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Jean Paul Riopelle Et Le Mouvement Automatiste: Volume 30

Jean Paul Riopelle Et Le Mouvement Automatiste: Volume 30

          
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About the Book

Jean Paul Riopelle est surtout connu pour les célèbres toiles abstraites de sa maturité artistique. Toutefois, François Marc Gagnon amorce cette histoire fascinante avec les premières peintures et l'adhésion précoce à l'objectivité, avant de sonder la participation de l'artiste à l'automatisme et l'incidence durable de ce mouvement sur son oeuvre. Gagnon retrace les premières étapes du cheminement de Riopelle depuis le style figuratif traditionnel enseigné par Henri Bisson, son premier professeur, jusqu'au virage subjectif inspiré par une exposition itinérante d'art hollandais et, en particulier, des toiles de Vincent Van Gogh, ainsi qu'aux expériences automatistes dans un atelier d'une ruelle de Montréal où le peintre travaille en compagnie de Marcel Barbeau et de Jean Paul Mousseau. Dès 1946, Riopelle est un émissaire de l'automatisme à Paris, où il organise la première exposition collective consacrée à ce style. L'auteur montre que malgré la perception d'un désintéressement idéologique, Riopelle a joué un rôle déterminant dans la publication du Refus global, manifeste dont il a dessiné la couverture et qu'il défendra publiquement, alors que la controverse agite les cercles artistiques et intellectuels du Québec. En 1949, après avoir embrassé la notion automatiste d'une peinture sans préconception, Riopelle adopte un style très personnel, où le hasard tient une place prépondérante. L'auteur retrouve cette démarche dans l'oeuvre et les témoignages du peintre lui-même, qu'il fait dialoguer habilement avec les textes de philosophes et de théoriciens sur le rôle du hasard dans la créativité. Il propose en outre une analyse formelle du style et de la technique privilégiés par son sujet au moment où il abandonne définitivement le pinceau pour la spatule. Dans ce premier examen approfondi du rapport de Riopelle à la peinture américaine et à Jackson Pollock en particulier, il remet en question l'idée, pourtant largement acceptée, d'une influence de Pollock, qu'il juge peu probante. Cet ouvrage d'érudition, stimulant et clair, dernier de la longue carrière de l'auteur, est porté comme toujours par une écriture brillante. Il se distingue par son originalité, son intégrité et une connaissance approfondie de l'oeuvre et du milieu de l'artiste, ce « trappeur supérieur » selon le mot d'André Breton.
About the Author: François-Marc Gagnon (1935-2019) a été fondateur-directeur et chercheur-boursier émérite de l'Institut Gail et Stephen A. Jarislowsky sur la recherche en art canadien, membre de l'Ordre du Canada et lauréat du Prix Gérard-Morisset.


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Product Details
  • ISBN-13: 9780228001164
  • Publisher: McGill-Queen's University Press
  • Publisher Imprint: McGill-Queen's University Press
  • Edition: Bilingual edition
  • Language: English
  • Returnable: Y
  • Spine Width: 23 mm
  • Weight: 1110 gr
  • ISBN-10: 0228001161
  • Publisher Date: 23 Sep 2020
  • Binding: Hardback
  • Height: 257 mm
  • No of Pages: 224
  • Series Title: McGill-Queen's/Beaverbrook Canadian Foundation Studies in Ar
  • Sub Title: Volume 30
  • Width: 208 mm


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