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In 1985, Jean-Paul Riopelle received the Grand Prix of painting of the city of Paris. Provenance of Galerie Lelong in New York. This gallery opened its doors in 1985.  Painting of Jean-Paul Riopelle exhibited at Moos Gallery in Toronto in 1988

Nature is an inexhaustible source of inspiration for the artist and many animals have populated his paintings. During the 70s the owl pattern is recurrent, but for the next decade, another bird is needed: the snow goose. The artist then begins a period of vital importance in the evolution of his style. Indeed, Riopelle constantly evolving in his plastic language, composes an animal motif that will be "as many reverent testimonies, poetry, lines and gesture that, without having documentary pretensions, are no less beautiful metaphors on life imagined by a lively, creative and playful mind " (Robert Bernier, 1999).

Although his work style is changing, the dialogue between form and substance, a major concern for Riopelle since its beginnings, persists. However, he plays differently with the opposition between figuration and abstraction. Indeed, a series of points arranged differently could make the work Calibres d'oeufs (1985) completely abstract.

It is all the more interesting to note that at the time of the execution of this painting, Riopelle still remains in France. He did not return definitively until 1989 in Quebec, and only in 1995 acquired a home on Île aux Grues, the McPherson Ancestral Manor. He became a permanent islander on an island where he had already been a regular hunter for thirty years. He died there in 2002.

Bernier, Robert (1999). Un siècle de peinture au Québec, nature et paysages. Éditions de l'Homme, Quebec, p. 302-303.
2. Huot, Pascal (2009). « Tourisme culturel en milieu insulaire : Le cas de l’Île aux Grues. » (Cultural tourism in an island environment: The case of Île aux Grues.) "Ethnologies", Volume 31, Number 1, 2009, p. 127-162. URL: http://id.erudit.org/iterudit/038503ar. Accessed October 24th, 2018.

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