MARC Record from marc_columbia

LEADER: 03949cam a2200445Ii 4500
001 15346037
005 20210308100258.0
008 191104s2020 qucac b 001 0 fre d
024 $a40030199421
035 $a(OCoLC)on1126211955
040 $aYDX$beng$erda$cYDX$dOCLCQ$dERASA$dBDX$dYDXIT
020 $a0228001161$qhardcover
020 $a9780228001164$qhardcover
035 $a(OCoLC)1126211955
043 $an-cn-qu
050 4 $aND249.R56$bG34 2020
082 04 $a759.11$223
100 1 $aGagnon, François Marc,$d1935-2019,$eauthor.
245 10 $aJean Paul Riopelle et le mouvement automatiste /$cFrançois-Marc Gagnon.
264 1 $aMontréal ;$aKingston ;$aLondon ;$aChicago :$bMcGill-Queen's University Press,$c[2020]
300 $a212 pages :$billustrations (chiefly color), portraits ;$c26 cm.
336 $atext$btxt$2rdacontent
336 $astill image$bsti$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 1 $aMcGill-Queen's/Beaverbrook Canadian Foundation Studies in Art History
504 $aIncludes bibliographical references and index.
505 0 $aAvant Borduas -- Riopelle à l'École du meuble -- Vers l'automatisme -- Les expositions et le manifeste -- Les premières expositions à Paris -- Du pinceau à la spatule -- Empreinte et invisibilité -- Le "hasard total" -- Riopelle et Nietzsche -- Le hasard chez les surréalistes et les automatistes -- Riopelle en 1951 et 1952 -- Riopelle et Pollock.
520 8 $aThe artist Jean Paul Riopelle is best known for his renowned mature abstract style. In this fascinating history, François-Marc Gagnon begins with the artist's first paintings and his early commitment to objectivity to explore Riopelle's involvement with the Automatiste movement and its lasting impact on his work. 0Gagnon traces Riopelle's early development from the traditional figurative style through a turn toward the subjective on seeing a travelling exhibition of Dutch art that included the works of Vincent van Gogh, to Automatiste experiments in an alley studio in Montreal where he painted with Marcel Barbeau and Jean-Paul Mousseau. As early as 1946, Riopelle was an Automatiste emissary in Paris, organizing the first group show there. In spite of the perception that Riopelle was ideologically disinterested, Gagnon shows that he was in fact instrumental to the publication of Refus global - which includes his art on its cover - and publicly defended the manifesto amid controversy in both artistic and intellectual circles in Quebec. Initially devoted to the Automatiste notion of painting without preconception, by 1949 Riopelle was breaking into a markedly individual style in which the idea of chance was central. 0Gagnon reads this approach through Riopelle's own work and testimony, placing it in careful conversation with writing by philosophers and theorists on the role of chance in creativity. Gagnon also makes use of formal analysis of Riopelle's style and technique as he abandoned the paintbrush to work exclusively with the spatula. The well-established narrative of Jackson Pollock's influence on Riopelle is tested - and found wanting - in the first extended examination of Riopelle's relationship to American painting and to Pollock in particular.
600 10 $aRiopelle, Jean Paul$xCriticism and interpretation.
650 0 $aAutomatistes (Group of artists)
650 0 $aPainting, Canadian$zQuébec (Province)$y20th century.
650 7 $aAutomatistes (Group of artists)$2fast$0(OCoLC)fst00822813
650 7 $aPainting, Canadian.$2fast$0(OCoLC)fst01050723
651 7 $aQuébec.$2fast$0(OCoLC)fst01207316
648 7 $a1900-1999$2fast
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
700 12 $aRiopelle, Jean Paul.$tWorks.$kSelections.
830 0 $aMcGill-Queen's/Beaverbrook Canadian Foundation studies in art history.
852 00 $boff,fax$hND249.R56$iG34 2020