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拍品專文
'I have always directed my attempts at the figurative representation of objects by way of summary and not very descriptive brushstrokes, diverging greatly from the real objective measurements of things, and this has led many people to talk about childish drawing... this position of seeing them (the objects) without looking at them too much, without focussing more attention on them than any ordinary man would in normal everyday life.'
(Jean Dubuffet quoted in: Jean Dubuffet, Prospectus et tous écrits suivants, tome II, Paris 1967, p. 105)
'Deny if possible any form of knowledge whatever it may be, any knowledge of a person by another. Invalidate the notion of truth- the only truth being subjective and relative, indefinitely displaceable. That which we believe surrounds us is illusory. Straying from our conception of time, finite or infinite, from curve or straight-line, from emptiness and fullness and from matter. There is no matter, there is nothing but energetic motions in incessant movement, stripped of all consistency'.
(Jean Dubuffet: late paintings, exh.cat., Waddington Galleries, London 2000. p. 8)
Executed in 1984, Dubuffet's Dramatique IX is part of an outstanding late series of acrylic works on paper created a year prior to his death in 1985. In the last homogenous period of his life, Dubuffet returned to an agitated linear, non-figurative style, where both emotional confusion and disjunction have been transferred to the canvas. The 1984 Non-lieux paintings are perceived as an extension of his Mires series, where the artist returned to the usage of a high colour palette and the elimination of any figurative reference. In his last series, Dubuffet renders the overall canvas by eliminating any sense of logic and central viewpoint, enabling him to work with greater spontaneity. There is an "all over" effect caused by Dubuffet's energetic and unfaltering brushstrokes which takes advantage of the edges of the canvas, occupying any sense of space which could be transposed onto the viewer and allowing instead for a pure energy to evoke. The black background acts a succumbing point of closure, allowing for the dense and fast moving linear tracing strokes to defy the fields of abstraction. In Dramatique IX, Dubuffet encompasses a field of being and thought, purged of all specificities. The artist is able to achieve an unexpected third dimensionality, an empty space where one is able to exercise the power of the mind and reflect over the state of being. For whom imagery refers to 'another level of human discourse: that of the even monotonous flux of the irrational or pre-logical mind' (ibid., p. 27). To Dubuffet, the importance of art was to express man's natural state rather than his cultured afterthoughts; and by believing so, the artist rejected figurative conventions of three-dimensional perspective space. Dubuffet concluded 'when one has looked at a painting of this kind, one looks at everything around one with a new refreshed eye, and one learns to see the unaccustomed and amusing side of things. When I say amusing, I do not mean solely the funny side, but also the grand, the moving and even the tragic aspects [of ordinary things]' (Jean Dubuffet, Prospectus, vol. 1, p. 47, quoted in Jean Dubuffet: A Retrospective, New York 1973, p. 23).
(Jean Dubuffet quoted in: Jean Dubuffet, Prospectus et tous écrits suivants, tome II, Paris 1967, p. 105)
'Deny if possible any form of knowledge whatever it may be, any knowledge of a person by another. Invalidate the notion of truth- the only truth being subjective and relative, indefinitely displaceable. That which we believe surrounds us is illusory. Straying from our conception of time, finite or infinite, from curve or straight-line, from emptiness and fullness and from matter. There is no matter, there is nothing but energetic motions in incessant movement, stripped of all consistency'.
(Jean Dubuffet: late paintings, exh.cat., Waddington Galleries, London 2000. p. 8)
Executed in 1984, Dubuffet's Dramatique IX is part of an outstanding late series of acrylic works on paper created a year prior to his death in 1985. In the last homogenous period of his life, Dubuffet returned to an agitated linear, non-figurative style, where both emotional confusion and disjunction have been transferred to the canvas. The 1984 Non-lieux paintings are perceived as an extension of his Mires series, where the artist returned to the usage of a high colour palette and the elimination of any figurative reference. In his last series, Dubuffet renders the overall canvas by eliminating any sense of logic and central viewpoint, enabling him to work with greater spontaneity. There is an "all over" effect caused by Dubuffet's energetic and unfaltering brushstrokes which takes advantage of the edges of the canvas, occupying any sense of space which could be transposed onto the viewer and allowing instead for a pure energy to evoke. The black background acts a succumbing point of closure, allowing for the dense and fast moving linear tracing strokes to defy the fields of abstraction. In Dramatique IX, Dubuffet encompasses a field of being and thought, purged of all specificities. The artist is able to achieve an unexpected third dimensionality, an empty space where one is able to exercise the power of the mind and reflect over the state of being. For whom imagery refers to 'another level of human discourse: that of the even monotonous flux of the irrational or pre-logical mind' (ibid., p. 27). To Dubuffet, the importance of art was to express man's natural state rather than his cultured afterthoughts; and by believing so, the artist rejected figurative conventions of three-dimensional perspective space. Dubuffet concluded 'when one has looked at a painting of this kind, one looks at everything around one with a new refreshed eye, and one learns to see the unaccustomed and amusing side of things. When I say amusing, I do not mean solely the funny side, but also the grand, the moving and even the tragic aspects [of ordinary things]' (Jean Dubuffet, Prospectus, vol. 1, p. 47, quoted in Jean Dubuffet: A Retrospective, New York 1973, p. 23).