lines, Girl with Anemones was an early exploration of abstraction and cubism. Pellan was seen as a progressive artist, importing ideas from Paris to a more conservative Quebec audience. This painting displays elements of figuration and abstraction, at the same time suggesting the changing social position of women.
The design of the background, the decorative shawl, and the colourful flowers are visual devices that carry the eye throughout the work; all are interspersed with shades of red. In contrast to the cool flesh tones of the sitter, shades of red in her clothing and the background activate the work. She is shown as a modern woman, fully dressed and thoughtful.

Prudence Heward
Girl on a Hill, 1928

Prudence Heward was known for her portraits of strong, heroic women, whom she monumentalized in pastoral landscapes. This subject, a robust young woman, wears a loose-fitting burgundy red dress. She is the well-known modern dancer Louise McLea.
At this time Canadian artists were seeking new ways to embody a national spirit. Barefoot and wearing the same rich, red, earth tones as the tree bark and the ground, the Girl on a Hill embodies the strength of the land. Her torso continues the line of the tree trunk; her legs echo the roots. She looks out at the viewer with a composure that communicates self-contained confidence. Girl on a Hill may be a personification of the new modern Canada.