Affiche avant la lettre, no. 120

In 1964, Adrien Maeght created the ARTE printing press located on rue Daguerre in Paris. Since 1966, Jean-Paul Riopelle works closely with the technicians of this printing press and constantly pushed the limits of this printing technique. According to the art historian Michèle Grandbois, Riopelle's artistic approach, particularly with regard to the technique of printmaking, gives it a very special originality: "His approach to print testifies the invention, the audacity and excessiveness that will make him transgress, if not ignore the traditional rules of the '' beautiful craft ''.

Although the famous Bestiaire series of 1968 does not include an owl, it will be the subject of a major project undertaken by Riopelle two years later. Indeed, in 1970, the artist devoted nearly ten lithographs and several oils on canvas to this theme. Beginnings of a universe in which Riopelle immersed himself at the time, the motif of the owl bears a significant symbolic burden. Often linked to knowledge, wisdom and spirituality, this nocturnal animal allows the artist to convey certain realities and reflections on existence through his works.

1. Michèle Grandbois, 1980, Contemporary Quebec Printmaking. Volume I, Doctoral Thesis in Art History, Université Laval, 1996, p.180

Catalogue raisonné (# 1970.12EST.LI.AFV) p. 205. Imprimerie ARTE Adrien Maeght, Maeght Editeur Paris . 

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Jean-Paul Riopelle (1923 - 2002)

Affiche avant la lettre, no. 120, 1970

  • Gallery

    Cosner Art Gallery - Montreal

  • Medium


  • Time

    Post-War Canadian art

  • Dimensions

    Artwork dimenions : 32,75'' x 21,5'' / 83 cm x 54,5 cm Dimension with frame : 91 x 63,5 cm / 36'' x 25''

  • Signed

    Signed lower right, numbered 105/150 lower left

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