Jean DubuffetCafetière, assiette, tasse et soucoupe
1965
Acrylic on paper laid on canvas
Signed and dated J Dubuffet 65 lower right
19.69 x 26.97 in ( 50 x 68.5 cm )

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Inquiry - Cafetière, assiette, tasse et soucoupe, 1965

Jean Dubuffet was born in Le Havre in 1901, into a family of prosperous wine merchants. Arriving in Paris in 1918, he quickly lost interest in the teaching at the Académie Julian, instead immersing himself in the Dada movement. He mingled with the literary and artistic bohemia of Montmartre, associating with figures such as Suzanne Valadon and Max Jacob.

From 1922, he joined André Masson's studio, where he notably met Michel Leiris and Antonin Artaud. Dubuffet's early paintings reflect André Masson's influence, while borrowing from Fernand Léger his conception of an art rooted in everyday, commonplace, and popular life.

Returning to Le Havre in 1925, he abandoned artistic practice to pursue a career as a wine merchant. However, eight years later, in 1936, he returned to Paris to devote himself to artistic creation. It was during the Occupation, in 1942, that Dubuffet definitively committed himself to art.

An iconoclast, Dubuffet opposed an elitist and ethnocentric view of culture. He found inspiration in the freshness and cheerfulness of children's drawings and the works of "mentally ill" artists, which he collected. His first solo exhibition in 1944 at the René Drouin Gallery in Paris, titled "Marionnettes de la ville et de la campagne" ("Puppets of the City and the Countryside"), sparked scandal and controversy, with some accusing him of being an impostor and a mere "dauber."

Nonetheless, Dubuffet continued to relentlessly experiment with all materials, supports, and formats, considering spontaneity more authentic than any other artistic approach.

Driven by a keen enthusiasm for landscapes and space, Dubuffet embarked on journeys to the Sahara between 1947 and 1949. These experiences profoundly influenced his work. He created sketches and paintings based on his observations in the desert, adopting an aesthetic that reflects the aridity and majesty of these vast expanses. His fascination with the Bedouins' way of life and the mineral quality of the landscape aligned with his attraction to raw materials.

From 1951, Dubuffet explored the physical possibilities of matter, using varied materials to create unique textures and forms. He applied thick masonry over his canvases, covering the entire surface. This constant quest for plastic innovations led him to use a wide range of materials and tools, from sand to tar, gravel, plaster, and coal dust. His artistic approach prioritized spontaneity and creation from scratch.

In 1962, Dubuffet embarked on a twelve-year cycle titled "L'Hourloupe," characterized by drawings, paintings, sculptures, and even architecture. This series, recognizable by its distinctive aesthetic of interwoven lines on a white background, reflects the artist's overflowing imagination. Through "L'Hourloupe," Dubuffet sought to immerse viewers in his bustling and mysterious universe, where abstract forms and vaguely identifiable motifs combine to create a parallel world.

In addition to "L'Hourloupe," Dubuffet also explored other series, notably the "Sites" and "Psycho-sites" in the 1980s, where the designation of "landscape" was replaced by the vaguer term "Site." These later works mark a new phase in the artist's career, where he experimented with new chromatic and gestural techniques while continuing to challenge established artistic conventions.

Jean Dubuffet's artistic career was marked by a constant desire to defy norms and conventions, as well as an unceasing search for new forms of expression. His contribution to modern art remains invaluable, his work having influenced many contemporary artists and continuing to inspire future generations.