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33:
242:'s paintings in which he recognized meaningful art which expressed directly and purely the depth of a person. Emulating Fautrier, Dubuffet started to use thick oil paint mixed with materials such as mud, sand, coal dust, pebbles, pieces of glass, string, straw, plaster, gravel, cement, and tar. This allowed him to abandon the traditional method of applying oil paint to canvas with a brush; instead, Dubuffet created a paste into which he could create physical marks, such as scratches and slash marks. The impasto technique of mixing and applying paint was best manifested in Dubuffet's series 'Hautes Pâtes' or Thick Impastoes, which he exhibited at his second major exhibition, entitled
373:
556:. The same period he started making sculpture, but in a very not-sculptural way. As his medium he preferred to use the ordinary materials as papier-mâché and for all the light medium polystyrene, in which he could model very fast and switch easily from one work to another, as sketches on paper. At the end of the 1960s he started to create his large sculpture-habitations, such as 'Tour aux figures', 'Jardin d'Hiver' and 'Villa Falbala' in which people can wander, stay, and contemplate. In 1969 ensued an acquaintance between him and the French Outsider Art artist
1664:
110:
522:, giving the work an unusually textured surface. Dubuffet was the first artist to use this type of thickened paste, called bitumen. Additionally, in his earlier paintings, Dubuffet dismissed the concept of perspective in favor of a more direct, two-dimensional presentation of space. Instead, Dubuffet created the illusion of perspective by crudely overlapping objects within the picture plane. This method most directly contributed to the cramped effect of his works.
400:. However, the art that Dubuffet produced while he was there was very specific insofar as it recalled Post-War French ethnography in light of decolonization. Dubuffet was fascinated by the nomadic nature of the tribes in Algeria—he admired the ephemeral quality of their existence, in that they did not stay in any one particular area for long, and were constantly shifting. The impermanence of this kind of movement attracted Dubuffet and became a facet of
364:. At the end of 1949, while Pierre Matisse was preparing Dubuffet’s January 1950 show, Alfonso Ossorio had traveled to Paris to meet Dubuffet and buy some of his paintings. Then in 1950, at Ossorio’s urging, his young friend Joseph Glasco left New York for Paris to meet Dubuffet. Glasco credited this encounter as having had an influence on his own art, and Dubuffet frequently asked about “Pollock and Glasco” in his letters to Ossorio.
313:
480:(meaning "raw art", often referred to as 'outsider art') for art produced by non-professionals working outside aesthetic norms, such as art by psychiatric patients, prisoners, and children. Dubuffet felt that the simple life of the everyday human being contained more art and poetry than did academic art, or great painting. He found the latter to be isolating, mundane, and pretentious, and wrote in his
185:, poetry, and the study of ancient and modern languages. Dubuffet also traveled to Italy and Brazil, and upon returning to Le Havre in 1925, he married for the first time and went on to start a small wine business in Paris. He took up painting again in 1934 when he made a large series of portraits in which he emphasized the vogues in art history. But again he stopped, developing his wine business at
349:
dissociated himself from most of the ideals of the school, and reacted very strongly against the 'great traditions of painting.' Americans were intrigued by
Dubuffet's simultaneous roots in the established French vanguard and his work, which was such a strong reaction against his background. Many painters of the New York school at this time were also trying to seek status within the
494:, "There is only one thing wrong with the essays Dubuffet has written on his own work: their dazzling intellectual finesse makes nonsense of his claim to a free and untutored primitivism. They show us a mandarin literary personality, full of chic phrases and up-to-date ideas, that is quite the opposite of the naive visionary."
327:
Dubuffet achieved very rapid success in the
American art market, largely due to his inclusion in the Pierre Matisse exhibition in 1946. His association with Matisse proved to be very beneficial. Matisse was a very influential dealer of contemporary European Art in America, and was known for strongly
251:
took notice of
Dubuffet's work and wrote that 'rom a distance, Dubuffet seems the most original painter to have come out of the School of Paris since Miro...' Greenberg went on to say that 'Dubuffet is perhaps the one new painter of real importance to have appeared on the scene in Paris in the last
344:
at the gallery exhibit, and he was one of only two young artists to be honored in this manner. A Newsweek article dubbed
Dubuffet the 'darling of Parisian avant-garde circles,' and Greenberg wrote positively about Dubuffet's three canvases in a review of the exhibit. In 1947 Dubuffet had his first
489:
is the one I want to please and enchant by means of my work.' To that end, Dubuffet began to search for an art form in which everyone could participate and by which everyone could be entertained. He sought to create an art as free from intellectual concerns as Art Brut, and as a result, his work
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to the artist's studio. Dubuffet's work at that time was unknown. Paulhan was impressed and the meeting proved to be a turning point for
Dubuffet. His first solo show came in October 1944, at the Galerie Rene Drouin in Paris. This marked Dubuffet's third attempt to become an established artist.
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Due to his participation in a steady stream of art exhibitions within his first few years in New York, Dubuffet became a constant presence in the
American art world. Dubuffet's association with the School of Paris provided him with a unique vehicle to reach American audiences, even though he
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in 1946 at the Galérie René Drouin. His use of crude materials and the irony that he infused into many of his works incited a significant amount of backlash from critics, who accused
Dubuffet of 'anarchy' and 'scraping the dustbin'. He did receive some positive feedback as
137:). His idealistic approach to aesthetics embraced so-called "low art" and eschewed traditional standards of beauty in favor of what he believed to be a more authentic and humanistic approach to image-making. He is perhaps best known for founding the art movement
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that his aim was 'not the mere gratification of a handful of specialists, but rather the man in the street when he comes home from work....it is the man in the street whom I feel closest to, with whom I want to make friends and enter into confidence, and
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often appears primitive and childlike. His form is often compared to wall scratchings and children's art. Nonetheless, Dubuffet appeared to be quite erudite when it came to writing about his own work. According to prominent art critic
582:. The much written about drawing has been reproduced internationally in three different editions on tens-of-thousands of record albums and compact discs. A detail of the drawing is also featured on Martz's second symphony (2005),
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painters, with their juxtaposing and discordant patches of color. Many of his works featured an individual or individuals placed in a very cramped space, which had a distinct psychological impact on viewers. In 1943, the writer
190:
444:, Switzerland. His art brut collection is often referred to as a "museum without walls", as it transcended national and ethnic boundaries, and effectively broke down barriers between nationalities and cultures.
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serving as 'models'. He painted these portraits in the same thick materials, and in a manner deliberately anti-psychological and anti-personal, as
Dubuffet expressed himself. A few years later he approached the
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solo exhibition in
America, in the same gallery as the Matisse exhibition. Reviews were largely favorable, and this resulted in Dubuffet having at least an annual, if not a biannual exhibition at that gallery.
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Between 1947 and 1949, Dubuffet took three separate trips to
Algeria—a French colony at the time—in order to find further artistic inspiration. In this sense, Dubuffet is very similar to other artists such as
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tradition, and drew influence from Dubuffet's work. His reception in America was very closely linked to and dependent upon the New York art world's desire to create its own avant-garde environment.
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From 1962 he produced a series of works in which he limited himself to the colours red, white, black, and blue. Towards the end of the 1960s he turned increasingly to sculpture, producing works in
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181:. Six months later, upon finding academic training to be distasteful, he left the Académie to study independently. During this time, Dubuffet developed many other interests, including free
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1170:
Colin-Picon, M., Georges Limbour: le songe autobiographique, Lachenal & Ritter, Paris, 1994. (Collection of letters between Limbour and Dubuffet, with biographical material.)
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in Paris. This association was dedicated to the discovery, documentation and exhibition of art brut. Dubuffet later amassed his own collection of such art, including artists
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1925:
145:—that this movement spawned. Dubuffet enjoyed a prolific art career, both in France and in America, and was featured in many exhibitions throughout his lifetime.
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In 1942, Dubuffet decided to devote himself again to art. He often chose subjects for his works from everyday life, such as people sitting in the
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1584:"Phillips's Spring Contemporary Art Evening Sale in London Generated a Solid ÂŁ24.8 Million, Up Nearly a Fifth From Last Year | Artnet News"
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George Limbour, L'Art brut de Jean Dubuffet (Tableau bon levain à vous de cuire la pâte), Paris, Éditions Galerie René Drouin, 1953.
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The following is a chronological list of exhibits featuring Dubuffet, along with the number of his works displayed at each exhibit.
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D'Souza, Aruna. I Think Your Work Looks A Lot Like Dubuffet: Dubuffet and America, 1946-1962. Oxford Art Journal 20.2 (1997): 63.
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Dubuffet's art primarily features the resourceful exploitation of unorthodox materials. Many of Dubuffet's works are painted in
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decade.' Indeed, Dubuffet was very prolific in the United States in the year following his first exhibition in New York (1951).
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to a family of wholesale wine merchants who were part of the wealthy bourgeoisie. His childhood friends included the writers
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In late 1960–1961, Dubuffet began experimenting with music and sound and made several recordings with the Danish painter
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193:. Years later, in an autobiographical text, he boasted about having made substantial profits by supplying wine to the
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or walking in the country. Dubuffet painted with strong, unbroken colors, recalling the palette of
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421:
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1455:
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D'Souza, Aruna. "I Think Your Work Looks A Lot Like Dubuffet: Dubuffet and America, 1946-1962".
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109:
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who was also strongly fighting against "intellectual terrorism", as he called it.
881:(1976), was auctioned for ÂŁ3.6 million in a contemporary art auction in London.
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in 1954. He was friendly with the French playwright, actor and theater director
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Jean Dubuffet. Studien zu seinem Fruehwerk und zur Vorgeschichte des Art brut
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to create the record album artwork for Martz's avant-garde symphony entitled
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L’Œuvre gravé et les livres illustrés par Jean Dubuffet. Catalogue raisonné.
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In 1945, Dubuffet attended and was strongly impressed by a show in Paris of
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126:
951:, New York: Grove Press, 1959 (Translated from French by Haakon Chevalier.)
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and was strongly connected with the artistic circle around the surrealist
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After 1946, Dubuffet started a series of portraits, with his own friends
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Specific examples of American artists interested in Dubuffet’s art were
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in American public collections, on the French Sculpture Census website
983:, Basel: Beyeler, 1976 (Translated from German by Joachim Neugröschel.)
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218:
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In June 2019, Christie's set an auction record when the artist's work
1219:
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Minturn, Kent. "Dubuffet, Levi-Strauss, and the Idea of Art Brut".
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Minturn, Kent. "Dubuffet, Levi-Strauss, and the Idea of Art Brut".
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In 1978 Dubuffet collaborated with American composer and musician
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1278:. London: Cacklegoose Press. pp. 16 (footnote), 74–75, 377.
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511:
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Duchamp Is My Lawyer: The Polemics, Pragmatics, and Poetics of
515:
1331:. New York: New York Museum of Modern Art, 1962. Print. P. 19
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Tome I, II, Paris 1967; Tome III, IV, Gallimard: Paris 1995
588:
The Intercontinental Philharmonic Orchestra and Royal Choir
567:: a very large outdoor painted sculpture designed for the
1642:
The Modern Art Index Project, Metropolitan Museum of Art
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296:. In 1944 he started an important relationship with the
1207:. New York: New York Museum of Modern Art, 1962. Print.
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artists. Dubuffet's work was placed among the likes of
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Dubuffet died from emphysema in Paris on 12 May 1985.
165:. He moved to Paris in 1918 to study painting at the
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Five Europeans: Bacon, Balthus, Dubuffet, Giacometti
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Kramer, Hilton (May 1962). "Playing the Primitive".
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Jean Dubuffet, délits déportements lieux de haut jeu
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1564:"Dubuffet work from 1961 makes top price in London"
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The Work of Jean Dubuffet, with Texts by the Artist
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The Work of Jean Dubuffet, with Texts by the Artist
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1223:, Columbia University Press, New York, pp. 238-240
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1154:"Entre Dubuffet et Chaissac, un lien passionnel"
552:, a founding member of the avant-garde movement
1506:"Jean Dubuffet, Painter and Sculptor, Is Dead"
1022:Jean Dubuffet: Towards an Alternative Reality.
898:Fascicule I-XXXVIII, Pauvert: Paris, 1965–1991
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1376:California. University, Irvine. Art Gallery.
230:, a friend of Dubuffet from childhood, took
8:
1002:1981 (Translated from German by Erich Wolf.)
1553:. Marseille: Mucem. Accessed November 2019.
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966:, New York: The Museum of Modern Art, 1962
169:, becoming close friends with the artists
121:(31 July 1901 – 12 May 1985) was a French
31:
20:
244:Microbolus Macadam & Cie/Hautes Pates
1623:The Collection de l'Art Brut in Lausanne
926:New York: Four Walls Eight Windows, 1986
924:Asphyxiating Culture and other Writings.
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896:Catalogue des travaux de Jean Dubuffet,
782:Jean Dubuffet: Exposition du centenaire
436:. This collection is now housed at the
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767:Institute of Contemporary Arts, London
638:Institute of Contemporary Arts, London
288:, he admired and supported the writer
1926:Honorary members of the Royal Academy
1276:Joseph Glasco: The Fifteenth American
1109:, Osnabrueck: Der andere Verlag, 2004
482:Prospectus aux amateurs de tout genre
404:. In June 1948, Dubuffet, along with
7:
1541:. London: Arts Council, 1966. Print.
1465:, Ministère français de la Culture.
1443:, Ministère français de la Culture.
1393:. London: Arts Council, 1966. Print.
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1267:
1160:. 22 July 2013 – via Le Monde.
1088:Jean Dubuffet: Trace of an Adventure
1076:, New York: Vilo International, 2001
1551:Jean Dubuffet: Un barbare en Europe
1380:. Irvine: The Gallery, 1966. Print.
1120:Marianne Jakobi, Julien Dieudonné,
917:Prospectus et tous Ă©crits suivants,
790:Jean Dubuffet: un barbare en Europe
1896:Art Informel and Tachisme painters
141:, and for the collection of works—
14:
1871:20th-century French male artists
680:Musee des Arts Decoratifs, Paris
659:Pierre Matisse Gallery, New York
631:Pierre Matisse Gallery, New York
610:collects and exhibits his work.
300:and French writer and publisher
108:
1389:Arts Council of Great Britain.
1043:, Berlin: Reimer, 1997 (German)
877:In April 2021, Jean Dubuffet's
510:thickened by materials such as
806:, Barbican Art Gallery, London
760:Gimpel Hanover Galerie, Zurich
694:Museum of Modern Art, New York
645:Stadtisches Museum, Leverkusen
1:
1881:20th-century French sculptors
1740:Courre Merlan (Whiting Chase)
1724:The Cow with the Subtile Nose
1504:Russell, John (15 May 1985).
826:The Cow with the Subtile Nose
774:Robert Fraser Gallery, London
746:Galerie Claude Bernard, Paris
715:Robert Fraser Gallery, London
701:Robert Fraser Gallery, London
673:Kestner-Gesellschaft, Hanover
666:Arthur Tooth and Sons, London
652:Arthur Tooth and Sons, London
119:Jean Philippe Arthur Dubuffet
47:Jean Philippe Arthur Dubuffet
1866:20th-century French painters
1791:Monument with Standing Beast
1647:Dubuffet at the Tate Gallery
1094:-Arco, Munich: Prestel, 2003
1017:, Geneva: Albert Skira, 1986
858:Monument with Standing Beast
804:Jean Dubuffet: Brutal Beauty
739:Galerie Jeanne Bucher, Paris
473:Artistry of the Mentally Ill
1316:Anthropology and Aesthetics
1303:Anthropology and Aesthetics
732:Stedelijk Museum, Amsterdam
529:which he then painted with
476:, Dubuffet coined the term
191:German Occupation of France
16:French painter and sculptor
1942:
1537:Dubuffet, Jean 1901-1985.
708:Galleria Marlborough, Rome
625:Galerie Rene Drouin, Paris
619:Galerie Rene Drouin, Paris
426:La Compagnie de l'art brut
1462:Closerie et Villa Falbala
1274:Raeburn, Michael (2015).
964:The Work of Jean Dubuffet
874:sold for $ 11.1 million.
563:In 1974 Dubuffet created
424:, officially established
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30:
785:, Centre Pompidou, Paris
536:Dubuffet has influenced
438:Collection de l'art brut
143:Collection de l'art brut
1906:French modern sculptors
1809:Fondation Jean Dubuffet
1539:Jean Dubuffet Paintings
1485:. Kröller-Müller Museum
1124:, Paris, Perrin, 2007,
1059:Centre Georges Pompidou
687:Hanover Gallery, London
608:Fondation Jean Dubuffet
381:National Gallery of Art
321:National Gallery of Art
282:College of Pataphysique
1901:French modern painters
1891:Académie Julian alumni
1479:"Jardin d'Ă©mail, 1974"
1391:Jean Dubuffet Drawings
753:Galerie Beyeler, Basel
584:The Pillory/The Battle
463:
458:, an example of a non-
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368:Transition to art brut
324:
290:Louis-Ferdinand CĂ©line
210:
1916:Artists from Le Havre
1886:French male sculptors
1232:Colin-Picon, op. cit.
1000:Harry N. Abrams, Inc.
885:Selected bibliography
569:Kröller-Müller Museum
450:
375:
315:
208:
153:Dubuffet was born in
37:Jean Dubuffet in 1960
1876:French male painters
1652:21 June 2008 at the
1637:Museum of Modern Art
976:, Paris: Weber, 1971
872:Cérémonie (Ceremony)
456:Milwaukee Art Museum
317:Corps de dame jaspé
308:Reception in America
1775:Monument au FantĂ´me
1759:Group of Four Trees
1440:La Tour aux Figures
1429:Monument historique
1403:Notice www.bilan.ch
1305:46 (2004): 247-258.
1216:Kenneth Goldsmith,
1105:Michael Krajewski,
850:Monument au FantĂ´me
834:Group of Four Trees
209:Jean Dubuffet, 1960
88:Painting, sculpture
1628:Fondation Dubuffet
1510:The New York Times
1415:dossier didactique
1250:Oxford Art Journal
1182:Journal de l'année
1020:Mildred Glimcher,
890:Catalogue Raisonné
879:La féconde journée
464:
422:Henri-Pierre Roche
385:
377:Barbe des combats
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298:resistance-fighter
280:in 1948, then the
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1838:
1837:
1716:Cows and Groomers
1618:PAF Jean Dubuffet
1613:Music By Dubuffet
1358:Missing or empty
1130:978-2-262-02089-7
1072:Laurent Danchin,
994:Andreas Franzke,
979:Andreas Franzke,
939:Principal studies
905:Lebon: Paris 1991
818:Cows and Groomers
544:Other enterprises
462:Dubuffet painting
249:Clement Greenberg
221:, as well as the
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1654:Wayback Machine
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1590:. 15 April 2021
1588:news.artnet.com
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1572:. 25 June 2019.
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1013:Michel Thévoz,
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915:Jean Dubuffet,
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901:Webel, Sophie,
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842:La Chiffonnière
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586:, performed by
558:Jacques Soisson
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358:Alfonso Ossorio
330:School of Paris
328:supporting the
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167:Académie Julian
163:Georges Limbour
159:Raymond Queneau
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135:School of Paris
97:School of Paris
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452:Court les rues
414:Charles Ratton
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25:Jean Dubuffet
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1825:Outsider art
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1592:. Retrieved
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1456:Base Mérimée
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406:Jean Paulhan
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302:Jean Paulhan
294:André Masson
269:Jean Paulhan
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175:André Masson
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118:
117:
74:(1985-05-12)
57:31 July 1901
18:
1861:1985 deaths
1856:1901 births
1770:(1968-1974)
1489:19 November
1467:(in French)
1445:(in French)
1158:Le Monde.fr
602:Exhibitions
580:The Pillory
576:Jasun Martz
538:Linda Naeff
527:polystyrene
351:avant-garde
215:Paris MĂ©tro
189:during the
183:noise music
72:12 May 1985
1845:Categories
1751:Sculptures
1569:Christie's
1460:Notice of
1438:Notice of
1360:|url=
1024:New York:
970:Max Loreau
550:Asger Jorn
201:Early work
149:Early life
53:1901-07-31
1708:Paintings
1518:0362-4331
1090:, ed. by
1057:, Paris:
797:Marseille
734:198 works
727:107 works
682:402 works
506:using an
504:oil paint
460:painterly
398:Fromentin
390:Delacroix
195:Wehrmacht
171:Juan Gris
103:Signature
1650:Archived
1594:17 April
1523:21 March
1351:cite web
1122:Dubuffet
949:Dubuffet
910:Writings
799:, France
776:13 works
769:76 works
762:34 works
755:88 works
748:46 works
744:1964-5:
741:18 works
737:1964-5:
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725:, Venice
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710:68 works
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696:85 works
689:27 works
675:88 works
668:40 works
661:77 works
654:31 works
647:87 works
640:56 works
633:29 works
478:art brut
470:'s book
442:Lausanne
402:art brut
155:Le Havre
139:art brut
127:sculptor
93:Movement
63:, France
61:Le Havre
1818:Related
1802:Museums
1635:at the
990:3669520
958:1310555
533:paint.
508:impasto
394:Matisse
383:in 2022
342:Rouault
334:Picasso
323:in 2022
219:Fauvism
129:of the
123:painter
1794:(1984)
1786:(1978)
1778:(1977)
1762:(1972)
1743:(1964)
1735:(1961)
1727:(1954)
1719:(1943)
1516:
1282:
1220:UbuWeb
1184:, 1986
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629:1951:
623:1946:
617:1944:
420:, and
396:, and
340:, and
338:Braque
223:Brucke
177:, and
1137:Notes
793:MuCEM
594:Death
554:COBRA
531:vinyl
520:straw
247:well—
187:Bercy
1596:2021
1525:2019
1514:ISSN
1491:2022
1364:help
1280:ISBN
1179:(fr)
1126:ISBN
1112:ISBN
1097:ISBN
1079:ISBN
1064:ISBN
1046:ISBN
1031:ISBN
1028:1987
1005:ISBN
986:OCLC
954:OCLC
929:ISBN
606:The
518:and
512:sand
432:and
360:and
271:and
161:and
125:and
69:Died
43:Born
516:tar
440:in
1847::
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133:(
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51:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
