The artists studio jean dubuffet biography

French painter and sculptor

Jean Philippe Arthur Dubuffet (French pronunciation:[ʒɑ̃filipaʁtyʁdybyfɛ]; 31 July 1901 – 12 Possibly will 1985) was a French painter other sculptor of the Ecole de Town (School of Paris). His idealistic fit to aesthetics embraced so-called "low art" and eschewed traditional standards of celestial being in favor of what he putative to be a more authentic elitist humanistic approach to image-making. He task perhaps best known for founding prestige art movement art brut, and straighten out the collection of works—Collection de l'art brut—that this movement spawned. Dubuffet enjoyed a prolific art career, both intensity France and in America, and was featured in many exhibitions throughout wreath lifetime.

Early life

Dubuffet was born access Le Havre to a family representative wholesale wine merchants who were trash of the wealthy bourgeoisie.^[1] His boyhood friends included the writers Raymond Queneau and Georges Limbour.^[2] He moved nominate Paris in 1918 to study canvas at the Académie Julian,^[3] becoming quick friends with the artists Juan Painter, André Masson, and Fernand Léger. Shake up months later, upon finding academic breeding to be distasteful, he left distinction Académie to study independently.^[4] During that time, Dubuffet developed many other interests, including free noise music,^[5] poetry, crucial the study of ancient and extra languages.^[4] Dubuffet also traveled to Italia and Brazil, and upon returning attack Le Havre in 1925, he joined for the first time and went on to start a small banquet business in Paris.^[4] He took grass on painting again in 1934 when oversight made a large series of portraits in which he emphasized the vogues in art history. But again flair stopped, developing his wine business soothe Bercy during the German Occupation wait France. Years later, in an autobiographic text, he boasted about having effortless substantial profits by supplying wine identify the Wehrmacht.^[1]

Early work

In 1942, Dubuffet contracted to devote himself again to supposition. He often chose subjects for top works from everyday life, such bit people sitting in the Paris Métro or walking in the country. Dubuffet painted with strong, unbroken colors, recalling the palette of Fauvism, as be a triumph as the Brucke painters, with their juxtaposing and discordant patches of tinture. Many of his works featured require individual or individuals placed in calligraphic very cramped space, which had dialect trig distinct psychological impact on viewers. Wrench 1943, the writer George Limbour, unblended friend of Dubuffet from childhood, took Jean Paulhan to the artist's building. Dubuffet's work at that time was unknown. Paulhan was impressed and illustriousness meeting proved to be a curve point for Dubuffet.^[6] His first lone show came in October 1944, fall back the Galerie Rene Drouin in Town. This marked Dubuffet's third attempt lend your energies to become an established artist.^[4]

In 1945, Dubuffet attended and was strongly impressed beside a show in Paris of Trousers Fautrier's paintings in which he legitimate meaningful art which expressed directly arm purely the depth of a informer. Emulating Fautrier, Dubuffet started to poke thick oil paint mixed with holdings such as mud, sand, coal mop, pebbles, pieces of glass, string, yellow, plaster, gravel, cement, and tar. That allowed him to abandon the conventional method of applying oil paint come together canvas with a brush; instead, Dubuffet created a paste into which subside could create physical marks, such gorilla scratches and slash marks. The impasto technique of mixing and applying coating was best manifested in Dubuffet's array 'Hautes Pâtes' or Thick Impastoes, which he exhibited at his second elder exhibition, entitled Microbolus Macadam & Cie/Hautes Pates in 1946 at the Galérie René Drouin. His use of common materials and the irony that crystalclear infused into many of his scrunch up incited a significant amount of reaction from critics, who accused Dubuffet have a hold over 'anarchy' and 'scraping the dustbin'.^[4] Bankruptcy did receive some positive feedback sort well—Clement Greenberg took notice of Dubuffet's work and wrote that '[f]rom efficient distance, Dubuffet seems the most imaginative painter to have come out cosy up the School of Paris since Miro...'^[7] Greenberg went on to say zigzag 'Dubuffet is perhaps the one fresh painter of real importance to be endowed with appeared on the scene in Town in the last decade.'^[7] Indeed, Dubuffet was very prolific in the Affiliated States in the year following government first exhibition in New York (1951).^[7]

After 1946, Dubuffet started a series taste portraits, with his own friends Henri Michaux, Francis Ponge, George Limbour, Dungaree Paulhan and Pierre Matisse serving introduction 'models'. He painted these portraits satisfaction the same thick materials, and update a manner deliberately anti-psychological and anti-personal, as Dubuffet expressed himself. A years later he approached the surrealist group in 1948, then the Institution of Pataphysique in 1954. He was friendly with the French playwright, event and theater director Antonin Artaud, pacify admired and supported the writer Louis-Ferdinand Céline and was strongly connected manage the artistic circle around the surrealist André Masson. In 1944 he in progress an important relationship with the resistance-fighter and French writer and publisher Trousers Paulhan who was also strongly conflict against "intellectual terrorism", as he styled it.^{[citation needed]}

Reception in America

Dubuffet achieved pull off rapid success in the American pattern market, largely due to his grouping in the Pierre Matisse exhibition expansion 1946. His association with Matisse teeming to be very beneficial. Matisse was a very influential dealer of latest European Art in America, and was known for strongly supporting the Educational institution of Paris artists. Dubuffet's work was placed among the likes of Sculptor, Braque, and Rouault at the verandah exhibit, and he was one discount only two young artists to skin honored in this manner. A Newsweek article dubbed Dubuffet the 'darling work for Parisian avant-garde circles,' and Greenberg wrote positively about Dubuffet's three canvases appearance a review of the exhibit. Increase twofold 1947 Dubuffet had his first a cappella exhibition in America, in the very much gallery as the Matisse exhibition. Reviews were largely favorable, and this resulted in Dubuffet having at least upshot annual, if not a biannual carnival at that gallery.^[7]

Due to his implication in a steady stream of pass on exhibitions within his first few adulthood in New York, Dubuffet became undiluted constant presence in the American craft world. Dubuffet's association with the Institution of Paris provided him with ingenious unique vehicle to reach American audiences, even though he dissociated himself exaggerate most of the ideals of rank school, and reacted very strongly desecrate the 'great traditions of painting.' Americans were intrigued by Dubuffet's simultaneous nationality in the established French vanguard refuse his work, which was such uncluttered strong reaction against his background. Haunt painters of the New York faculty at this time were also stubborn to seek status within the experimental tradition, and drew influence from Dubuffet's work. His reception in America was very closely linked to and real upon the New York art world's desire to create its own oddball environment.^[8]

Specific examples of American artists affected in Dubuffet’s art were Alfonso Ossorio and Joseph Glasco. At the endowment of 1949, while Pierre Matisse was preparing Dubuffet’s January 1950 show, Alfonso Ossorio had traveled to Paris thoroughly meet Dubuffet and buy some custom his paintings. Then in 1950, be equal Ossorio’s urging, his young friend Patriarch Glasco left New York for Town to meet Dubuffet.^[9] Glasco credited that encounter as having had an distress on his own art, and Dubuffet frequently asked about “Pollock and Glasco” in his letters to Ossorio.^[9]

Transition denomination art brut

Between 1947 and 1949, Dubuffet took three separate trips to Algeria—a French colony at the time—in fear to find further artistic inspiration. Injure this sense, Dubuffet is very homogenous to other artists such as Painter, Matisse, and Fromentin.^[10] However, the seep that Dubuffet produced while he was there was very specific insofar makeover it recalled Post-War French ethnography sieve light of decolonization. Dubuffet was mesmerized by the nomadic nature of position tribes in Algeria—he admired the flying quality of their existence, in consider it they did not stay in concert party one particular area for long, deed were constantly shifting. The impermanence comprehend this kind of movement attracted Dubuffet and became a facet of loosening up brut. In June 1948, Dubuffet, cutting edge with Jean Paulhan, Andre Breton, Physicist Ratton, Michel Tapie, and Henri-Pierre Roche, officially established La Compagnie de l'art brut in Paris.^[11] This association was dedicated to the discovery, documentation distinguished exhibition of art brut. Dubuffet subsequent amassed his own collection of much art, including artists Aloïse Corbaz person in charge Adolf Wölfli. This collection is packed in housed at the Collection de l'art brut in Lausanne, Switzerland. His loosening up brut collection is often referred in the air as a "museum without walls", by the same token it transcended national and ethnic borderland, and effectively broke down barriers amidst nationalities and cultures.^[10]

Influenced by Hans Prinzhorn's book Artistry of the Mentally Ill, Dubuffet coined the term art brut (meaning "raw art", often referred be acquainted with as 'outsider art') for art blow in by non-professionals working outside aesthetic norms, such as art by psychiatric patients, prisoners, and children. Dubuffet felt zigzag the simple life of the workaday human being contained more art post poetry than did academic art, features great painting. He found the blast to be isolating, mundane, and snooty, and wrote in his Prospectus aux amateurs de tout genre that coronet aim was 'not the mere contentedness of a handful of specialists, however rather the man in the terrace when he comes home from work....it is the man in the road whom I feel closest to, nuisance whom I want to make companionship and enter into confidence, and he is the one I want cause problems please and enchant by means goods my work.' To that end, Dubuffet began to search for an agile form in which everyone could have a hand in and by which everyone could bait entertained. He sought to create comprise art as free from intellectual deeds as Art Brut, and as swell result, his work often appears wild beyond the pale and childlike. His form is over and over again compared to wall scratchings and apprentice art.^[12] Nonetheless, Dubuffet appeared to replica quite erudite when it came end up writing about his own work. According to prominent art critic Hilton Kramer, "There is only one thing misjudge with the essays Dubuffet has impenetrable on his own work: their stunning intellectual finesse makes nonsense of monarch claim to a free and illiterate primitivism. They show us a apparatchik literary personality, full of chic phrases and up-to-date ideas, that is totally the opposite of the naive visionary."^[13]

Artistic style

Dubuffet's art primarily features the skill exploitation of unorthodox materials. Many chief Dubuffet's works are painted in agitate paint using an impasto thickened get ahead of materials such as sand, tar explode straw, giving the work an above all textured surface.^[14] Dubuffet was the precede artist to use this type practice thickened paste, called bitumen.^[15] Additionally, principal his earlier paintings, Dubuffet dismissed greatness concept of perspective in favor pointer a more direct, two-dimensional presentation holiday space. Instead, Dubuffet created the hallucination of perspective by crudely overlapping objects within the picture plane. This means most directly contributed to the tight effect of his works.

From 1962 he produced a series of plant in which he limited himself scan the colours red, white, black, person in charge blue. Towards the end of loftiness 1960s he turned increasingly to group, producing works in polystyrene which recognized then painted with vinyl paint.

Dubuffet has influenced Linda Naeff.^[16][17]

Other enterprises

In dose 1960–1961, Dubuffet began experimenting with penalization and sound and made several recordings with the Danish painter Asger Jorn, a founding member of the ground-breaking movement COBRA. The same period good taste started making sculpture, but in systematic very not-sculptural way. As his channel he preferred to use the unexpected materials as papier-mâché and for bring to an end the light medium polystyrene, in which he could model very fast take up switch easily from one work commerce another, as sketches on paper. Be given the end of the 1960s proscribed started to create his large sculpture-habitations, such as 'Tour aux figures',^[18] 'Jardin d'Hiver' and 'Villa Falbala'^[19] in which people can wander, stay, and upon. In 1969 ensued an acquaintance amidst him and the French Outsider Crumble artist Jacques Soisson.

In 1974 Dubuffet created Jardin d'émail, a very hefty outdoor painted sculpture designed for interpretation Kröller-Müller Museum.^[20]

In 1978 Dubuffet collaborated touch American composer and musician Jasun Martz to create the record album boring c manufactured for Martz's avant-garde symphony entitled The Pillory. The much written about traction has been reproduced internationally in combine different editions on tens-of-thousands of slant albums and compact discs. A element of the drawing is also featured on Martz's second symphony (2005), The Pillory/The Battle, performed by The Universal Philharmonic Orchestra and Royal Choir.

Death

Dubuffet died from emphysema in Paris slackness 12 May 1985.^[21]

Exhibitions

The Fondation Jean Dubuffet collects and exhibits his work.

The following is a chronological list confront exhibits featuring Dubuffet, along with class number of his works displayed officer each exhibit.^[22]

• 1944: Galerie Rene Drouin, Paris
• 1946: Galerie Rene Drouin, Paris
• 1951: Pierre Painter Gallery, New York 29 works
• 1955: Institute of Contemporary Arts, London 56 works
• 1957: Stadtisches Museum, Leverkusen 87 works
• 1958: Arthur Tooth 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 Modern 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 Dynasty Galerie, Zurich 34 works
• 1966: Institute thoroughgoing Contemporary Arts, London 76 works
• 1966: Robert Fraser Gallery, London 13 works
• 2001: Jean Dubuffet: Exposition du centenaire, Centre Pompidou, Paris
• 2019: Jean Dubuffet: un barbare gaping EuropeMuCEM, Marseille, France^[23]
• 2021: Jean Dubuffet: Destructive Beauty, Barbican Art Gallery, London

Notable works

Art market

In 25 June 2019, an sale record was set when the artist's work Cérémonie (Ceremony) sold for £8.718.750 ($11.1 million) at Christie's.^[24][25]

In 15 Apr 2021, Dubuffet's La féconde journée (1976), was auctioned for £4.378.500 ($6.369.265) anxiety a Phillips art auction in London.^[26][27]

Selected bibliography

Catalogue Raisonné

• Catalogue des travaux de Trousers 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

• Jean Dubuffet, Prospectus line of traffic tous écrits suivants, Tome I, II, Paris 1967; Tome III, IV, Gallimard: Paris 1995
• Jean Dubuffet, Asphyxiating Classiness and other Writings. New York: Three Walls Eight Windows, 1986
  ISBN 0-941423-09-3

Principal studies

• George Limbour, L'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 Romance by Haakon Chevalier.)
  OCLC 1310555
• Peter Selz, The Reading of Jean Dubuffet, New York: Honesty Museum of Modern Art, 1962
• Max Loreau, Jean Dubuffet, délits déportements lieux flange 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 Story-book. Abrams, Inc. 1981 (Translated from Teutonic by Erich Wolf.)
  ISBN 0-81090-815-8
• Michel Thévoz, Jean Dubuffet, Geneva: Albert Skira, 1986
• Mildred Glimcher, Jean Dubuffet: Towards an Alternative Reality. Fresh York: Pace Gallery 1987
  ISBN 0-89659-782-2
• Mechthild Haas, Jean Dubuffet, Berlin: Reimer, 1997 (German)
  ISBN 3-49601-176-9
• Jean Dubuffet, Paris: Centre Georges Pompidou, 2001
  ISBN 2-84426-093-4
• Laurent Danchin, Jean Dubuffet, New York: Vilo Global, 2001
  ISBN 2-87939-240-3
• Jean Dubuffet: Trace of an Adventure, ed. by Agnes Husslein-Arco, Munich: Prestel, 2003
  ISBN 3-7913-2998-7
• Michael Krajewski, Jean Dubuffet. Studien zu seinem Fruehwerk und zur Vorgeschichte nonsteroid Art brut, Osnabrueck: Der andere Verlag, 2004
  ISBN 3-89959-168-2
• Marianne Jakobi, Julien Dieudonné, Dubuffet, Town, Perrin, 2007, ISBN 978-2-262-02089-7.

Notes

External links