Jean Dubuffet pendant son service militaire avec le singe de Jeanne Lége-1924

Double autoportrait -1936

Jean Dubuffet was born July 31, 1901, in Le

Havre, France. He attended art classes in his

youth and in 1918 moved to Paris to study at

the Académie Julian, which he left after six

months. During this time, Dubuffet met

Raoul Dufy, Max Jacob, Fernand Léger, and

Suzanne Valadon and became fascinated

with Hans Prinzhorn’s book on psychopathic

art. He traveled to Italy in 1923 and South

America in 1924. Then, Dubuffet gave up

painting for about ten years, working as an

industrial draftsman and later in the family

wine business. He committed himself to

becoming an artist in 1942. Dubuffet’s first

solo exhibition was held at the Galerie René

Drouin, Paris, in 1944.

A Widow - 1943The Metropolitan Museum of Art

New York

Métro, 1943

Paris 1943

The Little Kiss ((1943)

A View of Paris with Furtive Pedestrians - 1944The Metropolitan Museum of Art, New York

During the 1940s, the artist associated During the 1940s, the artist associated

with André Breton, Georges Limbour, with André Breton, Georges Limbour,

Jean Paulhan, and Charles Ratton.Jean Paulhan, and Charles Ratton. His His

style and subject matter in this period style and subject matter in this period

owed a debt to Paul Kleeowed a debt to Paul Klee. . From 1945, From 1945,

he collected Art Brut, spontaneous, he collected Art Brut, spontaneous,

direct works by untutored individuals, direct works by untutored individuals,

such as mental patientssuch as mental patients. . The Pierre The Pierre

Matisse Gallery gave him his first solo Matisse Gallery gave him his first solo

show in New York in 1947show in New York in 1947. . From 1951 From 1951

to 1952, Dubuffet lived in New Yorkto 1952, Dubuffet lived in New York. .

He then returned to Paris, where a He then returned to Paris, where a

retrospective of his work took place at retrospective of his work took place at

the Cercle Volney in 1954the Cercle Volney in 1954..Mangeurs d'oiseauxMangeurs d'oiseaux

Grand Jazz Band -New Orleans

1944Museum of Modern Art, New York

The Violinist from the Marionettes 1944The Museum of Modern Art, New York

Beach with Bathers1944

Childbirth Childbirth - - March 1944March 1944Museum of Modern Art, New YorkMuseum of Modern Art, New York

Snack for Two from the Snack for Two from the Mirobolus,Mirobolus,

19451945The Museum of Modern Art, New YorkThe Museum of Modern Art, New York

Woman Grinding Coffee - 1945

The Metropolitan Museum of Art, New York

Supervielle, Large Banner - 1945The Art Institute of Chicago

Limbour as a Crustacean, 1946

""There is no art without There is no art without

intoxicationintoxication. . But I mean mad But I mean mad

intoxicationintoxication! ! Let reason teeterLet reason teeter! !

DeliriumDelirium! ! The highest degree of The highest degree of

deliriumdelirium! ! Plunged in burning Plunged in burning

dementiadementia!!

Art is the most enrapturing orgy Art is the most enrapturing orgy

within man's reachwithin man's reach. .

                    Art must make you laugh a Art must make you laugh a

little and make you a little afraidlittle and make you a little afraid..

Anything as long as it doesn't Anything as long as it doesn't

borebore." --." --Jean DubuffetJean Dubuffet

Apartment Houses, Paris, 1946The Metropolitan Museum of Art, New York

Dhotel nuance d'abricot - 1947Private Collection

Joë Bousquet in Bed- 1947Joë Bousquet in Bed- 1947

MoMAMoMA

Smiling Face

1948

print, NEW YORK 1950print, NEW YORK 1950

Musical ExperiencesMusical Experiences

Fleshy Face with Chestnut Fleshy Face with Chestnut Hair Hair --19511951Guggenheim MuseumGuggenheim Museum

Butterfly-Wing Figure - 1953Butterfly wings and gouache on

paperboardHirshhorn Museum and Sculpture Garden,

Washington D.C.

Madame j'ordonne, 1954Madame j'ordonne, 1954

Bibi Trompette's GardenBibi Trompette's Garden - - 19551955Butterfly wings, gouache, and watercolor on wove paper Butterfly wings, gouache, and watercolor on wove paper

National Gallery of Art, Washington D.CNational Gallery of Art, Washington D.C

Cloudy Weather-1955Berkeley Art Museum

1956אהבה,

מוזיאון ישראל

Villa by the Road - 1957

National Galleries of Scotland, Edinburgh

His first museum retrospective occurred in 1957 at the Schloss His first museum retrospective occurred in 1957 at the Schloss Morsbroich, LeverkusenMorsbroich, Leverkusen..

Dubuffet exhibitions were subsequently held at theDubuffet exhibitions were subsequently held at the

Musée des Arts Décoratifs, Paris, in 1960–61;Musée des Arts Décoratifs, Paris, in 1960–61;

Museum of Modern Art, New York, Museum of Modern Art, New York,

Art Institute of Chicago in 1962;Art Institute of Chicago in 1962;

Palazzo Grassi, Venice, 1964; the Tate GalleryPalazzo Grassi, Venice, 1964; the Tate Gallery

Stedelijk Museum, Amsterdam, in 1966Stedelijk Museum, Amsterdam, in 1966

Solomon RSolomon R. . Guggenheim Museum, New York, in 1966–67Guggenheim Museum, New York, in 1966–67..

Collection of Dubuffet’s writings, Prospectus et tous écrits suivants, was Collection of Dubuffet’s writings, Prospectus et tous écrits suivants, was published in 1967, the same year he started his architectural structurespublished in 1967, the same year he started his architectural structures..

Landscape with Three Trees, 1959

Court les rues

"ארט ברוט מצוי בקוטב ההפוך למחנה הידע, זהו מחנה הטאבולה ראסה, הלוח

העבודות הן בבחינת קולו של החלק, ולא של התאורטיקן האיש הפשוט

פעולת היצירה נובעת המומחה. מתוכן בצורתה הטהורה ביותר והיא

מבטאת כושר המצאה בלתי מרוסן, אקסטזה של שיכרון, חירות מוחלטת".

)1959ז'אן דובופה (

Touring-Club

Spinning Round  1961

במהלך דרכו המיקצועית הארוכה

היה ז'ן דובופה חלוץ של עמדה

מתריסה ומרדנית כלפי האמנות

והתרבות.

הוא ביקש מגע ישיר עם כוחות

היצירה ומצא מקור השראה במה

) - Art Brutשהוא כינה 'אמנות ברוט' (

האמנות הלא-מעובדת , הלא-שפויה,

האמנות הלא-מערבית, ציורי ילדים

וגרפיטי. לשימוש שהוא עשה

בחומרים

לא-קונבנציונליים, שהביעה מרד נגד

ההגדרות המסורתיות של יופי,

הייתה השפעה על אמנים רבים

בני המאה העשרים.

Head

אחרי שהשלים את 'טקסטורולוגיות' 50ואת 'מטריולוגיות' בסוף שנות ה-

, חש דובופה 20של המאה ה-שמיצה את מחקר החומרים

ותופעות הטבע. 'המומצא הוא שמקסים אותי כיום;

אני רעב ללא-אמיתי, לחיים המזוייפים, לאנטי-מציאות'.

הוא החל את סדרת 'קרקס פריז' , סדרה 1961שלו בפברואר

שבישרה שינוי חשוב באמנותו.  פריז הייתה עכשיו המוקד שלו, פריז

דינמית ומסחררת, לא פריז האמיתית, אלא זו המומצאת, פריז

שהוא הפך לקרקס קלידוסקופי. 'אני רוצה שהרחוב שלי יהיה משוגע,

השדרות הרחבות, החנויות והבניינים, יצאו כולם במחול

מטורף', אמר האמן.

Paris Circus- 1962

Gare Montparnasse Porte des Lilas - 1961Tehran Museum of Contemporary Art, Iran

1962פוארו זנזיבר,

בפוארו זנזיבר, דובופה מצרף יחד צבעים נקיים ובוהקים, דמויות מתוחמות בקו מתאר עז וסיסמאות כתובות בכתב יד מצטרפים לכדי תמונה זוהרת. הדמויות המצוירות בקו עצבני הן בעת ובעונה אחת קומיות וגרוטסקיות. אפן הארוך מזכיר לנו את פינוקיו, הן כמו מגחכות אל

ייצר דובופה בובות, מסיכות ומריונטות למחייתו. הבובות 30הצופה, ומזכירות לנו שבשנות ה-ממוסגרות בתאים ולצידן כתובות דמויות גרפיטי, אשר תוכנן הוא גס או חסר משמעות, כמו

שם התמונה.

Baba Solstice - 1961Museum of Modern Art, New York

Actor in a Ruff, 1961Actor in a Ruff, 1961

Bearded headBearded head

Bird Perched on the Corner of the Wall

PostPost--War and Contemporary ArtWar and Contemporary Art

""Vache TachetéeVache Tachetée""

""Ancien CombattantAncien Combattant""L'asinoL'asino

Clairvoyant Beard

Autoportrait,1966

Schilderij La Main dans la Sac in het van Abbemuseum in Eindhoven

Hopes and Options  1971

Soon thereafter, he began numerous commissions for monumental outdoor sculptures. In 1971, he produced his first theater props, the

“practicables.” A Dubuffet retrospective was presented at the Akademie der Kunst, Berlin, the Museum Moderner Kunst, Vienna,

and the Joseph-Haubrichkunsthalle, Cologne, in 1980–81. In 1981, the Solomon R. Guggenheim Museum observed the artist’s 80th birthday

with an exhibition. Dubuffet died May 12, 1985, in Paris.

Guggenheim Collection - Dubuffet BiographyGuggenheim Collection - Dubuffet Biography

Cheveux de Sylvain

Pisser at the Wall

                                                             

"The Greek idea of the Seven Arts is very stupid. There are many more than seven arts. The Arabic people know how to throw their cloaks over their

shoulders in a certain way. When Europeans go over there, they see that, but they don't think it's an art because the Greeks didn't call cloak-throwing one

of the Seven Arts.

But the people who do it, they know it's an art. That's the reason I was interested in the work of people who knew nothing of the art

of museums or have decided to forget all they have seen in museums, to fight against it. The art in museums prevent people from creating. It's

intimidating to them."

Jean Dubuffet, National Observer, 16 June 1973

““Group of Four Trees” -Manhattan PlazaGroup of Four Trees” -Manhattan Plaza

Closerie Falbala, 1971-1973

Jean Dubuffet wanted his works to remain together, even after his death. The foundation was set up in his lifetime, in 1973, to introduce the public to all his work.

The artist's pieces have been divided between two sites. To the south of Paris, a private 19th-century mansion houses temporary exhibitions over three floors,

displaying various artistic periods.

The second site is a few miles from the capital, in Val-de-Marne. This houses the largest work of art ever created by Dubuffet, "La Closerie Falbala", classified as an

historic monument, representing a white garden ringed with black, containing a villa (where the artist liked to rest). Right next to this monumental creation, the artist's former studios have been converted into exhibition rooms. More than 1000 of his works are on show here, including paintings, sculptures, gouaches, architectural

models, etc. A journey into the mind of Dubuffet.

Jean Dubuffet the architect in the Archbishops’ Palace

1973

Jean Dubuffet dans "la closerie Falbala"

The artist's major work, the Closerie Falbala, was classed as an historic monument in 1998. It is situated close to the former sculpture

studios which now hold the artist's architectural models.

The Closerie Falbala is found in Périgny-sur-Yerres (a monumental sculpture with a surface area of 1610 m2), a simulacrum of a walled garden in the centre of which stands

the Villa Falbala built by Jean Dubuffet to shelter the Cabinet Logologique

Monument with Standing Beast, James R. Thompson Center 1984 Monument with Standing Beast, James R. Thompson Center 1984

Vicissitudes - 1977Tate Gallery, London

Dubuffet jean chaufferie avec cheminee 1970-1996

tour aux figures 1983-85

Dubuffet continuesDubuffet continues: : "...My work preceding this cycle creates sinuous graphics "...My work preceding this cycle creates sinuous graphics responding with immediacy to spontaneous and, so to speak, uncontrolled responding with immediacy to spontaneous and, so to speak, uncontrolled

impulses of my hand which traces them. These graphics start uncertain, fleeting, impulses of my hand which traces them. These graphics start uncertain, fleeting, ambiguous figures. Their movement unclenches in the spirit that finds itself in ambiguous figures. Their movement unclenches in the spirit that finds itself in

their presence a " suractivation " of the faculty of seeing in their tangles all sorts of their presence a " suractivation " of the faculty of seeing in their tangles all sorts of objects which make and unmake themselves as the eye moves, thus aligning objects which make and unmake themselves as the eye moves, thus aligning

intimately the transitory and the permanent, the real and the deceptive. It results in intimately the transitory and the permanent, the real and the deceptive. It results in (...) a grasp of conscience of the illusionary character of the world we believe to be (...) a grasp of conscience of the illusionary character of the world we believe to be

real, to which we call the real world. These graphics with constantly ambiguous real, to which we call the real world. These graphics with constantly ambiguous references have the virtue (...) to put into question the foundation of that which we references have the virtue (...) to put into question the foundation of that which we have traditionally looked at as reality and that is only in truth an option collectively have traditionally looked at as reality and that is only in truth an option collectively adopted to interprate the world which surrounds us amongst an infinate number of adopted to interprate the world which surrounds us amongst an infinate number of

other options, others that would be neither more or less legitimate..."other options, others that would be neither more or less legitimate..."

Jardin d'émail

Sculptures by Jean Dubuffet in Hakone Open Air Museum/Japan

מקורות:

http://www.dubuffetfondation.com/oeuvre_set_ang.htm

http://www.dubuffetfondation.com/bio_set_ang.htm

http://oseculoprodigioso/dubuffet-jean-arte-pop-arte

http://www.discover-eu.com/jean-dubuffet-

http://en.wikipedia.org/wiki/Jean_Dubuffet

http://fr.wikipedia.org/wiki/Jean_Dubuffet

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