Artwork by Jean Paul Riopelle,  Sans titre (PM16)

Jean Paul Riopelle
Sans titre (PM16)

oil on canvas
signed with initial; signed on the reverse
16.25 x 13 ins ( 41.3 x 33 cms )

Sold for $41,400.00
Sale date: November 25th 2015

Pierre Matisse Gallery, New York City
Acquavella Modern Art, Nevada
Douglas Udell Gallery, Edmonton
Private Collection, Toronto
Guy Cogeval and Stephane Aquin, “Riopelle: Works from the Collection of Power Corporation of Canada and the Montreal Museum of Fine Arts”, Montreal, 2006, page 143
Jean Paul Riopelle was a lifelong experimenter influenced by Surrealism, Lyrical Abstraction and other avant-garde movements that propelled the evolution of his style. Having spent over a decade in France, Riopelle renewed his ties to his home country in the 1960s with major exhibitions in Ottawa, Montreal, Toronto and Quebec City. From the year 1974, the artist would split his time between Saint-Cyr-en-Arthies, France and his new home and studio in St. Marguerite, Quebec.

True to his exploratory nature, Riopelle would paint on oval, round, and unusually shaped canvases. “PM16” is a fine example of his signature forceful palette knife gestures and skilful inclusion of rich, vibrant colours including shades of blue, yellow, orange and red, present in his most celebrated work.

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Jean Paul Riopelle
(1923 - 2002) Les Automatistes, RCA, SCA

Born in Montreal in 1923, abstract painter and sculptor Jean Paul Riopelle is widely regarded as one of the founding fathers of contemporary Canadian art. Internationally acclaimed during his lifetime, his works are housed in museums and galleries around the world including the National Gallery in Ottawa, the Museum of Modern Art and the Guggenheim Museum in New York City. Riopelle spent most of his career in France where he befriended some of the twentieth century's most influential artists. These included writer Samuel Beckett, surrealist Andre Breton, and sculptor Alberto Giacometti. Riopelle returned to Quebec in the 1970s. He created his last major work, “L'Hommage a Rosa Luxemburg” (Tribute to Rosa Luxemburg) after the death of his long-term companion, American painter Joan Mitchell, in 1992. The narrative fresco of 30 paintings was more than 130 feet long and was made using aerosol spray paint. He died at the age of 78 in 2002.