Jean Dubuffet (French, 1901-1985) Personnage (S 19) Signed with initials and dated 63 bottom left, red and blue pen on paper laid down on board. 8 1/4 x 5 1/4 in. (21 x 13.3cm) Provenance: Jean Planque Collection. Redfern Gallery, London, United Kingdom. Collection of Dr. Henry and Mrs. Fannie Levine, Philadelphia, Pennsylvania (acquired directly from the above). LITERATURE: Max Loreau, Catalogue des Travaux de Jean Dubuffet Fascicule XX, L'Hourloupe I, Paris: Fondation Jean Dubuffet 1995, no. 208. NOTE: We gratefully acknowledge the Fondation Dubuffet for their assistance in cataloguing this work. Though he was a formally trained painter, Jean Dubuffet maintained what he called in a 1951 lecture an "anti-cultural position." Echoing founding tenets of the CoBrA artists also present in the Levine collection, Dubuffet shirked institutional, academic approval in favor of art born of "instinct, passion, mood, violence, madness." Dubuffet sought to upend culturally assumed definitions of beauty and sophistication, and instead celebrated the natural, crude or accidental such as art created by children, outsider and folk artists, and the mentally ill. Dubuffet defined his inspiration as "art brut" (or "raw art"). The three drawings presented here from the Levine collection are evocative of the L'Hourloupe cycle, a series which defined the artist's work through the mid 1970s. The cycle is said to have been born of accidental, idle inspiration. While talking on the phone, the artist would freely sketch with blue and red pens. Striated forms, vaguely humanoid, within, around and overlapping one another emerged. The artist was then inspired to explore these visual themes on a grander, more intentional scale which evolved into his "l'Hourloupe" painting project. Dubuffet created the word "Hourloupe" and explained that it was "a name invented because of how it sounds. In French, it suggests some fantasy or grotesque object or creature, as well as something rumbling and threatening with tragic overtones." (J. Dubuffet, a talk given in New York on 24 October 1972, quoted in D. Abadie, "La création du monde", exhibition catalogue, Jean Dubuffet Centre Pompidou, September-December 2001, p. 244). The present works, executed with ordinary inks and paper may very well be examples of the drawings that inspired this important series of paintings.
Jean Dubuffet (French, 1901-1985) Personnage (S 19) Signed with initials and dated 63 bottom left, red and blue pen on paper laid down on board. 8 1/4 x 5 1/4 in. (21 x 13.3cm) Provenance: Jean Planque Collection. Redfern Gallery, London, United Kingdom. Collection of Dr. Henry and Mrs. Fannie Levine, Philadelphia, Pennsylvania (acquired directly from the above). LITERATURE: Max Loreau, Catalogue des Travaux de Jean Dubuffet Fascicule XX, L'Hourloupe I, Paris: Fondation Jean Dubuffet 1995, no. 208. NOTE: We gratefully acknowledge the Fondation Dubuffet for their assistance in cataloguing this work. Though he was a formally trained painter, Jean Dubuffet maintained what he called in a 1951 lecture an "anti-cultural position." Echoing founding tenets of the CoBrA artists also present in the Levine collection, Dubuffet shirked institutional, academic approval in favor of art born of "instinct, passion, mood, violence, madness." Dubuffet sought to upend culturally assumed definitions of beauty and sophistication, and instead celebrated the natural, crude or accidental such as art created by children, outsider and folk artists, and the mentally ill. Dubuffet defined his inspiration as "art brut" (or "raw art"). The three drawings presented here from the Levine collection are evocative of the L'Hourloupe cycle, a series which defined the artist's work through the mid 1970s. The cycle is said to have been born of accidental, idle inspiration. While talking on the phone, the artist would freely sketch with blue and red pens. Striated forms, vaguely humanoid, within, around and overlapping one another emerged. The artist was then inspired to explore these visual themes on a grander, more intentional scale which evolved into his "l'Hourloupe" painting project. Dubuffet created the word "Hourloupe" and explained that it was "a name invented because of how it sounds. In French, it suggests some fantasy or grotesque object or creature, as well as something rumbling and threatening with tragic overtones." (J. Dubuffet, a talk given in New York on 24 October 1972, quoted in D. Abadie, "La création du monde", exhibition catalogue, Jean Dubuffet Centre Pompidou, September-December 2001, p. 244). The present works, executed with ordinary inks and paper may very well be examples of the drawings that inspired this important series of paintings.
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.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
