"Giboyeuse"
Signed Riopelle and dated -58. Canvas 60 x 73. We thank Mrs Yseult Riopelle for complementary information regarding the provenance.
Provenance
Galerie Jacques Dubourg, Paris.
Svensk-Franska Konstgalleriet, Stockholm, 1959.
Private Swedish collection.
Exhibitions
Svensk-Franska Konstgalleriet, Stockholm, "Riopelle", catalogue no 289, 1959, cat. no. 23, illustrated in black and white in the catalogue.
More information
‘Riopelle succeeds where memory fails. The intangible is given a body, desire a pictorial life. Objects astray, discarded impressions, forgotten emotions are put together in a cocktail-shaker and are poured out on the rocks in a Venetian glass of exquisite transparency in a splendid explosion.’ (P. Boudreau, förord, utställningskatalog, Riopelle, London 1959)
Den fransk-kanadensiske konstnären Riopelle ställde 1951 ut på utställningen “Véhemences Confrontées” (ung Motsatta krafter), en titel som ganska väl beskriver den starke individualisten. Han flyttade till Paris 1947 och kom där i kontakt med den surrealistiska rörelsen även om han medvetet höll sig utanför densamma. Genom sitt nordamerikanska kulturarv är det lätt att dra paralleller till amerikanska abstrakta expressionister som Willem de Kooning och Jackson Pollock men även från denna rörelse tog Riopelle avstånd. Hans konst är inte menad att vara rationell eller avbildande utan utgår från en autonom process som går bortom det medvetna, ibland benämnd som lyrisk abstraktion.
I början av 1950-talet började Riopelle experimentera med att droppa respektive kasta oljefärgen på duken. Denna teknik utvecklar han till att så småningom applicera färgen med palettkniv i tjocka, mycket distinkta färgfält med en mycket pastos, skulptural yta.
Under 1950-talet slog Riopelle även igenom internationellt och ställde bland annat ut på Biennalen i Sao Paolo, Guggenheim NY och Biennalen i Vendig. Auktionens verk ”Giboyeuse” inköptes på Svensk-Franska Konstgalleriets utställning med Riopelle i Stockholm 1959.
More about Jean-Paul Riopelle
– Riopelle succeeds where memory fails. The intangible is given a body, desire a pictorial life. Objects astray, discarded impressions, forgotten emotions are put together in a cocktail-shaker and are poured out on the rocks in a Venetian glass of exquisite transparency in a splendid explosion.” (P. Boudreau, foreword, exhibition catalogue, Riopelle, London 1959)
French-Canadian artist Riopelle exhibited at the “Véhemences Confrontées” exhibition in 1951. The title roughly means “opposing forces” and is an apt one for this powerful individualist. Riopelle moved to Paris in 1947 where he came into contact with the Surrealism movement, although he deliberately did not join it. With his North American heritage, it is easy to draw parallels with American abstract expressionists such as Willem de Kooning and Jackson Pollock but Riopelle distanced himself from these movements too. His art is not intended to be rational or representational but is derived from an autonomous process that goes beyond the conscious, sometimes termed lyrical abstraction.
In the early 1950s Riopelle started to experiment by dropping and throwing oil paint on canvas. He developed this technique to eventually apply the paint with a palette knife in thick, very distinct fields of colour with a very impasto, sculptural surface.
In the 1950s Riopelle also made an international breakthrough, exhibiting at the Sao Paolo Biennial, Guggenheim NY and the Venice Biennale.
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