In a dramatic escalation of climate protest tactics, two activists from the environmental group On2Ottawa defaced Pablo Picasso’s “Femme au béret rouge-orange” at the Montreal Museum of Fine Arts on Sunday, splattering the masterpiece with red paint in what they described as an act of civil disobedience aimed at highlighting climate concerns.
The provocative demonstration unfolded shortly after noon when two women approached the iconic painting, worth an estimated $80 million, and hurled paint-filled balloons at the artwork. Museum officials have confirmed that a protective glass shield prevented permanent damage to the 1938 Picasso portrait, though the incident forced the temporary closure of the exhibition hall.
“We’re targeting art because governments aren’t listening to scientists,” declared Amélie Brais, one of the protesters identified in video footage released by the group. “If we don’t act now on climate, there won’t be art or culture left to protect.”
The Montreal Police Service responded swiftly to the incident, detaining both women at the scene. According to CO24 News sources, authorities are considering charges of mischief and vandalism, which could carry significant penalties under Quebec law.
This bold action follows a troubling pattern of similar protests across Europe and North America, where climate activists have targeted prestigious cultural institutions. Last month, Just Stop Oil protesters doused Vincent van Gogh’s “Sunflowers” with tomato soup at London’s National Gallery, while others have glued themselves to frames of masterpieces at the Louvre in Paris.
“These acts fundamentally misunderstand the relationship between art and activism,” said Dr. Eleanor Rosenthal, curator of modern art at the University of Toronto, in an interview with CO24 Canada News. “Attacking cultural heritage alienates potential allies and undermines the moral authority of the climate movement.”
The On2Ottawa group, an offshoot of the international Extinction Rebellion movement, has defended their tactics as necessary given what they describe as government inaction on climate policy. Their manifesto specifically criticizes Canadian oil sands development and the Trans Mountain pipeline expansion.
Montreal Museum director Marie-Claude Landry expressed profound disappointment over the incident. “We respect the right to protest, but cultural institutions should be spaces for dialogue, not targets for destruction,” she stated during an emergency press conference. “The museum has always been committed to environmental sustainability in our operations.”
The incident has sparked intense debate across CO24 Politics circles about the legitimacy of such protest methods. Quebec Premier François Legault condemned the action as “cultural vandalism,” while climate scientists have offered mixed reactions.
“While I understand their frustration, I question whether alienating the public serves the cause,” noted Dr. Michael Saunders, climate researcher at McGill University. “Effective advocacy builds bridges rather than creating division.”
As museum conservators work to clean the protective glass and reopen the exhibition, this incident raises profound questions about the intersection of activism and cultural heritage. What price are we willing to pay for attention to climate causes, and does threatening our artistic legacy truly advance environmental protection? The answer may determine whether such controversial tactics continue to spread or fade into counterproductive notoriety.
