Jean Dubuffet Quotes

Jean Philippe Arthur Dubuffet was a French painter and sculptor. His idealistic approach to aesthetics embraced so called "low art" and eschewed traditional standards of beauty in favor of what he believed to be 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. Wikipedia  

✵ 31. July 1901 – 12. May 1985

Works

Jean Dubuffet: 46   quotes 1   like

Famous Jean Dubuffet Quotes

“The role of the artist.... and the poet is precisely to blur normal categories, to disrupt them, and by doing so restore to the eyes and the mind ingenuity and freshness.”

Dubuffet once explained to Jacques Berne; as cited in 'Dubuffet, Lévi-Strauss, and the Idea of Art Brut', Kent Minturn, from RES: Anthropology and Aesthetics, No. 46, Polemical Objects (Autumn, 2004), pp. 247-258 http://www.columbia.edu/cu/arthistory/faculty/Minturn/Dubuffet-Levi-Strauss.pdf, p. 256
undated

“It pleased me (and I think this predilection is more or less constant in all my paintings) to juxtapose brutally, in these feminine bodies, the extremely general and the extremely particular, the metaphysical and the grotesque trivial. In my view, the one is considerably reinforced by the presence of the other.”

on his series 'Corps de Dame'
As quoted in Jean Dubuffet, Works, writings Interviews, ed. Valerie da Costa and Fabrice Hergott; Ediciones Polígrafa, Barcelona 2006
1960-70's, Prospectus et tous écrits suivants, 1967

“Every piece of information about these statues is totally useless... What. import is it to us if their author was a bureaucrat or a cowherd, an old man or a young person? It is very unfounded to pay attention to these meager ircumstances. There is no difference between an old and young man. Not the least in any domain. Or if he was from Burgundy or Auvergne it's the same. And if he is alive or dead for who knows how long it is the same to us. Between a contemporary and someone from the last century, or a companion of Clovis or the big prehistoric reptiles? No difference whatsoever. We are completely wrong to take interest in these details.”

Quote in Dubuffet's 1947 Entry on an anonymous sculptor, associated with the Swiss collector O.J. Müller; from: Jean Dubuffet, Les Barbus Müller et Autres Pièces de la Statuaire Provinciale(1947), in Prospectus I, pp. 498-49 (transl. Kent Minturn)
remark about the publication of biographically based texts on individual art brut artists; according to Dubuffet: veritable history of art without 'names,' 'dates,' or 'histories'.
1940's

Jean Dubuffet Quotes about art

“Man's need for art is absolutely primordial, as strong as, and perhaps stronger than, our need for bread. Without bread, we die of hunger, but without art we die of boredom.”

As quoted in Jean Dubuffet, Works, writings Interviews, ed. Valerie da Costa and Fabrice Hergott; Ediciones Polígrafa, Barcelona 2006, p. 14
1960-70's, Prospectus et tous écrits suivants, 1967

“Art does not lie down on the bed that is made for it; it runs away as soon as one says its name; it loves to go incognito. Its best moments are when it forgets what it is called.”

Quoted by Alan Magee, in Paintings, Sculpture, Graphics., Forum Gallery, New York, 2004
posthumous

“[children's art] is completely opposed to what interests me, because it's an effort to assimilate culture..”

In an interview with John M. MacGregor, later published in 'Raw Vision 7' (Summer 1993)
posthumous

“Fautrier's exhibition [in Paris 1945] made an extremely strong impression on me. Art had never before appeared so fully realised in its pure state. The word 'art' had never before been so loaded with meaning for me.”

Source: posthumous, Jean Dubuffet, Works, writings Interviews, 2006, pp. 23,28: quote in Dubuffet's letter to Jean Paulhan (letter 108)

Jean Dubuffet Quotes about painting

Jean Dubuffet Quotes

“.. the wind of 'art brut' blows on writing as well as on other avenues of artistic creation.”

Quote in the text of Jean Dubuffet, 'Project pour un petit texte liminaire introduisant les publications de 'L'art brut dans l'écrire', 1969 (1969), published in Le Langage de la rupture', Paris: Presses Universitaires de France, 1978
1960-70's

“The eye perceives what is hard and what is soft, what is porous and what is impervious, what is warm to the touch and what is cold.”

Quote of Jean Dubuffet, from 'L'auteur répond à quelques objections', (1946); as cited in Prospectus aux amateurs de tout genre, Jean Dubuffet; Paris: Gallimard, 1946, p. 115
1940's

“Portrait likenesses cooked and preserved in memory, likenesses burst in the memory of Mr. Jean Dubuffet, painter.”

Two quotes, Jean Dubuffet placed on the poster announcing his painting-show 'Les gens sont plus beaux qu'ils croient, in Galerie René Drouin, Paris (October 7–31, 1947)
1940's

“There are too many cogitations on Theory.... it is the malady of the epoch... Into the fire with Levi-Strauss and Michel Foucault!”

critical quote in Dubuffet's letter to Jacques Berne, 22October 1970, p. 190; as cited in 'Dubuffet, Lévi-Strauss, and the Idea of Art Brut', Kent Minturn http://www.columbia.edu/cu/arthistory/faculty/Minturn/Dubuffet-Levi-Strauss.pdf, from RES: Anthropology and Aesthetics, No. 46, Polemical Objects (Autumn, 2004), p. 256
Dubuffet complains that Levi-Strauss had become too theoretical
1960-70's

“What an adventure you have thrown me into! Nothing was farther from my thoughts than doing portraits! Now it's all I think about.... and i's all your handiwork”

Quote in Dubuffet's letter to American art-promoter Gould, dated 4 August 1946; as cited in Physiognomic Illegibility, by Kent Mitchell Minturn - JEAN DUBUFFET'S POSTWAR PORTRAITS https://www.nyu.edu/gsas/dept/fineart/people/faculty/minturnPDFs/Minturn%20Final%20(low%20res).pdf
1940's

“Art should be born from the materials.”

Source: posthumous, Jean Dubuffet, Works, writings Interviews, 2006, p. 68; in Notes pour les finslettrés

“[Dubuffet marvels at the desert as a chaotic palimpsest, filled with marks and signs].. like an immense notebook of disorganization, a notebook of improvisation.... an elementary school blackboard full of scribbles..”

Quote of Dubuffet, in a letter to Jacques Berne mailed from Algeria, late 1940's; (Lettres à J.B., p. 35.); as cited in 'Dubuffet, Lévi-Strauss, and the Idea of Art Brut', Kent Minturn http://www.columbia.edu/cu/arthistory/faculty/Minturn/Dubuffet-Levi-Strauss.pdf, from RES: Anthropology and Aesthetics, No. 46, Polemical Objects (Autumn, 2004), pp. 247-258, p. 250
1940's

“The Occidental man is not so bad... Not bad at all, the brave Aryan [inhabitant of the Saraha]... I'm not unhappy to be living with him again.... one need not go outside of Europe in order to find truly "savage" individuals... These savage values to which I attribute more value than all others, appear to show themselves, in our worlds of Europe and America, more forcefully and tempestuously than in all other worlds..”

Quotes in his letter to Jaque Berne, 29 April, 1949 (the day after his return to Paris); as cited in ; as cited in 'Dubuffet, Lévi-Strauss, and the Idea of Art Brut', Kent Minturn http://www.columbia.edu/cu/arthistory/faculty/Minturn/Dubuffet-Levi-Strauss.pdf, p. 250
1940's

“Our point of view on this question of the function of art is the same in all cases: there's no more an art of the insane than there is an art of dyspeptic people or the art of people with knee problems.”

Quote of Dubuffet on 'Art brut', in 'Art Brut Preferred to the Cultural Arts' (1949); (trans. Joachim Neugroschel), in Mildred Glimcher, Jean Dubuffet: Towards an Alternative Reality, New York: Abbeville Press, 1987, p. 104
1940's

“.. the sort of white crepe dough with which the person is thickly buttered [in the 'Haute Pâtes' series, Dubuffet made in 1946] was, by its proximity to the tar, dyed the color of burnt bread like a used Meerschaum pipe.”

Quote of Jean Dubuffet, in Indications descriptives, in Michel Tapie, Mirobolus, Macadam & Cie. (Paris, 1946). Dubuffet, 'More Modest, (1946) trans. Joachim Neugroschel in Tracks: A Journal of Artist's Writings 1:2 (Spring 1975), p 26-29
1940's

“.. to challenge the objective nature of being. The notion of being is presented here as relative rather than irrefutable: it is merely a projection of our minds, a whim of our thinking. The mind has the right to establish being wherever it cares to and for as long as it likes. There is no intrinsic difference between being and fantasy.”

Quote in a letter of Dubuffet to Arnold Glimcher, as cited by Valery Oisteanu, Jean Dubuffet: The Last Two Years http://brooklynrail.org/2012/03/artseen/jean-dubuffet-the-last-two-years. The Brooklyn Rail, March 2012.
posthumous

“From the point of view of technique, I liked there to be internal lines in objects, I mean that instead of circumscribing forms, they animate the insides of things—the inside of formless and non-delimited areas. They function as internal textures and not primarily as contours.”

Quote of Dubuffet in Catalogue, p. 47; as cited by Hubert Damisch, in 'Dubuffet or the Reading of the World', in 'Art de France 2' (1962), p. 337–346 (translated by Kent Minturn and Priya Wadhera)
1960-70's

“Man Writes on Sand.”

Quote from Prospectus aux amateurs de tout genre, Jean Dubuffet; Paris: Gallimard, 1946; translated in: Mildred Glimcher, ed., Jean Dubuffet: Towards an Alternative Reality; New York: Abbeville Press 1987; as cited in 'Dubuffet, Lévi-Strauss, and the Idea of Art Brut', Kent Minturn http://www.columbia.edu/cu/arthistory/faculty/Minturn/Dubuffet-Levi-Strauss.pdf, from RES: Anthropology and Aesthetics, No. 46, Polemical Objects (Autumn, 2004), p. 250
Dubuffet is describing the (contemporary) for him of the footprints of the Bedouins.
1940's

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