“Zacharie Vincent to all appearances has sought to create an atmosphere in which man is in balance with his environment.” – Anne-Marie (Blouin) Sioui, “Histoire et iconographie des Hurons de Lorette du 17e au 19e siècle” (1987). “Camp Site (Man with Long Coat),” n.d., Château Ramezay.
This painting demonstrates the rapid progress of settlement and the arrival of tourists taking place on the outskirts of the village of Jeune-Lorette from the mid 19th century onward. Zacharie Vincent, Lake St. Charles, c. 1860, Musée national des beaux-arts du Québec.
The snowshoe became a symbolic object, representing not only the deep territorial roots of Native culture but also the adoption of Native customs by the European colonists. Zacharie Vincent, "Snowshoe Maker," n.
In works like this self-portrait, Zacharie Vincent depicts himself as being at once the observed and the observer, the artist speaking directly to the public about his desire to be seen and recognized. "Huron Chief Zacharie Vincent Telariolin Painting a Self-Portrait," c. 1875, Musée national des beaux-arts du Québec.