Beschreibung:

Figure, c. 1946–47. Unsigned. Sandstone. H. 44 cm. W. 23 cm. D. 9 cm. Definition of Art Brut by Jean Dubuffet “By this [Art Brut] we mean pieces of work executed by people untouched by artistic culture, in which therefore mimicry, contrary to what happens in intellectuals, plays little or no part, so that their authors draw everything (subjects, choice of materials employed, means of transposition, rhythms, ways of writing, etc.) from their own depths and not from clichés of classical art or art that is fashionable. Here we are witnessing an artistic operation that is completely pure, raw, reinvented in all its phases by its author, based solely on his own impulses. Art, therefore, in which is manifested the sole function of invention, and not those, constantly seen in cultural art, of the chameleon and the monkey.” Excerpted from Jean Dubuffet L’art brut préféré aux arts culturels, Galerie René Drouin, Paris, 1949. Literature: Anna Pravdová: “Jan Krizek: ”Chez moi, l'homme ne doit jamais disparaître“, Galerie nationale de Prague & FRAC Limousin, 2015, ill. pp. 62 on photograph from the opening exhibition at Foyer de l'art brut, Paris, 1947 and pl. 101 p. 69 on photograph from the exhibition ”Jan Krizek, sculpteur" at Foyer de l'art brut, Paris, 1948. Exhibited: Opening exhibition (collective), Foyer de l'art brut, Galerie Drouin, Place Vendôme, Paris, 1947. Exhibited: “Jan Krizek, sculpteur”, Foyer de l'art brut, Paris, 1948. Provenance: Private collection, France. Acquired directly from the artist. Jan Krizek was born in a village near Prague (Czechoslovakia). His studies at the Fine Arts Academy of Prague were rapidly ended by the start of WW II. The young man began exploring a number of realms on a self-taught basis, ranging from religious art to molecular physics, and including architecture and anatomy. He also took to sculpting, though meeting with no success. He emigrated to Paris in 1948 and began anew doing sculptures. Lacking funds, he used demolition stones collected from building sites. He was interested in archaic art — in Sumerian, Greek, pre-Columbian and Roman statuary — which he deemed to be examples of artistic accomplishment. Having come across his sculptures, Jean Dubuffet set up an exhibition for him in the basement of the Galerie Drouin in 1948. The Surrealist circles of the day, as well as André Breton with whom there was a short exchange of letters, took notice of his work. He continued his research by way of drawing and painting, using ink, gouache and lead pencil, given the lack of room for sculpture. In fleeting lines, he depicted figures — often feminine — and faces. Denounced as to his irregular status in France, he was forced to flee Paris with his wife. This turn of events seemingly brought his sculptural activity to an end: he destroyed several sculptures upon his departure, but did continue to draw studies for various potential three-dimensional pieces. He settled in Auvergne, then in Provence, finding temporary employment in a ceramics factory. The couple went on to settle in Corrèze, where Jan Krizek himself built their little house in the town of Goulles and made a living as a beekeeper. This lot is subject to Artist's Royalty . Artist’s Royalty In accordance with Danish copyright law, an additional royalty fee is to be paid for the purchase of works by contemporary Danish artist and some international artists who are either still alive or who have been dead for less than 70 years. × Read more
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