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Jean-Paul RiopelleF. AC (Ficelle AC Bris by JEAN-PAUL RIOPELLE - Canadian artist, 20th century art1972
1972
$49,494.27
£36,000
€42,349.68
CA$67,760.14
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CHF 39,512.76
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NOK 503,339.94
SEK 474,004.19
DKK 316,134.93
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About the Item
F. AC (Ficelle AC Bristol) by JEAN-PAUL RIOPELLE (1923-2002)
Acrylic on paper laid down on canvas
89.7 x 49.5 cm (35 1⁄4 x 19 1⁄2 inches)
Signed with initial lower right, R and titled, AC (Abstract Composition) N
Executed in 1972
Provenance
Christie's, London, 1st July 1999 Galerie Roche, Bremen, Germany Kaspar Gallery, Toronto, Canada Private collection, Italy
Literature: Yseult Riopelle and Tanguy Riopelle, Jean-Paul Riopelle, Tome 5, 1972 – 1979, Catalogue Raisonné, cat. no. 1972.027P.1972, p. 305, illustrated in colour
Exhibition: Zürich, Galerie Maeght, Riopelle, peintures acryliques, gouaches, sculptures, cat. no. 39, 1972 (reproduction error)
Paris, Centre culturel canadien et Musée d'art moderne, Riopelle, ficelles et autres jeux, cat. no. 76, 1972
Artist biography
Jean-Paul Riopelle was born in Montreal, Quebec, Canada, 7 October 1923. He began his career at the école polytechnique in 1941, pursuing engineering with some architecture and photography. His childhood enthusiasm for making art became a hobby at this time, and he described himself as a Sunday painter with a constrained, academic style.
In 1942 he enrolled at the école des Beaux-Arts in Montreal but shifted his studies to the much less academic approach at the école du Meuble, graduating in 1945. There he studied with Paul-émile Borduas, a teacher who was extremely dedicated to his students and gave them a great deal of freedom. It was under Borduas's direction that Riopelle made his first abstract painting. From 1942-45, Borduas and several of his students, including Riopelle, formed a group that worked, socialized and exhibited together. The group became known as the Automatistes for their spontaneous method of painting, which drew on the subconscious as a source. In 1946, Riopelle first travelled to France, where he would return and settle the following year. Borduas authored the manifesto Refus global in 1948, which was signed by a number of his students, including Riopelle. Riopelle had his first solo exhibition at the Surrealist meeting place, Galerie La Dragonne in Paris, in 1949. During the late 1940s and early 1950s, he met and became friends with artists, writers and gallery owners including Georges Mathieu and Pierre Loeb, who introduced him to André Breton. He also met Jean Arp and Antonin Artaud at Loeb's gallery.
The coming years brought Riopelle increasing success and immersion in the Parisian cultural scene. He was represented in New York and participated in the biennials of contemporary art in Venice (1954) and Sao Paulo (1955). He spent his evenings in Paris bistros with friends including playwright Samuel Beckett and artist Alberto Giacometti. In such works as Pavane (1954) and The Wheel II (1956), Riopelle pioneered a style of painting where large quantities of varied coloured paints were thickly applied to the canvas with a trowel or palette knife. Seeking to express a “mental landscape, the result of his relations with reality”, these works of lyrical abstraction show the influence of surrealism and Riopelle’s free-flowing subconscious. Spanning approximately 8 by 10 feet, The Wheel II is composed of vibrant geometric slabs of paint laid down by a palette knife, which fan out in concentric patterns and amass in a spontaneous mosaic of colour.
Of his method, Riopelle said, “Because there are no longer any widely accepted symbols, another type of relationship is necessary. For me, this is the contact with nature. The contact with nature requires documentation… for me, to create, the simplest is to draw and to gather material from nature… “ In the 1960s, Riopelle renewed his ties to Canada. Exhibitions were held at the National Gallery of Canada (1963), and the Musée du Quebec held a retrospective in 1967. In the early 1970s, he built a home and studio in the Laurentians. From 1974 he divided his time between St. Marguerite in Quebec, and Saint-Cyr-en-Arthies in France. Riopelle participated in his last exhibition in 1996. From 1994 until his death, 12 March 2002, he maintained homes in both St. Marguerite and Isle-aux-Grues, Quebec.
- Creator:Jean-Paul Riopelle (1923-2002, Canadian)
- Creation Year:1972
- Dimensions:Height: 35.32 in (89.7 cm)Width: 19.49 in (49.5 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:London, GB
- Reference Number:1stDibs: LU261210090662
Jean-Paul Riopelle
Jean-Paul Riopelle (1923 – 2002) was a painter and sculptor from Quebec, Canada. He became the first Canadian painter (since James Wilson Morrice) to attain widespread international recognition. Born in Montreal, Riopelle began drawing lessons in 1933 and continued through 1938. He studied engineering, architecture and photography at the ecole polytechnique in 1941. In 1942 he enrolled at the Ecole des Beaux-Arts de Montreal but shifted his studies to the less academic Ecole du Meuble, graduating in 1945. He studied under Paul-Emile Borduas in the 1940s and was a member of Les Automatistes movement. Breaking with traditional conventions in 1945 after reading Andre Breton's Le Surrealisme et la Peinture, he began experimenting with non-objective (or non-representational) painting. He was one of the signers of the Refus global manifesto. In 1947 Riopelle moved to Paris and continued his career as an artist, where, after a brief association with the surrealists (he was the only Canadian to exhibit with them) he capitalized on his image as a "wild Canadian". His first solo exhibition took place in 1949 at the Surrealist meeting place, Galerie La Dragonne in Paris. In 1959 he began a relationship with the American painter Joan Mitchell. Living together throughout the 1960s, they kept separate homes and studios near Giverny, where Monet had lived. They influenced one another greatly, as much intellectually as artistically, but their relationship was a stormy one, fueled by alcohol. The relationship ended in 1979. His 1992 painting Hommage a Rosa Luxemburg is Riopelle's tribute to Mitchell, who died that year, and is regarded as a high point of his later work. Riopelle's style in the 1940s changed quickly from Surrealism to Lyrical Abstraction (related to abstract expressionism), in which he used myriad tumultuous cubes and triangles of multicolored elements, facetted with a palette knife, spatula, or trowel, on often large canvases to create powerful atmospheres. The presence of long filaments of paint in his painting from 1948 through the early 1950s has often been seen as resulting from a dripping technique like that of Jackson Pollock. Rather, the creation of such effects came from the act of throwing, with a palette knife or brush, large quantities of paint onto the stretched canvas (positioned vertically). Riopelle's voluminous impasto became just as important as color. Riopelle was arguably one of the most important Canadian artists of the 20th century, establishing his reputation in the burgeoning postwar art scene of Paris, where his entourage included Andre Breton, Sam Francis and Samuel Beckett. Riopelle produced over six thousand works (of which he produced more than two thousand paintings) during the course of his lifetime.
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