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拍品專文
Michel Tapié, important critique d'art de l'après-guerre et auteur de l'ouvrage Un Art autre, a rencontré Jean Dubuffet au cours de l'hiver 1945. Les deux hommes sont alors voisins et échangent très rapidement autour de leurs passions communes: la peinture et le jazz. Rapidement, ils se lient d'amitié et partagent les mmes conceptions artistiques, Tapié signant notamment le livret de la fameuse exposition Mirobolus, Macadam et Cie de Dubuffet organisée chez René Drouin. Lorsqu'en 1946, Dubuffet amorce sa série sur les 'Portraits', Michel Tapié fait alors évidemment partie de ses figures emblématiques que le peintre s'amuse caricaturer. Il réalise ainsi plusieurs portraits, chaque fois différents, dont les plus importants sont aujourd'hui dans de prestigieuses collections, l'image de Michel Tapié Soleil conservé au Centre National pour l'art contemporain Georges Pompidou. Cependant, les rapports entre ces deux fortes personnalités se tendent assez rapidement et une brouille finit par rompre le contact entre eux. Néanmoins, l'admiration réciproque des deux hommes reste particulièrement présente et, près de quarante ans plus tard, Jean Dubuffet écrira ces mots Michel Tapié: 'Cher Michel Tapié. On se disait tu et donc continuons. Les syncopes, mme longues, n'interrompent pas la musique. [] Il y a longtemps que je voulais t'écrire et voil que je le fais enfin. De nos rencontres assidues, [] j'ai gardé le souvenir extrmement vif. Tout ce que tu disais alors et qui était ingénieux, si fécond, si stimulant, demeure dans ma pensée comme si c'était hier, voire aujourd'hui. Je te salue affectueusement, je t'embrasse. Jean Dubuffet' (Lettre Michel Tapié du 6 décembre 1982, archives Michel Tapié, Paris).
Michel Tapié, a major art critic in the post-war period and author of Un Art Autre, met Jean Dubuffet during the winter of 1945. The two men were neighbours and soon began discussing their shared passions - painting and jazz. They quickly became friends and shared the same artistic ideas, Tapié in particular writing the text for the introduction to the catalogue accompanying the Dubuffet's famous Mirobolus, Macadam et Cie exhibition organised by René Drouin. When, in 1946, Dubuffet began his Portraits series, Tapié was naturally among the emblematic sitters the painter chose to caricature. He produced several of these portraits, different each time, the largest of which are currently in prestigious collections, including Michel Tapié Soleil in the Pompidou Centre. However, relations between these two strong personalities soon became tense and a quarrel ended up breaking contact between them. Nevertheless, there remained considerable reciprocal admiration and, nearly 40 years later, Dubuffet would write to Michel Tapié:
'Dear Michel Tapié. We used to call each other 'tu' so let's continue. Rests, even long ones, do not interrupt the music. [] I have wanted to write to you for a long time and now I finally am. I have a very vivid memory of our earnest meetings []. Everything you said, which was so astute, so fecund, so stimulating, remains in my mind as if it were yesterday, or today even. With my greetings and my fondest regards, Jean Dubuffet.' (Letter to Michel Tapié dated 6 December 1982, Michel Tapié archives, Paris).
Michel Tapié, a major art critic in the post-war period and author of Un Art Autre, met Jean Dubuffet during the winter of 1945. The two men were neighbours and soon began discussing their shared passions - painting and jazz. They quickly became friends and shared the same artistic ideas, Tapié in particular writing the text for the introduction to the catalogue accompanying the Dubuffet's famous Mirobolus, Macadam et Cie exhibition organised by René Drouin. When, in 1946, Dubuffet began his Portraits series, Tapié was naturally among the emblematic sitters the painter chose to caricature. He produced several of these portraits, different each time, the largest of which are currently in prestigious collections, including Michel Tapié Soleil in the Pompidou Centre. However, relations between these two strong personalities soon became tense and a quarrel ended up breaking contact between them. Nevertheless, there remained considerable reciprocal admiration and, nearly 40 years later, Dubuffet would write to Michel Tapié:
'Dear Michel Tapié. We used to call each other 'tu' so let's continue. Rests, even long ones, do not interrupt the music. [] I have wanted to write to you for a long time and now I finally am. I have a very vivid memory of our earnest meetings []. Everything you said, which was so astute, so fecund, so stimulating, remains in my mind as if it were yesterday, or today even. With my greetings and my fondest regards, Jean Dubuffet.' (Letter to Michel Tapié dated 6 December 1982, Michel Tapié archives, Paris).