Published by Hatje Cantz. Edited with text by Raphaël Bouvier. Text by Andreas Franzke, Catherine Iselin, Florence Queneau, Sophie Webel, et al. Preface by Sam Keller.
Jean Dubuffet is one of the most influential and versatile artists of the postwar period. With his novel aesthetic inspired by Art Brut (a term he coined), Dubuffet succeeded in breaking away from modernist conventions and redefining the concept of art, and in doing so leaving his mark on the second half of the 20th century and exercising a considerable influence on numerous young artists. Jean Dubuffet: Metamorphoses of Landscape—the first substantial English-language Dubuffet monograph in decades—is published for a large-scale retrospective at the Fondation Beyeler, with around 100 major works from all of the artist’s important creative phases. It opens with an exploration of Dubuffet’s multilayered notion of landscape, which the artist transforms into bodies, faces or objects. Dubuffet experimented with new techniques and materials, and in the process created a completely independent, fascinating pictorial cosmos. Besides important paintings and sculptures from international museums and private collections, the book also presents the ensemble of figures from Dubuffet’s stage play Coucou Bazar, his unparalleled Gesamtkunstwerk synthesis of the arts. The French painter, sculptor and writer Jean Dubuffet (1901–85) evolved his style of art from pictures created spontaneously by children, self-taught artists and the mentally ill. In 1948 he founded the Compagnie de l’Art Brut which advocated working artistically outside the bounds of art-canon norms and academic training. During this decade he developed a powerful reputation in the US, where his work was championed by Clement Greenberg and the Abstract Expressionists; he also forged close relationships with writers and artists such as Henri Michaux, Francis Ponge and Antonin Artaud. In 1962 he developed a semi-figurative, semi-abstract artistic idiom in a large series of works he called Hourloupe. In his later work Dubuffet returned to the gestural techniques of Art Informel.
Published by Silvana Editoriale. Edited by Maurizio Vanni, Stefano Cecchetto.
Between 1958 and his death in 1985, Jean Dubuffet spent significant amounts of time in Italy. Jean Dubuffet e L'Italia traces the iconographic inspirations of his Italian paintings, beginning with his Art Brut works of the 1950s. Based around 80 pieces, most of them previously unpublished, it also examines Dubuffet's Italian audience and patrons such as Charles Cardazzo and Paul Marinotti.
The chief theorist of Art Brut and what has come to be known as Outsider art, Jean Dubuffet (1901-1985) created a genre and a moniker for a whole realm of previously ignored art--by the insane and the mentally ill, by children and by those simply too compulsive to move smoothly through the official channels of the art world. Dubuffet arrived at his conception of a "raw art" in 1942, after passing through and sloughing off Surrealism and other early twentieth-century avant gardes, and after a spell as a wine seller and puppet maker. By 1945 he was collecting examples of Art Brut, and had begun to write polemical essays attacking the cultural logic of post-Renaissance western art, instead advocating the potencies of a visceral primitivism. This beautifully designed clothbound edition of Dubuffet's influential writings gathers the artist's essays and interweaves them with reproductions of his late maquettes for his monumental walk-in pieces.
Published by Poligrafa. Text by Valérie Da Costa, Fabrice Hergott.
As an enemy of culture and of the art of museums, Jean Dubuffet (1901-1985) was also an anarchist, an atheist, anti-military and unpatriotic. He was an explosive force, a rebel who rejected labels and categories, resolute in his quest for freedom from all constraints, and not incidentally one of the most remarkable artists of the twentieth century. Over an extraordinarily productive career from 1942 to 1985, Dubuffet found himself drawn to the art of children and madmen, which he endowed with legitimacy and credibility as Art Brut. This in turn inclined him towards extreme forms and the expressive scrawls and scribbles of graffiti, and prompted him to begin experimenting with materials such as bitumen, sand and plant fibers, which made him one of the earliest and most prominent Matter artists. As a prolific writer, and sometimes a cruel polemicist, Dubuffet left a storehouse of written work that offers invaluable insight into his vision of art.