What Is an Explanation for Pop Art That Jean Dubuffett Did

"Personally, I believe very much in values of savagery; I mean: instinct, passion, mood, violence, madness."

1 of five

"Look at what lies at your anxiety! .. A crack in the ground, sparkling gravel, a tuft of grass, some crushed debris, offer equally worthy subjects for your applause and admiration."

2 of v

"For me, insanity is super sanity. The normal is psychotic. Normal ways lack of imagination, lack of inventiveness."

3 of 5

"Unless i says good day to what one loves, and unless i travels to completely new territories, one tin wait merely a long wearing away of oneself and an eventual extinction."

4 of five

"In the proper name of what - except maybe the coefficient of rarity - does homo adorn himself with necklaces of shells and non spider'south webs, with play a joke on fur and not play tricks innards? In the proper name of what I don't know. Don't dirt, trash and filth, which are man's companions during his whole lifetime, deserve to be dearer to him and isn't it serving him well to remind him of their dazzler?"

5 of 5

Summary of Jean Dubuffet

Jean Dubuffet disliked authority from a very early age. He left home at 17, failed to consummate his art instruction, and wavered for many years betwixt painting and working in his father's wine business. He would later be a successful propagandist, gaining notoriety for his attacks on conformism and mainstream culture, which he described as "asphyxiating." He was attracted to the art of children and the mentally sick, and did much to promote their piece of work, collecting it and promulgating the notion of Art Brut. His early on piece of work was influenced by that of outsiders, but information technology was also shaped past the interests in materiality that preoccupied many post-state of war French artists associated with the Fine art Informel movement. In the early 1960s, he adult a radically new, graphic style, which he called "Hourloupe," and would deploy information technology on many important public commissions, but he remains best known for the thick textured and gritty surfaces of his pictures from the 1940s and '50s.

Accomplishments

Dubuffet was launched to success with a serial of exhibitions that opposed the prevailing mood of mail-war Paris and consequently sparked enormous scandal. While the public looked for a redemptive fine art and a restoration of quondam values, Dubuffet confronted them with childlike images that satirized the conventional genres of high art. And while the public looked for beauty, he gave them pictures with coarse textures and drab colors, which critics likened to dirt and excrement.
The accent on texture and materiality in Dubuffet's paintings might be read as an insistence on the real. In the aftermath of the war, information technology represented an appeal to acknowledge humanity'due south failings and brainstorm once again from the ground - literally the soil - up.
Dubuffet's Hourloupe style adult from a take chances putter while he was on the telephone. The basis of it was a tangle of clean black lines that forms cells, which are sometimes filled with unmixed color. He believed the style evoked the manner in which objects appear in the heed. This dissimilarity between physical and mental representation afterward encouraged him to apply the approach to create sculpture.

Biography of Jean Dubuffet

Jean Dubuffet was born on July 31, 1901, in Le Havre, France, into a eye-form family that distributed vino. Although he was well-educated, he came to reject his studies, preferring to educate himself by reading the work of Dr. Hans Prinzhorn, who drew comparisons between the art of asylum inmates and the artwork of children. Based on these observations, Prinzhorn stated that it was savagery, or base of operations animal instinct, that lead to universal harmony, arguing that it was the central instinct, not intellectual theory or assay, that continued all living things. This concept had a strong influence on Dubuffet'south later career.

Important Art by Jean Dubuffet

Progression of Art

1946

Flat Houses, Paris

The painting Flat Houses, Paris focuses on urban life. The buildings are tilted, playfully defying architectural integrity. The flattening of the space between the sky, buildings, and civilians seems spontaneous and unprocessed - childlike. Hither Dubuffet satirizes conventional, sentimental images of Paris, suggesting instead that the jollity of the city's inhabitants is forced and false.

Oil with sand and charcoal on sheet - Private Collection

1947

G Maitre of the Outsider

This moving picture is typical of the Hautes Pates series that Dubuffet exhibited to huge controversy in 1946. A thick, monochromatic surface serves every bit the ground for the crudely depicted figure, which is a parody of portraiture. Although Dubuffet undoubtedly intended the series to offend and his graphic manner and thick, coarse impasto certainly did offend conventional tastes, it is worth noting that the colour palette is not every bit jarring as it might be. Dubuffet was at least charily mindful of the need for success.

Oil and emulsion on canvas - Private Collection

1954

The Cow With The Subtle Nose

Dubuffet's heady experience in the country and rejection of art pedagogy is evident in this painting. The heavily textured surface depicts a cow, rendered in the childlike innocence of patients held in psychological facilities. The uninhibited, savage arroyo to the canvas exemplifies the concepts of what Dubuffet termed Art Brut - the image seems entirely unschooled in the traditions of landscape. The paradigm is thus at odds with the notions of "high art," and approaches fine art making from the direction of artistic purity uninfluenced by cultural advancement. Going a step further, Dubuffet suggests how "cultural" and "savage" approaches to art together work to reaffirm civilisation as a whole.

Oil and enamel on canvas - The Museum Of Modern Art, New York

1959

Soul of the Secret

Soul of the Underground exemplifies Dubuffet's fascination with texture and his departure from representational painting. Inspired past the surface quality of Jean Fautrier's paintings, Dubuffet's use of aluminum foil and oil paint creates a coarse, uneven surface resembling mineral deposits. Here Dubuffet completely abandons pictorial representation in club to evoke sheer thing and sheer unprocessed material. Information technology is part of a series of Texturologies that he worked on throughout the 1950s as he became more interested in evoking different sorts of texture.

Afterwards the horrible destruction of World War II, mud and dirt is what remained in plentitude. Rather than proclaiming that civilization had ceased, Dubuffet wanted to apply the rubble to build anew and to purify for the futurity. In addition, the dirt is thought of as a material that has a natural construction that can exist discovered, explored, and put to new uses.

Oil and aluminum foil on composition board - The Museum Of Modern Art, New York

1966

L'Hourloupe

Dubuffet'due south L'Hourloupe series began in 1962 and would preoccupy the artist for many decades. The inspiration came from a doodle he created while on the telephone, in which the fluid movement of line combines with limited fields of color to create movement. He believed the style evoked the manner in which objects announced in the mind. This contrast betwixt physical and mental representation later encouraged him to use the approach to create sculpture.

Ink on paper - Galerie Jeanne Bucher, Paris

1984

Monument with Standing Beast

Monument with Standing Animal is another sculpture based on Dubuffet'south Hourloupe series. The piece is one of his 3 awe-inspiring sculptures based in the Us. The sculpture is an abstruse representation of a tree, a standing animal, and an architectural structure. The work evokes graffiti and cartoons, though it too plays on the contrast between mental images and real objects. The company is invited to wander and contemplate within the blackness and white walls of the sculpture.

Fiberglass - James R. Thompson Heart, Chicago, IL

Like Art

Influences and Connections

Influences on Artist

Influenced past Creative person

Useful Resources on Jean Dubuffet

Books

websites

articles

video clips

Books

The books and articles beneath constitute a bibliography of the sources used in the writing of this page. These likewise suggest some attainable resources for farther research, specially ones that tin exist institute and purchased via the net.

biography

Jean Dubuffet: Works, Writings, Interviews

By Valerie Da Costa, Fabrice Hergott, Jean Dubuffet
The Work of Jean Dubuffet, with texts by the artist Our Choice

By Peter Selz, Jean Dubuffet
Jean Dubuffet: Towards an Alternative Reality

By Jean Dubuffet, Mildred Glimcher
Dubuffet Prints from the Museum of Modernistic Art

By the Museum of Modernistic Art, New York

written by artist

Asphyxiating Civilization and Other Writings Our Pick

By Jean Dubuffet, Ballad Volk
Jean Dubuffet: Writings on Sculpture

By Jean Dubuffet

paintings

Jean Dubuffet: A Retrospective

By Jean Dubuffet, Margit Rowell, Thomas M. Messer

Content compiled and written by Larissa Borteh

Edited and published by The Fine art Story Contributors

"Jean Dubuffet Creative person Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written past Larissa Borteh
Edited and published past The Art Story Contributors
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Start published on 01 Aug 2012. Updated and modified regularly
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Source: https://www.theartstory.org/artist/dubuffet-jean/