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Jean Dubuffet pendant son service militaire avec le singe de Jeanne Lége-1924.

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Presentation on theme: "Jean Dubuffet pendant son service militaire avec le singe de Jeanne Lége-1924."— Presentation transcript:


2 Jean Dubuffet pendant son service militaire avec le singe de Jeanne Lége-1924

3 Double autoportrait -1936 Jean Dubuffet was born July 31, 1901, in Le Havre, France. He attended art classes in his youth and in 1918 moved to Paris to study at the Académie Julian, which he left after six months. During this time, Dubuffet met Raoul Dufy, Max Jacob, Fernand Léger, and Suzanne Valadon and became fascinated with Hans Prinzhorn’s book on psychopathic art. He traveled to Italy in 1923 and South America in 1924. Then, Dubuffet gave up painting for about ten years, working as an industrial draftsman and later in the family wine business. He committed himself to becoming an artist in 1942. Dubuffet’s first solo exhibition was held at the Galerie René Drouin, Paris, in 1944.

4 A Widow - 1943 The Metropolitan Museum of Art New York

5 Métro, 1943 Paris 1943

6 ( The Little Kiss (1943)

7 A View of Paris with Furtive Pedestrians - 1944 The Metropolitan Museum of Art, New York

8 During the 1940s, the artist associated with André Breton, Georges Limbour, Jean Paulhan, and Charles Ratton. His style and subject matter in this period owed a debt to Paul Klee. From 1945, he collected Art Brut, spontaneous, direct works by untutored individuals, such as mental patients. The Pierre Matisse Gallery gave him his first solo show in New York in 1947. From 1951 to 1952, Dubuffet lived in New York. He then returned to Paris, where a retrospective of his work took place at the Cercle Volney in 1954. Mangeurs d'oiseaux

9 Grand Jazz Band -New Orleans 1944 Museum of Modern Art, New York

10 The Violinist from the Marionettes 1944 The Museum of Modern Art, New York

11 Beach with Bathers 1944

12 Childbirth - March 1944 Museum of Modern Art, New York Snack for Two from the Mirobolus, 1945 The Museum of Modern Art, New York

13 Woman Grinding Coffee - 1945 The Metropolitan Museum of Art, New York

14 Supervielle, Large Banner - 1945 The Art Institute of Chicago

15 Limbour as a Crustacean, 1946 "There is no art without intoxication. But I mean mad intoxication! Let reason teeter! Delirium! The highest degree of delirium! Plunged in burning dementia! Art is the most enrapturing orgy within man's reach. Art must make you laugh a little and make you a little afraid. Anything as long as it doesn't bore." --Jean Dubuffet

16 Apartment Houses, Paris, 1946 The Metropolitan Museum of Art, New York

17 Dhotel nuance d'abricot - 1947 Private Collection

18 Joë Bousquet in Bed- 1947 MoMA

19 Smiling Face 1948

20 print, NEW YORK 1950 Musical Experiences

21 Fleshy Face with Chestnut Hair -1951 Guggenheim Museum

22 Butterfly-Wing Figure - 1953 Butterfly wings and gouache on paperboard Hirshhorn Museum and Sculpture Garden, Washington D.C.

23 Madame j'ordonne, 1954

24 Bibi Trompette's Garden - 1955 Butterfly wings, gouache, and watercolor on wove paper National Gallery of Art, Washington D.C

25 Cloudy Weather-1955 Berkeley Art Museum

26 אהבה, 1956 מוזיאון ישראל

27 Villa by the Road - 1957 National Galleries of Scotland, Edinburgh

28 His first museum retrospective occurred in 1957 at the Schloss Morsbroich, Leverkusen. Dubuffet exhibitions were subsequently held at the Dubuffet exhibitions were subsequently held at the Musée des Arts Décoratifs, Paris, in 1960–61; Musée des Arts Décoratifs, Paris, in 1960–61; Museum of Modern Art, New York, Museum of Modern Art, New York, Art Institute of Chicago in 1962; Art Institute of Chicago in 1962; Palazzo Grassi, Venice, 1964; the Tate Gallery Palazzo Grassi, Venice, 1964; the Tate Gallery Stedelijk Museum, Amsterdam, in 1966 Stedelijk Museum, Amsterdam, in 1966 Solomon R. Guggenheim Museum, New York, in 1966–67. Solomon R. Guggenheim Museum, New York, in 1966–67. Collection of Dubuffet’s writings, Prospectus et tous écrits suivants, was published in 1967, the same year he started his architectural structures. Collection of Dubuffet’s writings, Prospectus et tous écrits suivants, was published in 1967, the same year he started his architectural structures.

29 Landscape with Three Trees, 1959

30 Court les rues "ארט ברוט מצוי בקוטב ההפוך למחנה הידע, זהו מחנה הטאבולה ראסה, הלוח החלק, העבודות הן בבחינת קולו של האיש הפשוט ולא של התאורטיקן המומחה. פעולת היצירה נובעת מתוכן בצורתה הטהורה ביותר והיא מבטאת כושר המצאה בלתי מרוסן, אקסטזה של שיכרון, חירות מוחלטת". ז ' אן דובופה (1959)

31 Touring-Club

32 Spinning Round 1961

33 במהלך דרכו המיקצועית הארוכה היה ז'ן דובופה חלוץ של עמדה מתריסה ומרדנית כלפי האמנות והתרבות. הוא ביקש מגע ישיר עם כוחות היצירה ומצא מקור השראה במה שהוא כינה 'אמנות ברוט' (Art Brut) - האמנות הלא-מעובדת, הלא-שפויה, האמנות הלא-מערבית, ציורי ילדים וגרפיטי. לשימוש שהוא עשה בחומרים לא-קונבנציונליים, שהביעה מרד נגד ההגדרות המסורתיות של יופי, הייתה השפעה על אמנים רבים בני המאה העשרים. Head

34 אחרי שהשלים את 'טקסטורולוגיות' ואת 'מטריולוגיות' בסוף שנות ה-50 של המאה ה-20, חש דובופה שמיצה את מחקר החומרים ותופעות הטבע. 'המומצא הוא שמקסים אותי כיום; אני רעב ללא-אמיתי, לחיים המזוייפים, לאנטי-מציאות'. הוא החל את סדרת 'קרקס פריז' שלו בפברואר 1961, סדרה שבישרה שינוי חשוב באמנותו. פריז הייתה עכשיו המוקד שלו, פריז דינמית ומסחררת, לא פריז האמיתית, אלא זו המומצאת, פריז שהוא הפך לקרקס קלידוסקופי. 'אני רוצה שהרחוב שלי יהיה משוגע, השדרות הרחבות, החנויות והבניינים, יצאו כולם במחול מטורף', אמר האמן. Paris Circus- 1962

35 Gare Montparnasse Porte des Lilas - 1961 Tehran Museum of Contemporary Art, Iran

36 פוארו זנזיבר, 1962 בפוארו זנזיבר, דובופה מצרף יחד צבעים נקיים ובוהקים, דמויות מתוחמות בקו מתאר עז וסיסמאות כתובות בכתב יד מצטרפים לכדי תמונה זוהרת. הדמויות המצוירות בקו עצבני הן בעת ובעונה אחת קומיות וגרוטסקיות. אפן הארוך מזכיר לנו את פינוקיו, הן כמו מגחכות אל הצופה, ומזכירות לנו שבשנות ה-30 ייצר דובופה בובות, מסיכות ומריונטות למחייתו. הבובות ממוסגרות בתאים ולצידן כתובות דמויות גרפיטי, אשר תוכנן הוא גס או חסר משמעות, כמו שם התמונה.

37 Baba Solstice - 1961 Museum of Modern Art, New York

38 Actor in a Ruff, 1961

39 Bearded head


41 Bird Perched on the Corner of the Wall

42 Post-War and Contemporary Art "Vache Tachetée"

43 " Ancien Combattant" L'asino‏


45 Clairvoyant Beard

46 Autoportrait,1966

47 Schilderij La Main dans la Sac in het van Abbemuseum in Eindhoven

48 Hopes and Options 1971

49 Guggenheim Collection - Dubuffet Biography Soon thereafter, he began numerous commissions for monumental outdoor sculptures. In 1971, he produced his first theater props, the “practicables.” A Dubuffet retrospective was presented at the Akademie der Kunst, Berlin, the Museum Moderner Kunst, Vienna, and the Joseph-Haubrichkunsthalle, Cologne, in 1980–81. In 1981, the Solomon R. Guggenheim Museum observed the artist’s 80th birthday with an exhibition. Dubuffet died May 12, 1985, in Paris. Guggenheim Collection - Dubuffet Biography

50 Cheveux de Sylvain

51 Pisser at the Wall

52 "The Greek idea of the Seven Arts is very stupid. There are many more than seven arts. The Arabic people know how to throw their cloaks over their shoulders in a certain way. When Europeans go over there, they see that, but they don't think it's an art because the Greeks didn't call cloak-throwing one of the Seven Arts. But the people who do it, they know it's an art. That's the reason I was interested in the work of people who knew nothing of the art of museums or have decided to forget all they have seen in museums, to fight against it. The art in museums prevent people from creating. It's intimidating to them." Jean Dubuffet, National Observer, 16 June 1973

53 “Group of Four Trees” -Manhattan Plaza

54 Closerie Falbala, 1971-1973

55 Jean Dubuffet wanted his works to remain together, even after his death. The foundation was set up in his lifetime, in 1973, to introduce the public to all his work. The artist's pieces have been divided between two sites. To the south of Paris, a private 19th-century mansion houses temporary exhibitions over three floors, displaying various artistic periods. The second site is a few miles from the capital, in Val-de-Marne. This houses the largest work of art ever created by Dubuffet, "La Closerie Falbala", classified as an historic monument, representing a white garden ringed with black, containing a villa (where the artist liked to rest). Right next to this monumental creation, the artist's former studios have been converted into exhibition rooms. More than 1000 of his works are on show here, including paintings, sculptures, gouaches, architectural models, etc. A journey into the mind of Dubuffet.

56 Jean Dubuffet the architect in the Archbishops’ Palace

57 1973 Jean Dubuffet dans "la closerie Falbala" The artist's major work, the Closerie Falbala, was classed as an historic monument in 1998. It is situated close to the former sculpture studios which now hold the artist's architectural models.

58 The Closerie Falbala is found in Périgny-sur-Yerres (a monumental sculpture with a surface area of 1610 m2), a simulacrum of a walled garden in the centre of which stands the Villa Falbala built by Jean Dubuffet to shelter the Cabinet Logologique

59 Monument with Standing Beast, James R. Thompson Center 1984

60 Vicissitudes - 1977 Tate Gallery, London

61 Dubuffet jean chaufferie avec cheminee 1970-1996

62 tour aux figures 1983-85

63 Dubuffet continues: "...My work preceding this cycle creates sinuous graphics responding with immediacy to spontaneous and, so to speak, uncontrolled impulses of my hand which traces them. These graphics start uncertain, fleeting, ambiguous figures. Their movement unclenches in the spirit that finds itself in their presence a " suractivation " of the faculty of seeing in their tangles all sorts of objects which make and unmake themselves as the eye moves, thus aligning intimately the transitory and the permanent, the real and the deceptive. It results in (...) a grasp of conscience of the illusionary character of the world we believe to be real, to which we call the real world. These graphics with constantly ambiguous references have the virtue (...) to put into question the foundation of that which we have traditionally looked at as reality and that is only in truth an option collectively adopted to interprate the world which surrounds us amongst an infinate number of other options, others that would be neither more or less legitimate..."




67 Jardin d'émail

68 Sculptures by Jean Dubuffet in Hakone Open Air Museum/Japan


70 מקורות: http://oseculoprodigioso/dubuffet-jean-arte-pop-arte קלריטה ואפרים הנכם מוזמנים להיכנס לאתר שלנו: נשמח לתגובות

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