- 24
JEAN DUBUFFET | Paysage désorienté
估價
500,000 - 700,000 EUR
招標截止
描述
- 尚·杜布菲
- Paysage désorienté
- signed J. Dubuffet and dated 57 (lower right); signed J. Dubuffet, titled Paysage désorienté and dated juin 57 (on the reverse)
- oil on canvas
- 65 x 81 cm; 25 9/16 x 31 7/8 in.
- Painted on June 7th, 1957.
來源
Galerie Paul Facchetti, Paris
Collection Pietro Campilli, Rome
Galerie Beyeler, Basel
Arnold Herstand Gallery, New York
James Goodman Gallery, New York
Collection Ellen Cantrowitz, New York
Acquired from the above by the present owner
Collection Pietro Campilli, Rome
Galerie Beyeler, Basel
Arnold Herstand Gallery, New York
James Goodman Gallery, New York
Collection Ellen Cantrowitz, New York
Acquired from the above by the present owner
展覽
Basel, Galerie Beyeler, Jean Dubuffet, février - avril 1965, no. 40; catalogue, illustrated in colour, np.
New York, James Goodman Gallery, Dubuffet: Form & Texture, 21 October - 15 December 2015; catalogue, illustrated in colour, p. 17
New York, James Goodman Gallery, Dubuffet: Form & Texture, 21 October - 15 December 2015; catalogue, illustrated in colour, p. 17
出版
Jean Dubuffet, Jean Dubuffet : catalogue des peintures faites à Vence du 1er avril au 31 août 1957, Paris, 1958, no. 11, illustrated np.
Max Loreau, Catalogue des travaux de Jean Dubuffet. Fascicule XIII : Célébration du sol I, Lieux cursifs, texturologies, topographies, 1969, Lausanne, no. 52, illustrated p. 41
Max Loreau, Catalogue des travaux de Jean Dubuffet. Fascicule XIII : Célébration du sol I, Lieux cursifs, texturologies, topographies, 1969, Lausanne, no. 52, illustrated p. 41
Condition
The colours are fairly accurate in the printed catalogue illustration. The work is executed on its original canvas and is not relined. There are faint wear marks to the lower right corner. There are tiny cracks to the rims, certainly due to the stretcher, some of which have resulted in small pigment losses along the rims. The white area along the upper edge presents tiny scattered hairline cracks visible upon close inspection only. This work is in very good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
拍品資料及來源
The objective of painting is to animate a surface.
Jean Dubuffet Bold ode to matter, Paysage Désorienté illustrates better than any other Dubuffet's paintings from the end of the 50s his radical rupture with formalism. Leading figure of informal art and fierce defender of art brut, of which he is a major representative, the polymath artist here makes room for this "part of chance specific to each medium" he vividly described in his writings of the 60s.
With its mute tones, its subject blending into the background, and its spontaneous and rough touch reminiscent of Paysages du Mental from the early 50s, as well as the childhood drawings the artist was fond of, Paysage Désorienté is particularly emblematic of the famous Lieux Cursifs Dubuffet created in Vence between April and September 1957.
Flattened up, the ground plane and protagonists embedded in the pictorial matter here merge into an intellectual construct indicative of Dubuffet's poetical and strange world vision. Initially bought from the mythical Facchetti gallery -the one who exhibited Michel Tapié protégés for its opening in 1951, organizing an outstanding exhibition entitled Signifiants de l'informel with works by Fautrier, Dubuffet, Mathieu, Michaux and Riopelle, before holding the first French retrospective exhibition of the then little known American painter Jackson Pollock- Paysages Désorienté is also highly representative of the most avant-garde trends of the post-war period.
Jean Dubuffet Bold ode to matter, Paysage Désorienté illustrates better than any other Dubuffet's paintings from the end of the 50s his radical rupture with formalism. Leading figure of informal art and fierce defender of art brut, of which he is a major representative, the polymath artist here makes room for this "part of chance specific to each medium" he vividly described in his writings of the 60s.
With its mute tones, its subject blending into the background, and its spontaneous and rough touch reminiscent of Paysages du Mental from the early 50s, as well as the childhood drawings the artist was fond of, Paysage Désorienté is particularly emblematic of the famous Lieux Cursifs Dubuffet created in Vence between April and September 1957.
Flattened up, the ground plane and protagonists embedded in the pictorial matter here merge into an intellectual construct indicative of Dubuffet's poetical and strange world vision. Initially bought from the mythical Facchetti gallery -the one who exhibited Michel Tapié protégés for its opening in 1951, organizing an outstanding exhibition entitled Signifiants de l'informel with works by Fautrier, Dubuffet, Mathieu, Michaux and Riopelle, before holding the first French retrospective exhibition of the then little known American painter Jackson Pollock- Paysages Désorienté is also highly representative of the most avant-garde trends of the post-war period.