Property from a Distinguished Private British Collection Jean Dubuffet Barbe des rites 1959 oil on canvas 39 3/8 x 31 7/8 in. (100 x 81 cm) Signed and dated "J. Dubuffet 59" upper left; further signed, titled and dated "J. Dubuffet Barbe des rites juillet 59" on the reverse.
Provenance Galerie Daniel Cordier Paris Galerie Stadler, Paris Dr. & Mrs. Paul Todd Makler, Philadelphia Thomas Gibson Fine Art, London Acquired from the above by the present owner, July 6, 1973 Exhibited Paris, Galerie Daniel Cordier Jean Dubuffet As-tu cueilli la fleur de Barbe, April 27 - May 31, 1960, no. 39 Literature Thomas Gibson Fine Art Ltd., ed., Masterpiece of the Month, London: February 1973 (illustrated) Max Loreau, ed., Catalogue des travaux de Jean Dubuffet Fascicule XV: As-tu cueilli la fleur de Barbe, Paris: Les Éditions de Minuit, 1985, no. 53, p. 43 (illustrated) Video Jean Dubuffet's 'Barbe de rites': Disruption in Disguise Jean Dubuffet's 'Barbe des rites' (1959) resembles a portrait. We can see the eyes, nose and mouth of a bearded man. But when we look closer, we see the artist has deliberately disrupted all the conventions of figurative painting: the beard itself is like an abstract painting, a haze of frenetic brushstrokes, drips and even incisions in the paint's surface. Worldwide Head of 20th Century Art Hugues Joffre presents this masterful and innovative work from our 20th Century & Contemporary Art Evening Sale on 8 May 2016 in New York. Catalogue Essay 'Your beard is my boat Your beard is the sea on which I sail Beard of flux and influx Beard-bath and rain of beards Element woven of fluids Tapestry of tales.' Excerpt from La fleur de barbe by Jean Dubuffet 1960 With its energetic haze of brushstrokes and painterly marks, Barbe des rites perfectly encapsulates the unfettered invention and enthusiasm of Jean Dubuffet Painted in July 1959, Barbe des rites dates from early in Dubuffet's exploration of the theme of the beard, and crucially is one of the first oil paintings from the series, which he exhibited the following year at Daniel Cordier's gallery. In Barbe des rites, the backdrop and the face of the painting are filled with scraped patterns, with marks and stains that give a sense of texture, as though Dubuffet had leaned the canvas against a brick wall and manipulated the paint. Through this thinned, textured paint surface peer two tiny eyes, perched near the top of the painting, embedded within the mass of a face. The center of the painting is dominated by a field of feathered, hatched, frenetic brushstrokes, giving the impression of the tangle of hair. The beard of the title is a riot of movement: flecks of grey, black and cream paint dart in every direction, given all the more verve by the various marks that Dubuffet has incised in the paint surface. The latticework of brushstrokes and incisions is further punctuated by drips which give the sense of some complex constellation. The beard is thrown into further relief by its contrast with the rest of the canvas, not least the barely-delineated face that crests this turbulent maelstrom. This area of beard recalls Dubuffet's Texturologies, the series of abstract-seeming landscape-style works that he had been painting shortly prior. Indeed, he considered the Barbes to be Texturologies hanging from a chin. Dubuffet blurred the lines between landscape and portraiture in the Barbes and it for this reason that examples of such were included in the recent exhibition, Jean Dubuffet Metamorphoses of Landscape, held at the Beyeler Foundation, Riehen, whose own collection includes one of the pictures, Table de barbe. Another dating from July, 1959, Barbe des combats, is now in the National Gallery of Art, Washington DC. Appropriating his own Texturologies for the Barbes, Dubuffet incorporated his language of landscape within the format of the portrait. Barbe des rites and its fellows fused the human and the natural, thus achieving one of the artist's long-stated goals, “I think portraits and landscapes should resemble each other because they are more or less the same thing. I want portraits in which description makes use of the same mechanisms as those used in a landscape - here wrinkles, there ravines or paths; here a nose, there a tree; here a
Property from a Distinguished Private British Collection Jean Dubuffet Barbe des rites 1959 oil on canvas 39 3/8 x 31 7/8 in. (100 x 81 cm) Signed and dated "J. Dubuffet 59" upper left; further signed, titled and dated "J. Dubuffet Barbe des rites juillet 59" on the reverse.
Provenance Galerie Daniel Cordier Paris Galerie Stadler, Paris Dr. & Mrs. Paul Todd Makler, Philadelphia Thomas Gibson Fine Art, London Acquired from the above by the present owner, July 6, 1973 Exhibited Paris, Galerie Daniel Cordier Jean Dubuffet As-tu cueilli la fleur de Barbe, April 27 - May 31, 1960, no. 39 Literature Thomas Gibson Fine Art Ltd., ed., Masterpiece of the Month, London: February 1973 (illustrated) Max Loreau, ed., Catalogue des travaux de Jean Dubuffet Fascicule XV: As-tu cueilli la fleur de Barbe, Paris: Les Éditions de Minuit, 1985, no. 53, p. 43 (illustrated) Video Jean Dubuffet's 'Barbe de rites': Disruption in Disguise Jean Dubuffet's 'Barbe des rites' (1959) resembles a portrait. We can see the eyes, nose and mouth of a bearded man. But when we look closer, we see the artist has deliberately disrupted all the conventions of figurative painting: the beard itself is like an abstract painting, a haze of frenetic brushstrokes, drips and even incisions in the paint's surface. Worldwide Head of 20th Century Art Hugues Joffre presents this masterful and innovative work from our 20th Century & Contemporary Art Evening Sale on 8 May 2016 in New York. Catalogue Essay 'Your beard is my boat Your beard is the sea on which I sail Beard of flux and influx Beard-bath and rain of beards Element woven of fluids Tapestry of tales.' Excerpt from La fleur de barbe by Jean Dubuffet 1960 With its energetic haze of brushstrokes and painterly marks, Barbe des rites perfectly encapsulates the unfettered invention and enthusiasm of Jean Dubuffet Painted in July 1959, Barbe des rites dates from early in Dubuffet's exploration of the theme of the beard, and crucially is one of the first oil paintings from the series, which he exhibited the following year at Daniel Cordier's gallery. In Barbe des rites, the backdrop and the face of the painting are filled with scraped patterns, with marks and stains that give a sense of texture, as though Dubuffet had leaned the canvas against a brick wall and manipulated the paint. Through this thinned, textured paint surface peer two tiny eyes, perched near the top of the painting, embedded within the mass of a face. The center of the painting is dominated by a field of feathered, hatched, frenetic brushstrokes, giving the impression of the tangle of hair. The beard of the title is a riot of movement: flecks of grey, black and cream paint dart in every direction, given all the more verve by the various marks that Dubuffet has incised in the paint surface. The latticework of brushstrokes and incisions is further punctuated by drips which give the sense of some complex constellation. The beard is thrown into further relief by its contrast with the rest of the canvas, not least the barely-delineated face that crests this turbulent maelstrom. This area of beard recalls Dubuffet's Texturologies, the series of abstract-seeming landscape-style works that he had been painting shortly prior. Indeed, he considered the Barbes to be Texturologies hanging from a chin. Dubuffet blurred the lines between landscape and portraiture in the Barbes and it for this reason that examples of such were included in the recent exhibition, Jean Dubuffet Metamorphoses of Landscape, held at the Beyeler Foundation, Riehen, whose own collection includes one of the pictures, Table de barbe. Another dating from July, 1959, Barbe des combats, is now in the National Gallery of Art, Washington DC. Appropriating his own Texturologies for the Barbes, Dubuffet incorporated his language of landscape within the format of the portrait. Barbe des rites and its fellows fused the human and the natural, thus achieving one of the artist's long-stated goals, “I think portraits and landscapes should resemble each other because they are more or less the same thing. I want portraits in which description makes use of the same mechanisms as those used in a landscape - here wrinkles, there ravines or paths; here a nose, there a tree; here a
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