Jean Paul Riopelle’s practice in the early 1960s developed away from the dense mosaic fields of the late 1950s, but built on the frenetic energies and formal experimentation of those works while pushing into new, expansive territories. Throughout this period of experimentation, Riopelle always maintained a sense of compositional harmony. White pigment would expand into the background of his canvases, marking a departure from the relatively dark palettes that characterized his earlier works. So too did the appearance of more calligraphic gestures, as his palette knife was dragged through paint in longer and more emphatic movements.

All of these elements can be found in Sans titre. From a white field emerge mint greens, reds and ochres, and extended black marks. A darker mass of colour occupies the left half of the composition, with blues and purples flicking through the energetic movements. The right of the work is comparatively quieter, yet it is far from empty: long drags of paint create a sort of armature or framework, offsetting the heavier mass with a sense of lively, floating energy.

At this point in his career, Riopelle’s monumental achievements in painting were well recognized globally. In 1962, the same year this work was painted, he represented Canada in the Venice Biennale, an exhibition that earned him the UNESCO Prize—the first Canadian artist to win this important international award.

This work is accompanied by a photograph certificate of authenticity from Yseult Riopelle and is included in the online catalogue raisonné of the artist’s work at http://www.riopelle.ca.