Jean Dubuffet: A Festival of the Mind by Waddington Custot

Jean Dubuffet A Festival of the Mind

Waddington Custot is pleased to present an exhibition of paintings and sculptures by French artist Jean Dubuffet (1901–1985). Highlighting the varied exploration of subjects and materials in the artist’s career, the exhibition demonstrates the artist’s non-conformist attitude and boundless capacity for invention and experimentation. One of the most important artists of the twentieth century, Dubuffet sought to create work which shunned traditional notions of beauty and favoured immediate forms of expression. He coined the term ‘art brut’ to describe the artistic expression that informed his own work, that of children and the mentally ill, believing that their innocent or untutored outlook gave them the most direct access to their emotions. The earliest painting in the exhibition, ‘Haute tête en pomme de terre’ (1951), is characteristic of Dubuffet’s early work, an anonymous figure is carved out of the thickly impastoed surface. He turns the classical ideals of the portrait on its head, depersonalising the figure and not attempting to convey any physical likeness. Dubuffet did not consider the pursuit of beauty or visual pleasure to be valid objectives for an artist. Rather, he stated that art was ‘a language, an instrument of knowledge, and an instrument of expression’ that ‘addresses itself to the mind not the eyes.’ His Paysage du Mental (Landscape of the Mind) series, of the same period, such as ‘Paysage pétrifié’ (1952), is again constructed from heavily layered paint creating austere, monochromatic earth-toned surfaces. During the summer of 1953, he continued to eschew traditional painting methods and began to construct collages using objects from nature. He introduced found materials such as butterfly wings, sand, gravel and dust. ‘J ardin de souffle cor’ (1956) is made with a collage of cut-out lithographs with printed textures, assembled to construct a jewel-like garden landscape.

Dubuffet’s L’Hourloupe series (1962–74), was his most-extensive period of work, originating from absent-minded biro scribbles made whilst on the telephone. These works are characterised by black painted outlines filled with solid colour or hatching of blue or red. Dubuffet’s interest in portraiture remains in ‘Réchaud-four à gaz IV (Autoportrait)’ (1966), but he also uses a new visual language to tackle varying subjects including the still life, such as in ‘Bouteille III 22 décembre 1965’ (1965). Dubuffet described his Hourloupe works as a ‘festival of the mind’ and during this period he began to extend his artistic reach to explore ambitious sculptural, theatrical and architectural installations. Moving into Dubuffet’s late period, the exhibition focuses on both the Partitions and Psycho-sites, two groups of work that were made in 1980 and 1981. In his Partitions, figures are placed on a background dominated by vivid, irregular sections of colour. The pedestrians, in ‘Voie piétonnière’ (1981), are separated with defined linear spaces which give the appearance of collage elements. Dubuffet juxtaposes uniform, flat colour against expressive mark-making, creating a dynamic contrast. Following on from this, works become more homogeneous in their over-all appearance. Psycho-sites, ‘Site avec 5 personnages’ (1981) and ‘Site avec un personnage’ (1981), represent the interior of the mind with figures contained within the chaos of the highly gestural, unrestrained brush-work around them. The paintings from the last years of Dubuffet’s life, Mires (Test-Patterns) such as ‘Mire G 72 (Bolero)’ (1983), contain no recognisable figures or objects and are composed of a web of expressive lines covering the entirety of the surface. By the elimination of all referential imagery, Dubuffet reduced his paintings to the most uncontrolled expression of emotion. Dubuffet saw the works as ‘focus[ing] the eye on a point of endless continuum.’

Poires sur la cheminée octobre 1942 gouache on card 18 1/8 × 25 5/8 in 46 × 65 cm

Quatre leveuses de bras octobre 1943 oil on canvas 26 × 36 in 66 × 91.4 cm

Le soleil les décolore 24 avril 1947 oil on canvas 51 1/4 × 38 1/4 in 130 × 97.2 cm

Paysage pétrifié janvier 1952 oil and mixed media on board 36 1/4 × 48 in 92 × 122 cm

Paysage aux châteaux de rochers janvier 1952 oil on canvas 36 1/4 × 48 in 92 × 122 cm

Vie au sol mars 19555 ink and paper collage on paper laid down on panel 22 1/2 Ă&#x2014; 23 1/4 in 57 Ă&#x2014; 59 cm

Jardin de souffle cor avril 1956 oil on canvas (assemblage) 17 3/4 × 22 7/8 in 45 × 58 cm

Cinq et un six 3 mars 1956 oil on canvas 28 3/4 × 23 5/8 in 73 × 60 cm

Le tapis de pierres mars 1956 oil on canvas 25 5/8 Ă&#x2014; 31 7/8 in 65 Ă&#x2014; 81 cm

Bouteille III 22 décembre 1965, 1965 vinyl paint on paper laid down on canvas 40 5/8 × 23 1/2 in 103 × 59.5 cm

Opposite

Réchaud-four à gaz IV (Autoportrait) 12 mars 1966 vinyl paint on canvas 45 1/2 × 35 in 116 × 89 cm Overleaf

Épanchement du Logos 20 septembre 1966 transfer on polyester resin 19 7/8 × 38 1/4 × 5 1/2 in 50.4 × 97 × 14 cm

Castelet l’Hourloupe 7 mai 1968 epoxy resin painted with polyurethane 39 3/8 × 49 1/4 × 39 3/8 in 100 × 125 × 100 cm

Le Margrave 29 mars 1970 transfer on polyester 34 5/8 × 13 3/8 × 9 in 88 × 34 × 23 cm

Paysage rose avec 3 personnages vêtus de noir (T 21) 15 juin 1975 acrylic on paper mounted on canvas 26 1/2 × 40 1/8 in 67.3 × 101.9 cm

Site aux ardeurs 30 juin 1979 acrylic and collage on paper laid down on canvas 20 1/8 Ă&#x2014; 27 5/8 in 51 Ă&#x2014; 70 cm

L’heure de pointe 8 décembre 1980 acrylic on canvas 39 3/8 × 31 7/8 in 100 × 81 cm

Voie piétonnière 20 janvier 1981 acrylic on canvas 39 × 31 3/4 in 99.1 × 80.6 cm

Site avec 5 personnages (E 175) 13 juin 1981 acrylic on canvas-backed paper 19 5/8 Ă&#x2014; 26 3/4 in 50 Ă&#x2014; 67 cm

Site aléatoire avec un personnage (F11) 21 février 1982 acrylic on canvas-backed paper 26 3/8 × 39 3/8 in 67 × 100 cm

Biography and Major Exhibitions

1901 Jean Dubuffet is born on 31 July to a wine merchant family in Le Havre, Normandy 1908 Begins secondary education at the Lycée François 1er in Le Havre with fellow students Georges Limbour, Armand Salacrou and Raymond Queneau 1917 Enrols in evening classes at the Ecole des Beaux-Arts, Le Havre 1918–19 Gains his baccalauréat and moves to Paris with Limbour to devote himself to painting Begins a course at the Académie Julian which he leaves after six months to work independently Becomes friends with Suzanne Valadon, Elie Lascaux, Max Jacob and Charles-Albert Cingria. Visits Raoul Dufy in his studio 1920–21 Stays in Algiers with his parents. Period of seclusion during which he becomes interested in literature, languages and music

1929 Birth of his daughter, Isalmina 1930–32 Opens a wine wholesale business in Bercy, Paris, and lives in Saint-Mandé, a suburb of Paris Travels in Holland 1933–35 Moves to Paris and rents a studio in the rue du Val-de-Grâce where he works in the afternoon Stays in Switzerland. Separates from his wife Puts his business under the control of a board of directors and devotes himself to painting Meets Emilie Carlu (Lili), who he marries in December 1937, and moves to 34 rue Lhomond Makes masks and puppets alongside painting Travels in Belgium 1937–39 Returns to Bercy to save his business from bankruptcy and abandons painting once again

1922 Visits André Masson’s studio 1923 Stays in Lausanne with writer and friend, Paul Budry. Returns through Italy Military service Makes the acquaintance of Fernand Léger and meets Juan Gris through the dealer Daniel-Henry Kahnweiler 1924 Stops painting (for 8 years) and leaves for Buenos Aires in October 1925 Returns to Le Havre where he joins his father’s wine business

War breaks out and he enlists in the military. Demobilised at Céret in southern France, returns to Paris 1942 Decides to devote himself entirely to painting 1943 Begins Métro series and becomes interested in jazz Through Limbour he meets Jean Paulhan who introduces him to Pierre Seghers, Louis Parrot, Paul Eluard, André Frénaud, Eugène Guillevic, Francis Ponge, Jean Fautrier, René de Solier, Marcel Arland and René Drouin

1927 Marries Paulette Bret. Rents a house in rue de Vaugirard where he works each day

1944 First exhibition at Galerie René Drouin, Paris, which causes much controversy. He regularly exhibits there until 1947 Produces first lithographs with Fernand Mourlot

1949 Third stay in the Sahara desert. Works on the Paysages grotesques series on his return Publication of L’Art Brut préféré aux arts culturels 1950 Meets Alfonso Ossorio

1945 Pierre Matisse, son of Henri Matisse and dealer in New York, visits Exhibits lithographs at Galerie André, Paris Moves to rue de Vaugirard with Lili. Meets Henri Michaux Travels in Switzerland, where he researches the production of art brut 1946 Second exhibition at Galerie René Drouin, titled Mirobolus, Macadam & Cie, Hautes Pâtes Editions Gallimard publishes Prospectus aux amateurs de tout genre 1947–48 First exhibition in New York at Pierre Matisse Gallery, where he exhibits regularly until 1959 First visit to El Goléa, Algeria, in the Sahara desert Exhibition of Portraits at Galerie René Drouin, Paris Creation of Foyer de l’Art Brut in the basement of Galerie René Drouin, later moving to a house rented by the editor Gaston Gallimard, becoming the Compagnie de l’Art Brut Publication of his first text of jargon, entitled Ler dla Campane (L’Air de la Campagne)

Second visit to the Sahara desert, returning in April 1948

Produces Corps de Dames series Publication of Anvouaiaje par in ninbesil avec de zimage and Labonfam abeber par inbo nom 1951 First retrospective in Paris at Galerie Rive Gauche Produces the Sols et Terrains, Tables Paysagées and Paysages du Mental series In November, he leaves for New York with Lili where he stays for six months. Becomes friends with Yves Tanguy Compagnie de l'Art Brut is dissolved and the collection is moved to the United States Exhibition at the Arts Club, Chicago, where he delivers his discourse, Anticultural Positions, in English 1952–53 Returns to Paris. Continues the Sols et Terrains and Lieux momentanés series and draws the Terres radieuses and Pâtes battues series Stays in Chaillol in south-eastern France with Pierre Bettencourt. Works on the Petits tableaux d’ailes de papillons and Assemblages d’empreintes series. Continues producing lithographs with Mourlot

René Drouin and Pierre Matisse publish L’Art Brut de Jean Dubuffet, Tableau bon levain à vous de cuire la pate written by Georges Limbour 1954 René Drouin organises a retrospective at the Cercle Volney, Paris Completes the Petites statues de la vie précaire Travels between Paris and Auvergne. Produces the Vaches series 1955 Moves to Vence, south of France, where he builds large studios and a villa Works on the Assemblages d’empreintes and Tableaux d’assemblages series First exhibition in London at Institute of Contemporary Arts 1956–57 Produces the Lieux Cursifs series Lives between Vence and Paris. Works on Topographies and Texturologies series First retrospective in Germany at Städtisches Museum Schloss Morsbroich, Leverkusen 1958 Starts a studio for lithography in the rue de Rennes, Paris. Continues the Texturologies series First English retrospective at Arthur Tooth & Sons, London, and first solo exhibition at Galerie Daniel Cordier, Paris, where he exhibits regularly until 1964 1959–60 Works on Barbes, Eléments botaniques and Matériologies series. Continues the series of lithographs entitled Les Phénomènes. Begins a series of ink drawings

Publication of an illustrated poem entitled La fleur de barbe Establishes archives and the Secrétariat de Jean Dubuffet in Paris Important exhibition at Pierre Matisse Gallery and retrospective at Musée des Arts Décoratifs, Paris 1961 Musical experimentation, first with Asger Jorn and then independently. Makes recordings Beginning of the Paris Circus period Donates and exhibits his graphic work in Denmark at Silkeborg Museum, accompanied by a catalogue raisonné of his prints 1962–63 First retrospective in New York at Museum of Modern Art, touring to Chicago and Los Angeles Removes the collection of art brut from New York and installs it in 137 rue de Sèvres, Paris Stays at his new house in Le Touquet Begins L’Hourloupe cycle Edits a variety of texts relating to art brut 1964 Exhibition of L’Hourloupe at Palazzo Grassi, Venice The Secrétariat de Jean Dubuffet is set up in the rue de Verneuil, Paris Publication of the first part of Catalogue des travaux de Jean Dubuffet First exhibition at Galerie JeanneBucher, Paris, where he exhibits regularly until 1971 and again from 1982

1965 First exhibition at Galerie Beyeler, Basel, where he exhibits regularly until 1976 1966 Begins to make sculptures in polystyrene and vinyl paint in the L’Hourloupe series Retrospectives at Tate Gallery, London; Stedelijk Museum, Amsterdam, and in Dallas and Minneapolis Exhibits L’Hourloupe at the Solomon R Guggenheim Museum, New York 1967 Paints in Vence and Paris. Continues work on painted sculptures and their transfer to polyester resin Undertakes the construction of the Cabinet logologique which is exhibited in Chicago, Basel and Paris before being permanently installed in the Villa Falbala in 1976 Important donation of 180 works to the Musée des Arts Décoratifs, Paris Editions Gallimard publishes volumes 1 and 2 of Dubuffet’s collection of writings, Prospectus et tous écrits suivants 1968 Establishes a new studio in rue Labrouste, Paris Begins Amoncellements in polystyrene J.J. Pauvert publishes Asphyxiante culture Special issue of L’Arc devoted to Dubuffet, titled ‘Dubuffet, Culture and Subversion’

Touring exhibition in USA of work owned by Museum of Modern Art, New York

Edifices exhibition at Musée des Arts Décoratifs, Paris First exhibition at The Pace Gallery, New York, where he exhibits regularly until his death 1969 David Rockefeller commissions a monument for the Chase Manhattan Bank, New York. Construction of new studios in Périgny-sur-Yerres, near Paris, and plan to build the Villa Falbala First Canadian retrospective at Musée des Beaux-Arts, Montreal Matériologies exhibition at Galerie Daniel Gervis, Paris 1970 Work begins in the Périgny studios alongside work on the Closerie Falbala Construction of the Jardin d’hiver after a maquette dated August 1968 Begins ‘Groupe de quatre arbres’ (1971–72) for the Chase Manhattan Bank, New York, which quickly requires the studio’s expansion and an increase in staff Important exhibitions at Kunsthalle and Kunstmuseum Basel 1971 Produces a series of drawings for the construction of the painted cut-outs and mobiles, the Praticables, followed by costumes for the theatre which require the creation of a large studio in the Cartoucherie de Vincennes theatre for the ‘Coucou Bazar’ rehearsals 1972 Sells his house in Vence and then his studios two years later. In Paris, the studios in rue Labrouste are moved to rue Rosenwald

Unveiling of the Groupe de quatre arbres erected at the Chase Manhattan Plaza, New York, followed by an exhibition at Museum of Modern Art First exhibition at Waddington Galleries, London Exhibition at the Musée d’Art Moderne de la Ville de Paris 1973 First performances of ‘Coucou Bazar’ at Solomon R Guggenheim Museum, New York, accompanied by a retrospective. Repeated in Paris at the Grand Palais with a second version of the production Makes painted cut-outs for Régie Renault Editions Gallimard publishes L’Homme du commun à l’ouvrage. Publication of La Botte à nique A special issue of Cahier de l’Herne is devoted to the artist 1974 L’Hourloupe cycle finishes with the Paysages castillans and Sites tricolores Produces long series of drawings followed by Parachiffres Works on the model for the Salon d’été commissioned by Renault. Construction begins at the end of the year Unveiling of the Jardin d’émail at the Kröller-Müller Museum, Otterlo, The Netherlands he Fondation Dubuffet is T established

1975–76 Produces the Mondanités, Effigies incertaines and Lieux abrégés series, followed by large assemblages for the Théâtres de mémoire series Closerie Falbala at Périgny in south-western France is finished Renault stops the construction of the Salon d’été. Legal proceedings begin Transfer of art brut collection to Lausanne, Switzerland First Spanish retrospective at Fundación Juan March, Madrid Continues working on Théâtres de mémoire series 1977–78 Television program on Dubuffet entitled L’homme en question is aired Produces long series of drawings alongside the Théâtres de mémoire series FIAT organises an exhibition of paintings and a light projections show alongside a third version of ‘Coucou Bazar’ in Turin Retrospective at Musée des BeauxArts and Bibliothèque Municipale, Le Havre First large exhibition in Japan at Fuji Television Gallery, Tokyo Exhibition of early paintings at Pierre Matisse Gallery, New York 1979 Continues to draw and begins Brefs exercices d’école journalière series Leaves the studio in Vincennes 1980 The Supreme Court of Appeal annuls the judgment given in June 1978. The legal proceedings against Régie Renault are put before the Court of Appeal of Versailles

After four months of interruption, Dubuffet resumes work with a new series of drawings before starting the Partitions series

The French State decides to erect a sculpture in Paris. Dubuffet proposes ‘Tour aux figures’ (1985), measuring 24 metres high

Retrospective at Akademie der Künste, Berlin, which tours to Museum Moderner Kunst, Vienna, and Joseph-Haubrich-Kunsthalle, Cologne, in the following year

Publication of Bonpiet beau neuille (ed. Jeanne-Bucher) and Conjectures, a suite of 100 lithographs

1981 Produces Psycho-sites series Dubuffet wins case against Régie Renault by judgment of the Court of Appeal of Versailles To celebrate his 80th birthday, exhibitions are held at Solomon R Guggenheim Museum, New York, and at the Musée National d’Art Moderne – Centre Georges Pompidou, Paris 1982 Produces Sites aléatoires series and a long series of drawings for his book of sketches and verse, Bonpiet beau neuille Renews interest in lithography with Atelier Bordas, Paris Retrospective at Seibu Museum of Art, Tokyo, which tours to National Museum of Art, Osaka Unveiling of ‘Manoir d’Essor’ (1969–82) at Louisiana Museum of Modern Art, Humlebæk, Denmark 1983 Works on Mires series and drawings The Court of Appeal of Paris confirms the judgment given by Versailles but Dubuffet decides not to continue the construction of the monument

Retrospective of drawings in Germany at Kunsthalle, Tübingen, which tours to Kunstmuseum, Hanover, and Staatliche Graphische Sammlung, Munich ‘Monument au fantôme’ (1983) is unveiled in Houston 1984 Continues to draw before starting his ultimate series, entitled Non-lieux, which he is occupied with until December Exhibits Mires series at the French pavilion at the Venice Bienniale ‘Monument à la bête ‘debout’ (1984) is unveiled in Chicago First large exhibition is organised by the Fondation Dubuffet at Malmö Konsthall, Sweden 1985 The site for the ‘Tour aux figures’ is chosen on the Île Saint-Germain in Issy-les-Moulineaux near Paris During the winter draws and writes Biographie au pas de course Jean Dubuffet dies in Paris on 12 May

Published on the occasion of the exhibition Jean Dubuffet A Festival of the Mind 7 March – 5 May 2018 Waddington Custot 11 Cork Street London W1S 3LT +44 20 7851 2200 waddingtoncustot.com Monday to Friday 10am–6pm Saturday 10am–4pm Designed by A Practice for Everyday Life All archive imagery © A rchives Fondation Dubuffet, Paris p 1, photo Robert Doisneau © a gence Gamma-Rapho-Keyston pp 4–5, photo Kurt Wyss © A rchives Fondation Dubuffet, Paris pp 12–3, photo Luc Joubert © A rchives Fondation Dubuffet, Paris pp 20–1, photo Arnold Newman © G etty Images (detail) pp 28–9, photo Luc Joubert © A rchives Fondation Dubuffet, Paris pp 42–3, photo Christiane Sérougne © A rchives Fondation Dubuffet, Paris All artworks © A DAGP, Paris and DACS, London 2018 Waddington Custot, London, 2018 Published by Waddington Custot Co-ordinated by Jessica Ramsay