The Artist Jean Dubuffet Was Influenced by This Persons Study of the Art of the Mentally Ill

French painter and sculptor

Jean Dubuffet
Jean Dubuffet in 1960
Built-in	(1901-07-31)31 July 1901 Le Havre, France
Died	12 May 1985(1985-05-12) (anile 83) Paris, France
Known for	Painting, sculpture

Jean Philippe Arthur Dubuffet (31 July 1901 – 12 May 1985) was a French painter and sculptor. His idealistic approach to aesthetics embraced so-called "low art" and eschewed traditional standards of beauty in favor of what he believed to be a more authentic and humanistic approach to image-making. He is possibly best known for founding the art movement art brut, and for the collection of works—Collection de fifty'art brut—that this movement spawned. Dubuffet enjoyed a prolific art career, both in French republic and in America, and was featured in many exhibitions throughout his lifetime.

Early on life [edit]

Dubuffet was built-in in Le Havre to a family of wholesale wine merchants who were part of the wealthy bourgeoisie.^[1] His childhood friends included the writers Raymond Queneau and Georges Limbour.^[2] He moved to Paris in 1918 to study painting at the Académie Julian,^[iii] becoming shut friends with the artists Juan Gris, André Masson, and Fernand Léger. Six months afterwards, upon finding academic preparation to be distasteful, he left the Académie to report independently.^[iv] During this time, Dubuffet developed many other interests, including free dissonance music,^[v] poetry, and the study of ancient and mod languages.^[4] Dubuffet also traveled to Italy and Brazil, and upon returning to Le Havre in 1925, he married for the first time and went on to start a small vino business in Paris.^[4] He took up painting over again in 1934 when he fabricated a large series of portraits in which he emphasized the vogues in art history. But once again he stopped, developing his wine business at Bercy during the German Occupation of France. Years subsequently, in an autobiographical text, he boasted about having made substantial profits by supplying vino to the Wehrmacht.^[1]

Early work [edit]

In 1942, Dubuffet decided to devote himself over again to fine art. He oft chose subjects for his works from everyday life, such every bit people sitting in the Paris Métro or walking in the country. Dubuffet painted with strong, unbroken colors, recalling the palette of Fauvism, likewise as the Brucke painters, with their juxtaposing and discordant patches of color. Many of his works featured an individual or individuals placed in a very cramped space, which had a distinct psychological impact on viewers. In 1943, the writer George Limbour, a friend of Dubuffet from childhood, took Jean Paulhan to the creative person'south studio. Dubuffet'southward piece of work at that time was unknown. Paulhan was impressed and the meeting proved to be a turning indicate for Dubuffet.^[6] His beginning solo show came in October 1944, at the Galerie Rene Drouin in Paris. This marked Dubuffet'due south third attempt to become an established artist.^[4]

In 1945, Dubuffet attended and was strongly impressed past a show in Paris of Jean Fautrier's paintings in which he recognized meaningful art which expressed directly and purely the depth of a person. Emulating Fautrier, Dubuffet started to use thick oil paint mixed with materials such as mud, sand, coal dust, pebbles, pieces of glass, cord, straw, plaster, gravel, cement, and tar. This immune him to abandon the traditional method of applying oil paint to canvas with a brush; instead, Dubuffet created a paste into which he could create concrete marks, such as scratches and slash marks. The impasto technique of mixing and applying pigment was best manifested in Dubuffet's series 'Hautes Pâtes' or Thick Impastoes, which he exhibited at his 2d major exhibition, entitled Microbolus Macadam & Cie/Hautes Pates in 1946 at the Galérie René Drouin. His use of crude materials and the irony that he infused into many of his works incited a meaning corporeality of backfire from critics, who accused Dubuffet of 'anarchy' and 'scraping the dustbin'.^[iv] He did receive some positive feedback as well—Clement Greenberg took find of Dubuffet'southward work and wrote that '[f]rom a distance, Dubuffet seems the most original painter to have come out of the School of Paris since Miro...'^[vii] Greenberg went on to say that 'Dubuffet is perhaps the one new painter of real importance to take appeared on the scene in Paris in the final decade.' ^[7] Indeed, Dubuffet was very prolific in the Usa in the twelvemonth post-obit his first exhibition in New York (1951).^[7]

Afterward 1946, Dubuffet started a series of portraits, with his ain friends Henri Michaux, Francis Ponge, George Limbour, Jean Paulhan and Pierre Matisse serving as 'models'. He painted these portraits in the same thick materials, and in a manner deliberately anti-psychological and anti-personal, as Dubuffet expressed himself. A few years later he approached the surrealist group in 1948, then the College of Pataphysique in 1954. He was friendly with the French playwright, actor and theater director Antonin Artaud, he admired and supported the writer Louis-Ferdinand Céline and was strongly connected with the artistic circumvolve around the surrealist André Masson. In 1944 he started an of import relationship with the resistance-fighter and French writer and publisher Jean Paulhan who was also strongly fighting against "intellectual terrorism", as he called information technology.^{[ citation needed ]}

Reception in America [edit]

Dubuffet achieved very rapid success in the American art market place, largely due to his inclusion in the Pierre Matisse exhibition in 1946. His association with Matisse proved to be very beneficial. Matisse was a very influential dealer of contemporary European Art in America, and was known for strongly supporting the Schoolhouse of Paris artists. Dubuffet's work was placed among the likes of Picasso, Braque, and Rouault at the gallery exhibit, and he was one of just two young artists to exist honored in this way. A Newsweek article dubbed Dubuffet the 'darling of Parisian avant-garde circles,' and Greenberg wrote positively about Dubuffet'south iii canvases in a review of the exhibit. In 1947 Dubuffet had his first solo exhibition in America, in the same gallery as the Matisse exhibition. Reviews were largely favorable, and this resulted in Dubuffet having at least an annual, if not a biannual exhibition at that gallery.^[7]

Due to his participation in a steady stream of art exhibitions within his start few years in New York, Dubuffet became a constant presence in the American fine art world. Dubuffet'south association with the School of Paris provided him with a unique vehicle to accomplish American audiences, even though he dissociated himself from most of the ideals of the school, and reacted very strongly against the 'great traditions of painting.' Americans were intrigued past Dubuffet'due south simultaneous roots in the established French vanguard and his work, which was such a strong reaction against his groundwork. Many painters of the New York school at this time were besides trying to seek status within the avant-garde tradition, and drew influence from Dubuffet's work. His reception in America was very closely linked to and dependent upon the New York fine art world's desire to create its own advanced environment.^[viii]

Transition to art brut [edit]

Between 1947 and 1949, Dubuffet took three split trips to Algeria—a French colony at the time—in order to find further artistic inspiration. In this sense, Dubuffet is very similar to other artists such equally Delacroix, Matisse, and Fromentin.^[9] Yet, the art that Dubuffet produced while he was there was very specific insofar as it recalled Mail service-State of war French ethnography in light of decolonization. Dubuffet was fascinated past the nomadic nature of the tribes in Algeria—he admired the ephemeral quality of their existence, in that they did not stay in whatsoever one detail surface area for long, and were constantly shifting. The impermanence of this kind of movement attracted Dubuffet and became a facet of art brut. In June 1948, Dubuffet, along with Jean Paulhan, Andre Breton, Charles Ratton, Michel Tapie, and Henri-Pierre Roche, officially established La Compagnie de fifty'art brut in Paris.^[10] This association was dedicated to the discovery, documentation and exhibition of art brut. Dubuffet later on amassed his own drove of such fine art, including artists Aloïse Corbaz and Adolf Wölfli. This drove is at present housed at the Collection de l'art brut in Lausanne, Switzerland. His fine art brut drove is often referred to as a "museum without walls", equally it transcended national and indigenous boundaries, and effectively broke down barriers between nationalities and cultures.^[ix]

Influenced by Hans Prinzhorn'due south book Artistry of the Mentally Ill, Dubuffet coined the term fine art brut (significant "raw art", oftentimes referred to equally 'outsider fine art') for art produced by non-professionals working outside aesthetic norms, such every bit fine art by psychiatric patients, prisoners, and children. Dubuffet felt that the uncomplicated life of the everyday human contained more art and poetry than did academic art, or nifty painting. He establish the latter to be isolating, mundane, and pretentious, and wrote in his Prospectus aux amateurs de tout genre that his aim was 'not the mere gratification of a scattering of specialists, but rather the human being in the street when he comes dwelling from work....it is the man in the street whom I experience closest to, with whom I want to brand friends and enter into confidence, and he is the one I want to please and enchant by means of my work.' To that finish, Dubuffet began to search for an art form in which everyone could participate and past which everyone could be entertained. He sought to create an art equally gratis from intellectual concerns equally Art Brut, and every bit a result, his work often appears primitive and childlike. His form is often compared to wall scratchings and children's art.^[11] Nonetheless, Dubuffet appeared to be quite erudite when it came to writing about his own work. Co-ordinate to prominent art critic Hilton Kramer, "There is only 1 affair incorrect with the essays Dubuffet has written on his ain piece of work: their dazzling intellectual finesse makes nonsense of his claim to a gratis and untutored primitivism. They show us a standard mandarin literary personality, full of chichi phrases and up-to-appointment ideas, that is quite the opposite of the naive visionary."^[12]

Artistic style [edit]

Dubuffet'due south fine art primarily features the resourceful exploitation of unorthodox materials. Many of Dubuffet'south works are painted in oil paint using an impasto thickened past materials such as sand, tar and straw, giving the piece of work an unusually textured surface.^[13] Dubuffet was the first artist to use this type of thickened paste, chosen bitumen.^[xiv] Additionally, in his earlier paintings, Dubuffet dismissed the concept of perspective in favor of a more direct, two-dimensional presentation of space. Instead, Dubuffet created the illusion of perspective by crudely overlapping objects within the picture airplane. This method nigh directly contributed to the cramped effect of his works.

From 1962 he produced a series of works in which he limited himself to the colours red, white, black, and blueish. Towards the end of the 1960s he turned increasingly to sculpture, producing works in polystyrene which he so painted with vinyl paint.

Other enterprises [edit]

In late 1960–1961, Dubuffet began experimenting with music and sound and made several recordings with the Danish painter Asger Jorn, a founding member of the avant-garde movement COBRA. The same catamenia he started making sculpture, but in a very not-sculptural way. As his medium he preferred to employ the ordinary materials as papier-mâché and for all the light medium polystyrene, in which he could model very fast and switch easily from ane work to another, as sketches on paper. At the end of the 1960s he started to create his large sculpture-habitations, such equally 'Bout aux figures',^[fifteen] 'Jardin d'Hiver' and 'Villa Falbala'^[16] in which people tin wander, stay, and contemplate. In 1969 ensued an acquaintance between him and the French Outsider Art artist Jacques Soisson.

In 1978 Dubuffet collaborated with American composer and musician Jasun Martz to create the record album artwork for Martz'south avant-garde symphony entitled The Pillory. The much written near cartoon has been reproduced internationally in three unlike editions on tens-of-thousands of record albums and compact discs. A detail of the drawing is also featured on Martz'southward second symphony (2005), The Pillory/The Battle, performed by The Intercontinental Philharmonic Orchestra and Imperial Choir.

Death [edit]

Dubuffet died from emphysema in Paris on May 12, 1985.^[17]

Exhibitions [edit]

The Fondation Jean Dubuffet currently collects and exhibits his work.

The following is a chronological list of exhibits featuring Dubuffet, along with the number of his works displayed at each showroom.^[18]

• 1944: Galerie Rene Drouin, Paris
• 1946: Galerie Rene Drouin, Paris
• 1951: Pierre Matisse Gallery, New York 29 works
• 1955: Institute of Contemporary Arts, London 56 works
• 1957: Stadtisches Museum, Leverkusen 87 works
• 1958: Arthur Molar and Sons, London 31 works
• 1959: Pierre Matisse Gallery, New York 77 works
• 1960: Arthur Tooth and Sons, London 40 works
• 1960: Kestner-Gesellschaft, Hanover 88 works
• 1960: Musee des Arts Decoratifs, Paris 402 works
• 1960: Hanover Gallery, London 27 works
• 1962: Museum of Mod Art, New York 85 works
• 1962: Robert Fraser Gallery, London 60 works
• 1963: Galleria Marlborough, Rome 68 works
• 1964: Robert Fraser Gallery, London 18 works
• 1964: Palazzo Grassi, Venice 107 works
• 1964-5: Stedelijk Museum, Amsterdam 198 works
• 1964-5: Galerie Jeanne Bucher, Paris 18 works
• 1964-5: Galerie Claude Bernard, Paris 46 works
• 1965: Galerie Beyeler, Basel 88 works
• 1965: Gimpel Hanover Galerie, Zurich 34 works
• 1966: Establish of Contemporary Arts, London 76 works
• 1966: Robert Fraser Gallery, London thirteen works
• 2019: Jean Dubuffet: un barbare en Europe MuCEM, Marseille, France^[19]
• 2021: Jean Dubuffet: Barbarous Beauty, Barbican Art Gallery, London

Notable works [edit]

• La Chiffonnière
• Monument with Standing Beast (1984)
• Monument au Fantôme

Auction record [edit]

In June 2019, Christie's set up an auction tape when the artist's work Cérémonie (Anniversary) sold for $xi.1 million.^[xx]

In Apr 2021, Jean Dubuffet'due south La féconde journée (1976), was auctioned for £iii.six million in a gimmicky art auction in London.^[21]

Selected bibliography [edit]

Catalogue Raisonné [edit]

• Catalogue des travaux de Jean Dubuffet, Fascicule I-XXXVIII, Pauvert: Paris, 1965–1991
• Webel, Sophie, L'Œuvre gravé et les livres illustrés par Jean Dubuffet. Catalogue raisonné. Lebon: Paris 1991

Writings [edit]

• Jean Dubuffet, Prospectus et tous écrits suivants, Tome I, Ii, Paris 1967; Tome 3, Four, Gallimard: Paris 1995
• Jean Dubuffet, Asphyxiating Culture and other Writings. New York: Iv Walls 8 Windows, 1986
  ISBN 0-941423-09-3

Chief studies [edit]

• George Limbour, L'Fine art brut de Jean Dubuffet (Tableau bon levain à vous de cuire la pâte), Paris, Éditions Galerie René Drouin, 1953.
• Michel Ragon, Dubuffet, New York: Grove Press, 1959 (Translated from French by Haakon Chevalier.)
  OCLC 1310555
• Peter Selz, The Work of Jean Dubuffet, New York: The Museum of Modern Art, 1962
• Max Loreau, Jean Dubuffet, délits déportements lieux de haut jeu, Paris: Weber, 1971
• Andreas Franzke, Jean Dubuffet, Basel: Beyeler, 1976 (Translated from German by Joachim Neugröschel.)
  OCLC 3669520
• Andreas Franzke, Jean Dubuffet, New York: Harry North. Abrams, Inc. 1981 (Translated from German by Erich Wolf.)
  ISBN 0-81090-815-8
• Michel Thévoz, Jean Dubuffet, Geneva: Albert Skira, 1986
• Mildred Glimcher, Jean Dubuffet: Towards an Culling Reality. New York: Step Gallery 1987
  ISBN 0-89659-782-2
• Mechthild Haas, Jean Dubuffet, Berlin: Reimer, 1997 (German)
  ISBN three-49601-176-ix
• Jean Dubuffet, Paris: Centre Georges Pompidou, 2001
  ISBN 2-84426-093-4
• Laurent Danchin, Jean Dubuffet, New York: Vilo International, 2001
  ISBN 2-87939-240-iii
• Jean Dubuffet: Trace of an Run a risk, ed. by Agnes Husslein-Arco, Munich: Prestel, 2003
  ISBN 3-7913-2998-7
• Michael Krajewski, Jean Dubuffet. Studien zu seinem Fruehwerk und zur Vorgeschichte des Art brut, Osnabrueck: Der andere Verlag, 2004
  ISBN iii-89959-168-2
• Marianne Jakobi, Julien Dieudonné, Dubuffet, Paris, Perrin, 2007, ISBN 978-2-262-02089-7.

Notes [edit]

1. ^ ^{a b} "Entre Dubuffet et Chaissac, united nations lien passionnel". Le Monde.fr. 22 July 2013 – via Le Monde.
2. ^ Colin-Picon, Grand., Georges Limbour: le songe autobiographique, Lachenal & Ritter, Paris, 1994. (Collection of letters between Limbour and Dubuffet, with biographical material.)
3. ^ (fr)Journal de fifty'année, 1986
4. ^ ^{a b c d e} Selz, Peter. The Work of Jean Dubuffet, with Texts past the Artist. New York: New York Museum of Modern Art, 1962. Print.
5. ^ Kenneth Goldsmith, Duchamp Is My Lawyer: The Polemics, Pragmatics, and Poetics of UbuWeb, Columbia University Press, New York, pp. 238-240
6. ^ Colin-Picon, op. cit.
7. ^ ^{a b c d} D'Souza, Aruna. "I Think Your Work Looks A Lot Like Dubuffet: Dubuffet and America, 1946-1962". Oxford Art Journal xx.2 (1997): 61.
8. ^ D'Souza, Aruna. I Retrieve Your Work Looks A Lot Similar Dubuffet: Dubuffet and America, 1946-1962. Oxford Art Journal twenty.two (1997): 63.
9. ^ ^{a b} Minturn, Kent. "Dubuffet, Levi-Strauss, and the Idea of Art Brut". Anthropology and Aesthetics 46 (2004): 247-258.
10. ^ Minturn, Kent. "Dubuffet, Levi-Strauss, and the Idea of Fine art Brut". Anthropology and Aesthetics 46 (2004): 248.
11. ^ Selz, Peter. The Work of Jean Dubuffet, with Texts by the Artist. New York: New York Museum of Modern Art, 1962. Impress. P. 19
12. ^ Kramer, Hilton (May 1962). "Playing the Primitive". The Reporter. p. 43.
13. ^ California. Academy, Irvine. Fine art Gallery. Five Europeans: Bacon, Balthus, Dubuffet, Giacometti. Irvine: The Gallery, 1966. Impress.
14. ^ Arts Quango of Corking Britain. Jean Dubuffet Drawings. London: Arts Council, 1966. Print.
15. ^ classified as Monument historique by the French Base Mérimée: Notice of La Tour aux Figures, Ministère français de la Culture. (in French)
16. ^ Base Mérimée: Discover of Closerie et Villa Falbala, Ministère français de la Culture. (in French)
17. ^ Russell, John (fifteen May 1985). "Jean Dubuffet, Painter and Sculptor, Is Expressionless". The New York Times. ISSN 0362-4331. Retrieved 21 March 2019.
18. ^ Dubuffet, Jean 1901-1985. Jean Dubuffet Paintings. London: Arts Council, 1966. Print.
19. ^ Jean Dubuffet: United nations barbare en Europe. Marseille: Mucem. Accessed November 2019.
20. ^ "Dubuffet piece of work from 1961 makes top price in London". Christie's. 25 June 2019.
21. ^ "Phillips'due south Spring Contemporary Art Evening Sale in London Generated a Solid £24.8 One thousand thousand, Up Most a 5th From Last Year | Artnet News". news.artnet.com. 15 April 2021. Retrieved 17 April 2021.

• Music By Dubuffet
• PAF Jean Dubuffet
• The Collection de 50'Fine art Brut in Lausanne

External links [edit]

• Fondation Dubuffet
• Jean Dubuffet at the Museum of Mod Art
• Dubuffet at the Tate Gallery
• Jean Dubuffet in American public collections, on the French Sculpture Demography website

cornwallcoulte1989.blogspot.com

Source: https://en.wikipedia.org/wiki/Jean_Dubuffet

Share this post