Jean-Paul Riopelle Abstract Prints

Abstract Composition is an original lithograph realized by Jean-Paul Riopelle in 1968 for the Art Magazine "Derrière Le Miroir". Good conditions. The artwork represents an abstrac...

Composition is an original lithograph realized by Jean-Paul Riopelle for the Art Magazine Derrière le Miroir, no. 171. The artwork is from the art magazine Derriere Le Miroir. Print...

Vintage gallery exhibition poster. The Galerie Maeght is a gallery of modern art in Paris, France, and Barcelona, Catalonia, Spain. The gallery was founded in 1936 in Cannes. The Paris gallery was started in 1946 by Aimé Maeght. The artists exhibited are mainly from France and Spain. Since 1945, the gallery has presented the greatest modern artists such as Matisse, Bonnard, Braque, Miró, and Calder. In 1956, Adrien Maeght opened a new parisian venue. The second generation of “Maeght” artists was born: Bazaine, Andre Derain, Giacometti, Kelly, Raoul Ubac, then Riopelle, Antoni Tapies, Pol Bury and Adami, among others. Jean-Paul Riopelle, CC GOQ (7 October 1923 – 12 March 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 école polytechnique in 1941. In 1942 he enrolled at the École des beaux-arts de Montréal but shifted his studies to the less academic école du Meuble, graduating in 1945. He studied under Paul-Émile Borduas in the 1940s and was a member of Les Automatistes movement. Breaking with traditional conventions in 1945 after reading André Breton's Le Surréalisme 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. Riopelle married Françoise Lespérance in 1946; the couple had two daughters but separated in 1953. 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 à 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[8] 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. Riopelle's voluminous impasto became just as important as color. His oil painting technique allowed him to paint thick layers, producing peaks and troughs as copious amounts of paint were applied to the surface of the canvas. Riopelle, though, claimed that the heavy impasto was unintentional: "When I begin a painting," he said, "I always hope to complete it in a few strokes, starting with the first colours I daub down anywhere and anyhow. But it never works, so I add more, without realizing it. I have never wanted to paint thickly, paint tubes are much too expensive. But one way or another, the painting has to be done. When I learn how to paint better, I will paint less thickly." When Riopelle started painting, he would attempt to finish the work in one session, preparing all the color he needed before hand: "I would even go as far to say—obviously I don't use a palette, but the idea of a palette or a selection of colors that is not mine makes me uncomfortable, because when I work, I can't waste my time searching for them. It has to work right away." A third element, range of gloss, in addition to color and volume, plays a crucial role in Riopelle's oil paintings. Paints are juxtaposed so that light is reflected off the surface not just in different directions but with varying intensity, depending on the naturally occurring gloss finish (he did not varnish his paintings). These three elements; color, volume, and range of gloss, would form the basis of his oil painting technique throughout his long and prolific career. Riopelle received an Honorable Mention at the 1952 São Paulo Art Biennial. In 1953 he showed at the Younger European Painters exhibition at the Solomon R. Guggenheim Museum in New York City. The following year Riopelle began exhibiting at the Pierre Matisse Gallery in New York. In 1954, works by Riopelle, along with those of B. C. Binning and Paul-Émile Borduas represented Canada at the Venice Biennale. He was the sole artist representing Canada at the 1962 Venice Biennale in an exhibit curated by Charles Comfort...

Jean-Paul Riopelle (1923-2002) is arguably the most successful post-war abstract painter from Canada. While Americans have traditionally favored Jackson Pollock as the most influen...

Lithograph in colors on Arches paper. Hand signed lower right by Jean-Paul Riopelle. Hand numbered 14/40 lower left. Image size: approx 18.5 x 14 inches. Frame size: 31.25 x 24.2...

Green Composition from Derriere is an original lithograph realized by Jean-Paul Riopelle for the Art Magazine Derrière Le Miroir no. 171, 1968. The artwork is from the art magazine ...

Jean-Paul Riopelle (1923-2002) is arguably the most successful post-war abstract painter from Canada. While Americans have traditionally favored Jackson Pollock as the most influen...

Black and Violet Composition is an original lithograph realized by Jean-Paul Riopelle for the Art Magazine Derrière Le Miroir, no. 171, in 1968. Printed by Ateliers de Maeght, Pari...

Cover for Derriere Le Miroir is a mixed lithograph realized by Jean-Paul Riopelle in 1968 for no. 171 of the Art Magazine "Derrière le Miroir". Printed by Ateliers de Maeght, Paris,...

Jean-Paul Riopelle (1923-2002) is arguably the most successful post-war abstract painter from Canada. While Americans have traditionally favored Jackson Pollock as the most influen...

Jean-Paul Riopelle (1923-2002) is arguably the most successful post-war abstract painter from Canada. While Americans have traditionally favored Jackson Pollock as the most influen...

Jean-Paul Riopelle, 1923-2002, Canadian Auprès de mon lac n3 , 1985 Original lithograph in colours on Japan paper 20 ½ x 26 ¾ in 38 x 47.8 cm (image); 52 x 68 cm (paper) INSCRIPTIONS...

Jean-Paul Riopelle, 1923-2002, Canadian untitled, from the portfolio «Les Mouches à Marier» , n7 1985 Etching 19 1/2 x 26 in 50 x 66,3 cm (papier); 38 x 47,5 cm (image) Signed lower...

Jean-Paul Riopelle (1923-2002) is arguably the most successful post-war abstract painter from Canada. While Americans have traditionally favored Jackson Pollock as the most influen...

Jean-Paul Riopelle, 1923-2002, Canadian Auprès de mon lac n6 1985 Lithograph on Japan paper 20 ½ x 26 ¾ in 52 x 68 cm Signed and numbered in pencil (edition of 75) Catalogue raisonn...

Jean-Paul Riopelle, 1923-2002, Canadian Auprès de mon lac n5 1985 Lithograph on Japan paper 20 ½ x 26 ¾ in 52 x 68 cm Signed and numbered in pencil (edition of 75) Catalogue raiso...

Jean-Paul Riopelle, 1923-2002, Canadian Clocher caché, 1989 Lithograph on Japan paper 30 x 22 in INSCRIPTIONS signed and numbered in pencil Catalogue raisonné reference: Y. Riopelle ...

Jean-Paul Riopelle 1923-2002 Où un ours est chassé debout , 1985-1989 Lithograph 25 ½ x 18 ½ in 65 x 47 cm Inscriptions Signed in pencil “Riopelle” lower right and numbered (edition ...

Jean-Paul Riopelle 1923-2002 Où deux ours sont chassés 1985-1989 Lithograph 18 ½ x 25 ½ in 47 x 65 cm Inscriptions Signed in pencil “Riopelle” lower right and numbered “64/75” lower...

Jean-Paul Riopelle, 1923-2002, Canadian Auprès de mon lac n4 1985 Lithograph on Japan paper 20 ½ x 26 ¾ in 52 x 68 cm Signed and numbered in pencil (edition of 75) Catalogue raiso...

Jean-Paul Riopelle, 1923-2002, Canadian Le Clocher, 1989 Lithograph on Japan paper 22.4 x 30.3 in signed and numbered in pencil Catalogue raisonné reference: Y. Riopelle n° Yseult Ri...

Jean-Paul Riopelle, 1923-2002, Canadian untitled, from the portfolio «Les Mouches à Marier» , n3 1985 Etching 19 1/2 x 26 in 50 x 66,3 cm (papier); 38 x 47,5 cm (image) Signed lower ...

Jean-Paul Riopelle, 1923-2002, Canadian UNTITLED N3 (1985 - 1991) Etching 19 3/4 x 25 3/4 in (image); 11 3/4 x 15 1/2 in (papier) 30 x 39.5 cm (image); 50 x 65 cm (papier) Signed lo...

Jean-Paul Riopelle, 1923-2002, Canadian Auprès de mon lac n7 1985 Lithograph on Japan paper 20 ½ x 26 ¾ in 52 x 68 cm Signed and numbered in pencil (edition of 75) Catalogue raison...

Jean-Paul Riopelle, 1923-2002, Canadian Autres mouches no 4, 1985 Lithograph on Japan paper 20 1/2 x 26 3/4 in Signed and numbered in pencil, edition of 75 Catalogue raisonné referen...

Jean-Paul Riopelle, 1923-2002, Canadian Autres mouches no 2, 1985 Lithograph on Japan paper 20 1/2 x 26 3/4 in Signed and numbered in pencil, edition of 75 Catalogue raisonné referen...

Jean-Paul Riopelle, 1923-2002, Canadian Autres mouches no 3, 1985 Lithograph on Japan paper 20 1/2 x 26 3/4 in Signed and numbered in pencil, edition of 75 Catalogue raisonné referen...

This exquisite lithograph by Jean-Paul Riopelle (1923–2002), titled Sans titre (Untitled), originates from the historic 1982 folio Derriere le Mir...