Frases de Jean Dubuffet

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Jean Dubuffet

Data de nascimento: 31. Julho 1901
Data de falecimento: 12. Maio 1985

Jean Philippe Arthur Dubuffet foi um pintor francês.

Foi o primeiro teórico da arte bruta e autor de vigorosas críticas da cultura dominante, particularmente em seu ensaio Asfixiante cultura .

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Citações Jean Dubuffet

„Every piece of information about these statues is totally useless... What. import is it to us if their author was a bureaucrat or a cowherd, an old man or a young person? It is very unfounded to pay attention to these meager ircumstances. There is no difference between an old and young man. Not the least in any domain. Or if he was from Burgundy or Auvergne it's the same. And if he is alive or dead for who knows how long it is the same to us. Between a contemporary and someone from the last century, or a companion of Clovis or the big prehistoric reptiles? No difference whatsoever. We are completely wrong to take interest in these details.“

— Jean Dubuffet
Quote in Dubuffet's 1947 Entry on an anonymous sculptor, associated with the Swiss collector O.J. Müller; from: Jean Dubuffet, Les Barbus Müller et Autres Pièces de la Statuaire Provinciale(1947), in Prospectus I, pp. 498-49 (transl. Kent Minturn) remark about the publication of biographically based texts on individual art brut artists; according to Dubuffet: veritable history of art without 'names,' 'dates,' or 'histories'.

„In all my works.... I have always had recourse to one never-varying method. It consists in making the delineation of the objects represented heavily dependent on a system of necessities which itself looks strange. These necessities are sometimes due to the inappropriate and awkward character of the material used, sometimes to some strange obsessive notion [frequently changed for another]. In a word, it is always a matter of giving the person who is looking at the picture a startling impression that a weird logic has directed the painting of it, a logic to which the delineation of every object is subjected, is even sacrificed, in such a peremptory way that, curiously enough, it forces the most unexpected solutions, and, in spite of the obstacles it creates, brings out the desired figuration.“

— Jean Dubuffet
Quote of Dubuffet, in Peter Selz and Jean Dubuffet: The work of Jean Dubuffet, The Museum of Modern art, New York, 1962

„This character of depersonalization is certainly a constant of all my personages.... The charm of my Portraits enterprise consisted exactly in undergoing a treatment of depersonalization of the effigies of the persons designated. This persistent drive to depersonalize the persons seems to me to precede the paintings (and is more or less conscious in my mind throughout their execution).... [this depersonalisation requires] imagination from the viewer to recognize and complete the portrait.“

— Jean Dubuffet
Quote in a letter to Max Loreau, 29 June, 1963, reprinted in Prospectus II, Jean Dubuffet; Gallimard, Paris, 1967, pp. 374–375

„It was around 1935 or 1936 that I first had the idea of compiling a history of art – not in the usual way, but considering only the fads that have succeeded one another down through the ages. For example, the infatuation in Roman times with broken pleats and heads turned in profile.... or during the epoch of Pérugin and Raphael, a certain blue that appears everywhere. I wanted to draw up an inventory of these vogues. To this end I visited museums, took notes in little notebooks, and made demonstrative sketches of paintings. For this purpose I preferred bad paintings, by which I mean those held to be mediocre by aesthetes, but in which these fads that interested me were clearly in evidence.“

— Jean Dubuffet
pp. 17, 18

„With respect to the use of this sparkling coloured material [butterfly wings, around 1955] – the constituent parts of which remain indistinguishable – with the aim of producing a very vivid effect of scintillation, I realised that, for me, this responds to needs of the same order as those that formerly led me, in many drawings and paintings, to organize my lines and patches of colour so that the objects represented would meld into everything around them, so that the result would be a sort of continuous, universal soup with an intensive flavour of life.“

— Jean Dubuffet
p. 116

„I have observed that very often I gain access to a little secret that I have sought for a long time by way of a fortuitous encounter quite unrelated to the matter: for example six months I try to draw a camel in a way that satisfies me, and I make a thousand attempts without ever managing to do it. Then one day it is a drawing of a plump on the label of a pot of jam or the shadow thrown by an ink pot, or something or other equally unrelated to the matter that provides me with the solution. This kind of thing has happened so often that I have acquired the habit of always being on the outlook, and when I want to draw a camel I no longer limit myself, as I once did, to looking (only, fh) at camels..“

— Jean Dubuffet
p. 44; quote in Dubuffet's letter to Jean Paulhan (letter 123)

„Starting from a drawing, a pure creation of the mind, I expand it in space by giving it three dimensions, by giving it a material body [in polystyrene] and then enlarge it to the proportions of a site where it can evolve. In this way, instead of having only the drawing before you while remaining anchored in the everyday world, you can finally leave the world and penetrate into drawing, and thus inhabit the creation of the mind instead of merely looking at it prudently in a frame on the wall. The experience consists, therefore, in abstracting yourself totally from the natural everyday world in order to feed your eyes solely on your own mental elaborations.“

— Jean Dubuffet
Note of 7 mai 1968, as quoted in the catalogue of the exhibition La Fiast invita all'incontro con Jean Dubuffet, Turin 1978

„For three years I studied very assiduously an Arabic dialect spoken by the Bedouins of the Sahara, and I began by writing this language phonetically in Latin characters; the very strange appearance of the grammatical forms which resulted from it caused me to see that our spoken language is as remote from written language as this Saharan dialect can be from literary Arabic, and that our language written phonetically by a foreigner in the same way as I wrote the spoken language in El Golea, presented grammatical forms as strange (and as fascinating) as my Arabic jargon. It is then that the idea came to me to try to draft a small text written phonetically. I had the feeling that by becoming“

— Jean Dubuffet
Jean Dubuffet, letter to Raymond Queneau, 30 October 1950; as cited in Prospectus Vol. I, Jean Dubuffet; Gallimard, Paris, 1967, pp. 481-483

„I associated it [the word 'Hourloupe', as title of his longest series of work he made exclusively from 1962 to 1974] by assonance with 'hurler' (to shout), hululer (to howl), loup, (wolf), 'Riquet à la Houppe' and the title of Maupassant's book ‘Le Horla’, inspired by mental distraction.“

— Jean Dubuffet
Quote in Biographie au pas de course, in Prospectus et tous écrits suivants, Vol. IV, Jean Dubuffet, Gallimard, Paris 1995, p. 510

„I took a great deal of pleasure in it, and I still feel nostalgic about it. However, I felt that it had led me to live in a parallel world of pure invention, shut inside my solitude. Naturally, it was precisely for that purpose that it was made and that was why I took pleasure in it, but I wanted to regain body and roots.“

— Jean Dubuffet
pp. 34-35

„It pleased me (and I think this predilection is more or less constant in all my paintings) to juxtapose brutally, in these feminine bodies, the extremely general and the extremely particular, the metaphysical and the grotesque trivial. In my view, the one is considerably reinforced by the presence of the other. [on his series 'Corps de Dame']“

— Jean Dubuffet
As quoted in Jean Dubuffet, Works, writings Interviews, ed. Valerie da Costa and Fabrice Hergott; Ediciones Polígrafa, Barcelona 2006

„At present [around 1960-1970] I make objects (whether a type-writer, wheelbarrow, bed or fishingboat..) very 'hourloupés' [like his painting: Courre Merlan (Whiting Chase), 1964. What I mean is that I am swimming upstream against the 'l'Hourloupe' current. I am approaching it from the opposite direction: instead of starting out with indeterminate lines that eventually give me a wheelbarrow, I start out with the idea of making a wheelbarrow and then add my indeterminate lines. In effect what I am doing is making the current run simultaneously in both directions at the same time.“

— Jean Dubuffet
p. 81; Comment of Dubuffet on the occasion of his 1984 exhibition at the Venice Biennale

„I do not see in what way the face of a man should be a less interesting landscape than any other. A man, the physical person of a man, is a little world, like any other a country, with its towns, and suburbs... As a rule what is needed in a portrait is a great deal of the general, and very little of the particular.“

— Jean Dubuffet
p. 63-73

„I have always directed my attempts at the figurative representation of objects by way of summary and not very descriptive brushstrokes, diverging greatly from the real objective measurements of things, and this has led many people to talk about childish drawing.... this position of seeing them [the objects] without looking at them too much, without focusing more attention on them than any ordinary man would in normal everyday life..“

— Jean Dubuffet
p. 105

„Man's need for art is absolutely primordial, as strong as, and perhaps stronger than, our need for bread. Without bread, we die of hunger, but without art we die of boredom.“

— Jean Dubuffet
As quoted in Jean Dubuffet, Works, writings Interviews, ed. Valerie da Costa and Fabrice Hergott; Ediciones Polígrafa, Barcelona 2006, p. 14

„What seems interesting to me is to reproduce in the figurative representation of an object the whole complex system of impressions we receive in the normal course of everyday life, the way this affects our feelings and the shape it takes in our memory; and it is to this that I have always applied myself.“

— Jean Dubuffet
p. 103

Frases de Jean Dubuffet

Jean Dubuffet

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Citações Jean Dubuffet

„I associated it [the word 'Hourloupe', as title of his longest series of work he made exclusively from 1962 to 1974] by assonance with 'hurler' (to shout), hululer (to howl), loup, (wolf), 'Riquet à la Houppe' and the title of Maupassant's book ‘Le Horla’, inspired by mental distraction.“

„Man's need for art is absolutely primordial, as strong as, and perhaps stronger than, our need for bread. Without bread, we die of hunger, but without art we die of boredom.“

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