In the 1970s, and after more than twenty years dedicated to abstraction, the theme of the owl comes back in force in the art of Riopelle as well as figuration in general. He treats them through works on paper, such as Les hiboux, 1970; paintings on canvas, such as Hibou jet-black, 1970; and sculpture, such as Hibou-Roc, 1969-1970 (cast iron in bronze, 2010), demonstrating Riopelle’s incredible talent in a variety of media.

Source: François-Marc Gagnon: Jean-Paul Riopelle, son vie son oeuvre, Institut de l'art Canadien https://www.aci-iac.ca/en/bookss-dart/jean-paul-riopelle/laboures-phares/les-hiboux/

Yseult Riopelle, Jean-Paul Riopelle, Catalogue raisonné des estampes, Hibou Éditeurs, Montreal, 2005, p. 201, reproduced in color under reference 1970.04EST.LI

Printer: Imprimerie ARTE Adrien Maeght
Publisher: Maeght Éditeur, Paris

Public collections: MBAM, 50/75 ; BNQ, 59/75 ; MNBA, 61/75 ; BMO, 74/75 ; BNF, H.C.

Exhibitions:
– 1971 Jean Paul Riopelle 1946–1970, Palais des beaux-arts, Charleroi, cat. no. 69
– 1996 Les plus belles estampes 1966–1995, Gal. Simon Blais, Montreal, 49/75
– 1996 Les plus belles estampes, Gal. Jean-Claude Bergeron, Ottawa, 49/75
– 1998 Les Riopelle de Riopelle, Domaine Cataraqui, Quebec, cat. p. 37
– 1998 Gal. d’arts contemporains, Montreal, 18/75
– 2005–2006 Jean Paul Riopelle. Impressions sans fin, Musée national des beaux-arts du Québec, cat. no. 54

Bibliography:
– Lithographies et eaux-fortes, Maeght Éditeur, 1971, p. 235
– Lithographies, gravures originales, Maeght Éditeur, 1985, p. 214 (not reproduced)