38-582: Art International known as Art International Magazine , was an art journal based in Switzerland and issued 10 times per year, before moving to Paris where it was issued quarterly. James A. Fitzsimmons was the magazine's first chief editor and publisher, succeeded in 1987 by Michael Peppiatt . Art International magazine's first volume was published in 1957; the journal, published until 1991, documented international artists and events and had ten issues per volume annually until 1987, at which point it switched to
76-578: A biannual exhibition at that gallery. 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 dissociated himself from most of the ideals of the school, and reacted very strongly against
114-514: 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 decade.' Indeed, Dubuffet was very prolific in the United States in the year following his first exhibition in New York (1951). After 1946, Dubuffet started
152-401: 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." Dubuffet's art primarily features the resourceful exploitation of unorthodox materials. Many of Dubuffet's works are painted in oil paint using an impasto thickened by materials such as sand , tar and straw , giving
190-535: A junior art critic. He then went to Paris to take up an editorial job at Réalités magazine, where he remained until 1969, when he was appointed arts editor at Le Monde . In the mid-1970s he began reporting on cultural events across Europe for The New York Times and The Financial Times , becoming Paris correspondent for several art magazines, notably Art News and Art International . In 1985, Peppiatt became owner and editor of Art International , which he relaunched from Paris, devoting special issues to
228-584: A more authentic and humanistic approach to image-making. He is perhaps best known for founding the art movement art brut , and for the collection of works— Collection de l'art brut —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. Dubuffet was born in Le Havre to a family of wholesale wine merchants who were part of
266-544: A quarterly release. Volume 5, Part 1 was published between January and March 1961 and it reached Volume 27 Issue 4 in 1984. After changing hands in 1987, it was renumbered Volume 0 Issue 1 and lasted until Issue 14 in 1991. It was first published in Lugano, Switzerland, by the magazine's chief editor, publisher and owner James A. Fitzsimmons, before moving to Paris, France, where it was published by Archive Press. Michael Peppiatt Michael Henry Peppiatt (born 9 October 1941)
304-423: A result, his work 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 Hilton Kramer , "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
342-466: A series of portraits, with his own friends Henri Michaux , Francis Ponge , George Limbour , Jean Paulhan and Pierre Matisse 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 surrealist group in 1948, then the College of Pataphysique in 1954. He
380-627: Is a member of the Society of Authors and the Royal Society of Literature , and since 2010 he has been on the board of the Palazzo delle Esposizioni in Rome . In 2012, Peppiatt published Interviews with Artists , a book of more than forty interviews with personalities ranging from Jean Dubuffet , Balthus , and Oscar Niemeyer to Brassai , Henri Cartier-Bresson , and Antoni Tàpies . An exhibition on this theme
418-558: Is an English art historian , curator and writer. Son of Edward George Peppiatt (died 1983), B.Sc, ARCS , of Silver Birches, Stocking Pelham , near Buntingford , Hertfordshire , technical and production director for a pharmaceutical manufacturing company, and Elsa Eugénie (née Schlaich; died 1997). Michael Peppiatt studied at Brentwood School, Essex , at the University of Göttingen , and at Trinity Hall , Cambridge (BA 1964, MA 1985, PhD) and subsequently joined The Observer as
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#1733084867777456-573: The German Occupation of France . Years later, in an autobiographical text, he boasted about having made substantial profits by supplying wine to the Wehrmacht . 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 Paris Métro or walking in the country. Dubuffet painted with strong, unbroken colors, recalling
494-429: 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 avant-garde tradition, and drew influence from Dubuffet's work. His reception in America was very closely linked to and dependent upon
532-519: 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 supporting the School of Paris artists. Dubuffet's work was placed among the likes of Picasso , Braque , and Rouault at the gallery exhibit, and he
570-673: The Danish painter Asger Jorn , a founding member of the avant-garde movement COBRA . 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
608-641: The French Outsider Art artist Jacques Soisson . In 1974 Dubuffet created Jardin d'émail , a very large outdoor painted sculpture designed for the Kröller-Müller Museum . In 1978 Dubuffet collaborated with American composer and musician Jasun Martz to create the record album artwork for Martz's avant-garde symphony entitled The Pillory . 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
646-568: The Mentally Ill , Dubuffet coined the term art brut (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 Prospectus aux amateurs de tout genre that his aim
684-772: The New York art world's desire to create its own avant-garde environment. Specific examples of American artists interested in Dubuffet’s art were Alfonso Ossorio and Joseph Glasco . 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. Between 1947 and 1949, Dubuffet took three separate trips to Algeria—a French colony at
722-543: The School of London, Francis Bacon , Alberto Giacometti , Christian Schad and Antoni Tàpies . In 2009, Peppiatt curated an exhibition of sculpture by Dado for the Venice Biennale , a Maillol retrospective for Barcelona, and a Caravaggio -Bacon exhibit for the Galleria Borghese in Rome . In 2005, Peppiatt was awarded a Ph.D by the University of Cambridge for his publications on 20th-century art . He
760-780: The UK Friends of the National Museum of Women in the Arts . He is a Fellow of the Society of Antiquaries and the Royal Historical Society. Jean Dubuffet Jean Philippe Arthur Dubuffet (31 July 1901 – 12 May 1985) was a French painter and sculptor of the Ecole de Paris ( School of Paris ). His idealistic approach to aesthetics embraced so-called "low art" and eschewed traditional standards of beauty in favor of what he believed to be
798-575: The artists he most admired. In 1994, Peppiatt returned to London with his wife, the art historian Jill Lloyd , and their two children, where he wrote the biography of Francis Bacon (1909–1992), whose close friend and commentator he had been for thirty years. Chosen as a "Book of the Year" by The New York Times and translated into several languages, the biography is considered the definitive account of Bacon's life and work. Peppiatt has curated numerous exhibitions worldwide, notably travelling retrospectives of
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#1733084867777836-434: The cramped effect of his works. 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 polystyrene which he then painted with vinyl paint. Dubuffet has influenced Linda Naeff . In late 1960–1961, Dubuffet began experimenting with music and sound and made several recordings with
874-468: 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
912-458: The drawing is also featured on Martz's second symphony (2005), The Pillory/The Battle , performed by The Intercontinental Philharmonic Orchestra and Royal Choir . Dubuffet died from emphysema in Paris on 12 May 1985. The Fondation Jean Dubuffet collects and exhibits his work. The following is a chronological list of exhibits featuring Dubuffet, along with the number of his works displayed at each exhibit. In 25 June 2019, an auction record
950-436: 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 art brut . In June 1948, Dubuffet, along with Jean Paulhan , Andre Breton , Charles Ratton , Michel Tapie , and Henri-Pierre Roche , officially established La Compagnie de l'art brut in Paris. This association
988-463: The exhibition, Francis Bacon: Man and Beast , at the Royal Academy of Arts , London. The exhibition charts the development of Bacon's work through the lens of his fascination with animals and its impact on his treatment of the human figure. Peppiatt has completed a new memoir about his life in Paris from the 1960s onwards, to be published by Bloomsbury . Peppiatt serves on the advisory council of
1026-454: The palette of Fauvism , as well as the Brucke 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 George Limbour , a friend of Dubuffet from childhood, took Jean Paulhan to the artist's studio. Dubuffet's work at that time
1064-405: 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 Bercy during
1102-453: The time—in order to find further artistic inspiration. In this sense, Dubuffet is very similar to other artists such as Delacroix , Matisse , and Fromentin . 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
1140-595: The wealthy bourgeoisie. His childhood friends included the writers Raymond Queneau and Georges Limbour . He moved to Paris in 1918 to study painting at the Académie Julian , becoming close friends with the artists Juan Gris , André Masson , and Fernand Léger . 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 noise music , poetry, and
1178-428: 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
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1216-524: 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 he 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
1254-646: Was best manifested in Dubuffet's series 'Hautes Pâtes' or Thick Impastoes, which he exhibited at his second major exhibition, entitled Microbolus Macadam & Cie/Hautes Pates 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 well— Clement Greenberg took notice of Dubuffet's work and wrote that '[f]rom
1292-627: Was dedicated to the discovery, documentation and exhibition of art brut. Dubuffet later amassed his own collection of such art, including artists Aloïse Corbaz and Adolf Wölfli . This collection is now housed at the Collection de l'art brut in Lausanne , 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. Influenced by Hans Prinzhorn 's book Artistry of
1330-581: Was friendly with the French playwright, actor and theater director Antonin Artaud , he admired and supported the writer Louis-Ferdinand Céline and was strongly connected with the artistic circle around the surrealist André Masson . In 1944 he started an important relationship with the resistance-fighter and French writer and publisher Jean Paulhan who was also strongly fighting against "intellectual terrorism", as he called it. Dubuffet achieved very rapid success in
1368-488: 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 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
1406-797: Was shown at Eykyn Maclean in London . Peppiatt curated a Miró exhibition that travelled from the Bucerius Kunst Forum in Hamburg to the Kunstsammlung , Düsseldorf , in 2014–15. Peppiatt's latest memoir, Francis Bacon in Your Blood , was published by Bloomsbury in August 2015. In 2018, Peppiatt curated the exhibition Bacon/Giacometti at the Beyeler Foundation , Switzerland . In 2022, Peppiatt curated
1444-536: 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. In 1945, Dubuffet attended and was strongly impressed by a show in Paris of Jean Fautrier 's paintings in which he recognized meaningful art which expressed directly and purely
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