Jean-Paul Riopelle to abstract expressionism), in which he used myriad tumultuous cubes and triangles of multicolored elements, facetted with a palette knife, spatula, or trowel, on often large canvases to create powerful atmospheres. The presence of long filaments of paint in his painting from 1948 through the early 1950s has often been seen as resulting from a dripping technique like that of Jackson Pollock. Rather, the creation of such effects came from the act of throwing, with a palette knife or brush, large quantities of paint onto the stretched canvas (positioned vertically). Riopelle's voluminous impasto became just as important as color. His
Autumn Rhythm (Number 30) involved working on unprimed canvas laid on the floor of his studio, pouring paint from cans or using sticks, heavily loaded brushes and other implements to control a stream of paint as he dripped and flung it onto the canvas. At 17 feet wide and 8 feet high", Autumn Rhythm" is among Pollock's largest pictures. The creation of "Autumn Rhythm" was partly documented by Hans Namuth, who photographed Pollock at work over several months in 1950. According to art historian Monica Bohm-Duchen, Namuth's photographs lend insight to the sequence in which Pollock filled in the canvas, and the order in