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Jean DubuffetJean Dubuffet Lithograph Art Brut "I. Traces grotesques"1958
1958
$4,800
£3,686.19
€4,224.33
CA$6,757.21
A$7,569.57
CHF 3,944.44
MX$92,333.17
NOK 50,124.76
SEK 47,264.07
DKK 31,529.26
About the Item
SALE ONE WEEK ONLY
"I. Traces grotesques" is an Artist’s Proof Lithograph. “Proofs” are either pulled or printed, and the artist has the option to work out the color and quality issues as they come out of the process. The only real difference between the two is the restricted quantity of prints bearing the AP designation and not the quality of the print. This lithograph is signed and titled by the artist, Jean Dubuffet, which indicates his complete satisfaction with the print. It is from 1958 and a perfect example of his style, “Art Brut.” His idealistic approach to aesthetics embraced what is called “low art”, art by non-academically trained artists. It is sometimes referred to as “outsider art.”
He did study briefly at the Academie Julian, Paris, but eventually followed his own aesthetics which eschewed traditional standard of beauty in favor of what he believed to be a more authentic and humanistic approach to image-making. This lithograph expresses the beauty he found in the meandering spontaneous black line.
Jean Dubuffet began painting at the age of seventeen and studied briefly at the Academie Julian, Paris. He painted off and on for the next 20 years. It was not until 1942 in the midst of WWII in France that he began the work which has distinguished him as an outstanding innovator in postwar Europe. It is said of his work that “he looked to the margins of the everyday – the art of prisoners, psychics, the uneducated, and the institutionalized – to liberate his own creativity and coining the term ‘Art Brut’.” Art Brut is a French term that translates as ‘raw art’, to describe art such as graffiti or naïve art which is made outside the academic tradition of fine art. His paintings from the early forties in brightly colored oils were soon followed by works in which he employed such unorthodox materials as cement, plaster, tar and asphalt-scraped, craved and cut and drawn upon with a rudimentary, spontaneous line.
Dubuffet worked in France and exhibited from the early forties on. He was included in the 1946 Pierre Matisse exhibition in New York along with Picasse, Braque, and Rouault and this association with the School of Paris artists proved very beneficial for him in the American art market. This attention brought him a steady stream of exhibitions with his first few years in New York and Dubuffet became a constant presence in the American art world even though he dissociated himself from most of the ideals of the School of Paris artists and “reacted very strongly against the great traditions of painting.”
Americans were intrigued by Dubuffet’s simultaneous roots in the established French vanguard and his work, which was a strong reaction against his Parisian art background. Many painters of the New York school at this time were also trying to seek status with the avant-garde tradition, and drew influence from Dubuffet’s work. His reception in American was closely linked to and dependent upon the New York art world’s desire to create its own avant-garde environment. One can see the cross-referencing between say Jackson Pollock and Dubuffet in their meandering black line works.
Jean Dubuffet experimented with art materials throughout his career and during the 1960s he collaborated with musical composers. He has been collected by corporate and private collections and galleries and museums around the world.
Marked: l' preuve d'artiste - lower left (artist's proof) - therefore, unnumbered Litho
Signed and titled by the artist
Unframed piece measures 25" h x 17.5" w
- Creator:Jean Dubuffet (1901-1985, French)
- Creation Year:1958
- Dimensions:Height: 30.75 in (78.11 cm)Width: 24.75 in (62.87 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Detroit, MI
- Reference Number:1stDibs: LU128619240982
Jean Dubuffet
Jean Dubuffet was a seminal French artist known for his prints as well as his primal figures and sculptures of vernacular subjects.
Dubuffet’s adoption of the term Art Brut or raw art, referred to the art of children, prisoners, and the mentally ill, was a reaction to what he called “art culturel” or refined art. It was his desire to break from tradition by implementing rudimentary mark-making and emulsions made from sand, tar, and trash, as seen in his work Grand Maitre of the Outsider (1946).
“A work of art is only of interest, in my opinion, when it is an immediate and direct projection of what is happening in the depth of a person's being,” the artist said. “It is my belief that only in this Art Brut can we find the natural and normal processes of artistic creation in their pure and elementary state.”
Born on July 31, 1901, in Le Havre, France, Dubuffet went on to study at the Académie Julian in Paris. While at school his peers included Raoul Dufy, Suzanne Valadon, and Fernand Léger. In 1918, after attending classes for only six months Dubuffet dropped out. Taking over his father’s wine business in 1924, he didn’t return to making art until the early 1940s. The artist would go on to form the Compagnie de l’Art Brut with André Breton and Slavko Kopač.
Dubuffet died on May 12, 1985, in Paris, France, at the age of 83. Today, his works are held in the collections of the Art Institute of Chicago, the Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., and the Centre Georges Pompidou in Paris.
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(Biography provided by Lot 180)
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