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<\/span><\/p>\n RIOPELLE v. POLLOCK<\/p>\n Jean Paul Riopelle and Jackson Pollock.<\/p>\n Goliaths of modern art. Respectively the de<\/p>\n facto leaders of the automatistes and<\/p>\n abstract expressionists, two of the most<\/p>\n important schools in the<\/p>\n history of painting that stood to change the<\/p>\n practice forever. From the cave walls of the<\/p>\n pre-historic era to ancient Greece, the<\/p>\n Renaissance schools of Italy and then for a<\/p>\n century in Paris<\/p>\n before finally landing in Montreal and New<\/p>\n York City, with these two artists and their<\/p>\n compatriots, the great tradition had for the<\/p>\n first time found itself centered in North<\/p>\n America. It was the 1950’s and there was a<\/p>\n yearning to break away from old ideas and<\/p>\n traditional practices in all realms of culture.<\/p>\n Art painters played a major role in shaping<\/p>\n this new world, as they always had, by<\/p>\n producing material objects that aimed to<\/p>\n embody the philosophies of a post<\/p>\n modern era. And while the mould for<\/p>\n canonical painting had been evolving slowly<\/p>\n through the generations with groups like<\/p>\n the impressionists, cubists and surrealists,<\/p>\n it was perhaps the automatistes and<\/p>\n abstract expressionists who came along to<\/p>\n shatter it once and for all. Their massive<\/p>\n canvases and unorthodox techniques<\/p>\n diverged from the conventions of<\/p>\n traditional schools of painting entirely.<\/p>\n With layer upon layer of texture and colour<\/p>\n the paintings were non- meaning. Instead, the works aimed to draw<\/p>\n from the deep well of the subconscious to<\/p>\n express raw emotion while showcasing the<\/p>\n fundamental nature of paint itself. Yet<\/p>\n Riopelle and Pollock took very different<\/p>\n approaches to their art forms. Riopelle,<\/p>\n using palette knives almost exclusively to<\/p>\n create his famous mosaic-like abstracts, taking a more traditional stance in front of<\/p>\n the canvas, while Pollock, standing over his<\/p>\n surfaces, poured and splashed paint to<\/p>\n achieve a sense of harmonious disarray in<\/p>\n his renowned drip paintings. The works of<\/p>\n these artists were also, perhaps, echoes of<\/p>\n the medium’s final evolution. The 1960’s<\/p>\n saw the art world explode into an era of<\/p>\n popular culture fueled by mass<\/p>\n reproduction and digital arts. Today, the<\/p>\n new school of painting lives in the oeuvre of<\/p>\n Graffiti artists whose works in many ways<\/p>\n are suggestive of an age that has banished<\/p>\n traditional painting to the realm of the<\/p>\n decorative. At the same time, Graffiti art<\/p>\n has not changed the most fundamental<\/p>\n principles of painting. With Jean Paul<\/p>\n Riopelle and Jackson Pollock, it was the<\/p>\n first time that paintings existed simply for<\/p>\n the rich colours, textures and forms of<\/p>\n paint, for its unpredictable, dynamic and<\/p>\n fluid nature. Where else could it go from<\/p>\n there?\u00a0 These two works, \u201cTitle Card #1\u201d<\/p>\n and \u201cWrestle Mania\u201d, attempt to imitate the<\/p>\n painting\u00a0 techniques used by Riopelle and<\/p>\n Pollock in the 1950\u2019s, one completed with<\/p>\n palette knives, the other by dripping and<\/p>\n pouring paint. Together they aim to<\/p>\n consider whether this generation of<\/p>\n painters had truly reached the final stage of<\/p>\n the medium\u2019s evolution with their<\/p>\n monumental compositions. And to ponder<\/p>\n what the artist\u2019s themselves might say on the topic.<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”https:\/\/theatresaintecatherine.com\/wp-content\/uploads\/2026\/05\/IMG_7282-scaled.jpeg” _builder_version=”4.27.6″ _module_preset=”default” title_text=”IMG_7282″ hover_enabled=”0″ sticky_enabled=”0″][\/et_pb_image][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" ExhibitionsMay, June and July William Brayley From May 15 to July 31 RIOPELLE v. POLLOCK Jean Paul Riopelle and Jackson Pollock. Goliaths of modern art. Respectively the de facto leaders […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"1413","footnotes":""},"class_list":["post-1439","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/pages\/1439","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/comments?post=1439"}],"version-history":[{"count":7,"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/pages\/1439\/revisions"}],"predecessor-version":[{"id":13843,"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/pages\/1439\/revisions\/13843"}],"wp:attachment":[{"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/media?parent=1439"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
representational and void of obvious<\/p>\n