[2] Albert Dumouchel was born into a family of tradesmen at Bellerive, a working-class parish in the municipality of Valleyfield, Quebec.
In 1948, he signed the manifesto Prisme d'yeux, which defended diverse approaches to art-making,[4] and later made contributions to the first publications of Roland Giguere's Éditions Erta.
Giguère interested Dumouchel in the Cobra movement, and his work appeared in the Revue internationale de l'art expérimental - Cobra (1954), and in Phases de l'art contemporain(1955), the review published by poet and surrealist critic Édouard Jaguer.
[1] In 1955, Dumouchel was awarded an 18-month UNESCO scholarship to study in Europe, where he pursued his research and work on printmaking.
[3][2] In 1960, his work and that of Edmund Alleyn, Graham Coughtry, Jean-Paul Lemieux, and Frances Loring, represented Canada at the Venice Biennale.
[6][7] His work is represented in such major public collections as the National Gallery of Canada, the Art Gallery of Ontario, the Musée National des Beaux-Arts du Québec, the Montreal Museum of Fine Arts, and the Victoria and Albert Museum, London, England.