JEAN-PAUL RIOPELLE | Lisière

Galerie Jacques Dubourg, Paris
Private Collection, Paris

Stockholm, Svensk-Franska Konsgallerier, Riopelle 1949 - 1959, 1959
Cologne, Galerie Anne Abels, Riopelle, November - December 1959; catalogue,  no. 12, illustrated

Yseult Riopelle, Jean-Paul Riopelle, Catalogue Raisonné, Tome 2, 1954-1959, Quebec, 2004, p. 306, illustrated in colour

The colours in the printed catalogue illustration are fairly accurate although they are slightly brighter than in the original work. This work was inspected framed. This work is executed on its original canvas and is not relined. Close inspection reveals some stabilized drying cracks in the matte brown paint and in thicker layers of paint. Close inspection reveals two losses in the white impasto in the lower left corner, along the lower edge. This work is in very good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

En renonçant à la perfectibilité de l’image, il a traduit l’immédiateté de ses sentiments et les a laissé se déverser avec une force et une cohérence rarement vues jusqu’alors (…) La seule chose qui importait était la rapidité, être dans la nécessité de l’action et laisser sa main munie à présent d’un couteau à palette, s’exprimer librement en aplats généreux de peinture.  By renouncing all perfectible images, he translated the immediacy of his feelings, letting them pour forth with a degree of force and coherence rarely seen before. (…) All that mattered was swiftness, being in the necessity of the action, and letting his hand, which now wielded a palette knife, express itself freely in generous swaths of paint.
(Cat. Exp. New York, Acquavella Galleries, Riopelle: Grand Format, New York, 2009, p. 21)