Painted in 1962, Ysoldus belongs to a particularly dynamic period in Jean Paul Riopelle’s career, when his celebrated mosaic-like approach to abstraction was evolving toward greater openness, movement, and spatial complexity. Rather than relying on a fixed arrangement of discrete marks, Riopelle’s compositions of this period are animated by an energetic interplay of colour, gesture, and shifting areas of space. His intensely physical technique, with paint applied in successive expressive strokes, creates a richly textured surface alive with movement.

The year 1962 marked an important moment of international recognition and experimentation for Riopelle. Working between Paris and North America, he continued to push the possibilities of abstraction, exploring the relationship between dense passages of paint and quieter areas that allow the eye to move freely through the composition. Works from this period reveal both the consistency of his artistic evolution and his continual desire to reinvent the language of painting.

Ysoldus exemplifies this vitality, transforming paint into a landscape of pure sensation while balancing spontaneity with a highly assured command of material and form. The title itself is intriguing and may refer to one of Riopelle’s daughters, Yseult.

Of particular interest, Ysoldus shares the exact same dimensions and date as Nacelle, sold by Heffel in May 2024. Their shared date and scale, together with their related visual language, raise the possibility that the two works were conceived as a pair, offering an intriguing glimpse into Riopelle’s working process in this important year.

Heffel is proud to be a presenting partner of the inauguration of the new Espace Riopelle – Michael Audain Pavilion at the Musée national des beaux-arts du Québec, opening its doors on October 22.