Refusées

"Refusées" refers to a group of Canadian artists who were collectively denied participation in the 1939–1940 *Exposition internationale des arts et techniques dans la vie moderne* (International Exposition of Arts and Techniques in Modern Life) held in Paris. The term originates from the French word for "refused," highlighting the artists' exclusion from the exhibition despite their notable contributions to Canadian art.

The exhibition was organized by the French government to showcase contemporary art and technology. Canadian officials selected a group of artists to represent the country, but upon review by the French organizers, many were rejected. Among those excluded were prominent figures such as Jean-Paul Lemieux, A.Y. Jackson, Lawren Harris, and Emily Carr. The refusal sparked controversy and drew attention to the perceived limitations of Canadian art being represented abroad.

The term "refusées" was later popularized by art critic and historian Paul-Emile Borduas, who used it in his 1948 essay *Refus global* ("Total Refusal"). While Borduas initially applied the term to a broader cultural and political movement, it became closely associated with the artists denied entry to the Paris exhibition. The incident highlighted tensions between traditional and modernist approaches in Canadian art and contributed to the development of the *Automatiste* movement, a key chapter in Quebec’s avant-garde history.

The "refusées" are now recognized as pivotal figures in shaping Canadian modernism. Their exclusion from the Paris exhibition underscored the need for greater artistic autonomy and innovation within Canada. Today, their work is celebrated for its influence on subsequent generations of artists and its role in defining the nation’s cultural identity.