Jean-Paul Riopelle (1923-2002)
Jean-Paul Riopelle (1923-2002)
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Jean-Paul Riopelle (1923-2002)

Clairons

細節
Jean-Paul Riopelle (1923-2002)
Clairons
signed and dated 'Riopelle 56' (lower right); signed and dated 'riopelle "Clairons"' (on the reverse)
oil on canvas
28½ x 36¼in. (72.5 x 92cm.)
Executed in 1955-1956
來源
Galerie Jacques Dubourg, Paris.
Arthur Tooth & Sons, London.
Private Collection, London (acquired from the above in 1956).
Thence by descent to the present owner.
展覽
Paris, Galerie Jacques Dubourg, Riopelle, Oeuvres récentes, 1956, no. 2.
注意事項
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
更多詳情
Yseult Riopelle has confirmed the authenticity of the work.

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拍品專文

The eye roves wildly across Jean-Paul Riopelle’s Clairons, a saturated vortex of impasto, streaking colour. Scraping with a palette knife, Riopelle dragged his marbleised whites, red and bright blues across the canvas, creating a chromatic web of tectonic plates. Clairons is an orchestral painting, a detonation of sonic joy rendered in vibrant, striking tones. Painted between 1955-1956, the painting represents a triumphal period for the artist. After emigrating from Quebec to Paris in 1947, Ropelle quickly settled into the city’s dazzling post-war art scene, becoming a key figure of the École de Paris. In 1954, he participated in the 27th Venice Biennale and, the following year, in the São Paulo Biennial. Previously reliant upon a dense and darker palette, which drew comparisons to Jackson Pollock’s all-over technique, Riopelle began to lighten his colours, striving to use contrasting pigments which he applied directly from the tube. The thick, dense strokes of the present work embody Riopelle’s new aesthetic; Clairons is an accretion of jagged strata, of hollows, peaks and ravines, a translation of the terrestrial which would anticipate what he referred to as the ‘abstract landscapism’ of his later canvases. Reflecting upon his approach, the artist said, ‘Abstract: abstraction, pulling from, taking from… I take the opposite approach. I do not take from Nature, I go towards Nature” (J.-P. Riopelle, in Y. Riopelle, Jean Paul Riopelle. Catalogue raisonné 1939-1953. Tome 1, Montréal, 1999). In showing the world from above, the layered surface of Clairons reveals a dynamic exchange between sky and earth, a world entirely subjected to the desires of its painter.

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