745 works online

Jean Dubuffet’s work is marked by a rebellious attitude toward prevailing notions of high culture, beauty, and good taste. He began making art in earnest at age 41, after a stint in the army and a successful career as a wine merchant. The next four decades were tremendously prolific: he wrote poetry and theoretical texts, played jazz, experimented widely with art-making materials and techniques, and worked in many mediums, including painting, drawing, printmaking, large-scale outdoor sculpture, and what he called “animated painting”—works bridging painting, sculpture, dance, and theater, and featuring live performers.

Though he was an academically trained painter from a bourgeois family, Dubuffet maintained what he called in a 1951 lecture an “anticultural position.”1 He advocated for “instinct, passion, mood, violence, madness”2 rather than analysis and reason, as well as closer proximity to nature and natural forms and the discarding of traditional notions of beauty. “Look at what lies at your feet!” he once said. “A crack in the ground, sparkling gravel, a tuft of grass, some crushed debris offer equally worthy subjects for your applause and admiration.”3 Such values were embodied in what Dubuffet termed art brut (or “raw art”), produced on the margins by children, outsider and folk artists, and the mentally ill. His own collection of this work, formed in part with the help of the Surrealist Andre Breton and writer Jean Paulhan, was donated to the city of Lausanne, Switzerland, in 1971.

In the studio, Dubuffet was a relentless innovator, experimenting with unorthodox tools and materials by mixing gravel into his paints; making impressions from foliage, orange peels, and tapioca; or covering canvases with tin foil, as in Soul of the Underground. He worked fluidly between mediums, with his trials in painting informing his radical work in the print shop, where he attacked lithographic stones with sandpaper, flaming rags, and chemicals. He carefully inked webs onto paper and then translated them into allover horizon-less compositions on canvas, creating views that suggest both the microscopic and the celestial. His printmaking reached its zenith with Phenomena, a group of 362 lithographs parsed into 24 albums, which evoke myriad natural states, textures, and surfaces.

Introduction by Sarah Suzuki, Curator, Department of Drawings and Prints, 2016

  1. Jean Dubuffet, “Anticultural Positions” (lecture, The Arts Club of Chicago, 1951), reprinted in J. Dubuffet (New York: World House Gallery, 1960), 192.

  2. Jean Dubuffet, “Anticultural Positions” (lecture, The Arts Club of Chicago, 1951), reprinted in J. Dubuffet (New York: World House Gallery, 1960), 192.

  3. Jean Dubuffet, "Empreintes," in Theories of Modern Art: A Source Book by Artists and Critics, ed. Herschel B. Chipp (Berkeley and Los Angeles: University of California Press, 1968), 611.

Wikipedia entry
Introduction
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 perhaps best known for founding the art movement art brut, and for the collection of works—Collection de l'art brut—that this movement spawned. Dubuffet enjoyed a prolific art career, both in France and in America, and was featured in many exhibitions throughout his lifetime.
Wikidata
Q170076
View or edit the full Wikipedia entry
Information from Wikipedia, made available under the Creative Commons Attribution-ShareAlike License
Getty record
Introduction
Dubuffet began his career as a wine merchant, and did not devote himself completely to painting until the age of 41. He valued, collected, and emulated 'art brut,' a term he coined to describe work that is non-conformist, unprocessed, spontaneous, and insulated from all social and cultural influences. He was prolific and moved through figurative and abstract phases, arriving in 1962 at an invented style that he called Hourloupe, based on graphic black-lined cells painted in a restricted palette of mostly red, blue, and white. These were first paintings and drawings, but soon became sculptural, at times becoming monumental or environmental.
Nationality
French
Gender
Male
Roles
Artist, Writer, Musician, Collector, Genre Artist, Painter, Sculptor
Names
Jean Dubuffet, Jean-Philippe-Arthur Dubuffet, Jandu Bufe, Louis-Léon Forget
Ulan
500019113
View the full Getty record
Information from Getty’s Union List of Artist Names ® (ULAN), made available under the ODC Attribution License
Licensing

If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations).

MoMA licenses archival audio and select out of copyright film clips from our film collection. At this time, MoMA produced video cannot be licensed by MoMA/Scala. All requests to license archival audio or out of copyright film clips should be addressed to Scala Archives at [email protected]. Motion picture film stills cannot be licensed by MoMA/Scala. For access to motion picture film stills for research purposes, please contact the Film Study Center at [email protected]. For more information about film loans and our Circulating Film and Video Library, please visit https://www.moma.org/research-and-learning/circulating-film.

If you would like to reproduce text from a MoMA publication, please email [email protected]. If you would like to publish text from MoMA’s archival materials, please fill out this permission form and send to [email protected].

Feedback

This record is a work in progress. If you have additional information or spotted an error, please send feedback to [email protected].