Jean Dubuffet

French painter and sculptor, 1901-1985

Dubuffet 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. He enjoyed a prolific art career, both in France and in America, and was featured in many exhibitions throughout his lifetime. Dubuffet's art primarily features the resourceful exploitation of unorthodox materials. Many of Dubuffet's works are painted in oil paint using an impasto thickened by materials such as sand, tar and straw, giving the work an unusually textured surface. Dubuffet was the first artist to use this type of thickened paste, called bitumen

Source: Wikipedia

Dubuffet, Jean

sculpteur et plasticien (1901-1985). Typed letter signed. N. p. 8vo. 1 page.
$ 2,437 / 2.500 € (44364)

To “mon cher Jakovsky” to whom Dubuffet forwards a copy of Lucien de Dardel’s (a Swiss art magazine editor) answer to a letter Dubuffet had addressed to him. Dubuffet had asked Dardel about the publication date of some articles on art that his friend Jakovsky had sent the magazine, and Dardel answers, in the letter copied by Dubuffet, that they will all be published shortly. Dubuffet then remarks to Jakovsky that they could do a swap in Swiss money as he will need Swiss francs for a next trip to Switzerland.

At the end of the letter, he insists on Jakovsky writing about the naïf painter Séraphine, and the “Autodidactes de la Rue du Bac,” a group of self-taught artists who exhibited in the streets in Paris that Dubuffet admired for their spontaneity, a concept that he would soon develop into his theory of ‘Art Brut.’ But the most important mention is to a text Jakovsky should write on Jean Fautrier. It was Fautrier’s exhibition, seen the previous year, that changed Dubuffet’s approach to art and led him on his most successful path. The copy of Dardel’s letter (in which Dubuffet retypes the letter he received from Dardel and signs for him, “Lucien de Dardel”) is included in the lot..

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Dubuffet, Jean

French painter and sculptor (1901-1985). Portraitphotographie mit eigenh. Unterschrift „Dubuffet“ bildseitig. Paris [Poststempel]. 135 : 85 mm. 1 p.
$ 3,412 / 3.500 € (74482)

Originalphotographie, die den Künstler zusammen mit dem franz. Schriftsteller Georges Limbour (1900-1970) zeigt. Von Dubuffet bildseitig mit „Dubuffet“ und „Limbour“ bezeichnet. - Rückseitig adressiert an den belgischen surrealistischen Dichter,Schauspieler und Kunsthändler Geert van Bruaene (1891-1964): „Mon bon petit Geert je pars demain pour l’Allemagne mais pas avec la charmante Rachel Baes hélas mais sons elle parce qu’il fait froid en Bavière“. Zusätzlich mit einigen Zeilen von Rachel Baes.

- Rachel Baes (1 August 1912 – 8 June 1983) was a Belgian surrealist painter. The growth of the women's movement in the late 20th century led to renewed interest in women artists and brought greater appreciation of her work. In 2002 the Koninklijk Museum in Antwerp featured Baes and Jane Graverol in an exhibition: voor Schone Kunsten. In 1929, at age 17, Baes achieved her first recognition as an artist when she exhibited works at the Salon des Indépendants in Paris. There she was one of the members of the Surrealist group around René Magritte. She came to know André Breton, Jean Cocteau, Max Ernst, Georges Bataille, Irène Hamoir, and Paul Éluard..

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Dubuffet, Jean

französischer Maler, Bildhauer, Collage- und Aktionskünstler (1901-1985). Eigenh. Brief mit Unterschrift. Vence. 11.8.1955. 4to. 1 p.
$ 1,462 / 1.500 € (80767)

Handgeschriebener Brief mit Unterschrift „Jean Dubuffet“ an den Galerist Rudy Augustinici. Darin geht es um „le barême des nouveaux prix de mes tableaux“, also um die neuen Preise der Bilder. „Comme convenu à la suite de notre conversation D'hier avec Jacques Ulmann je vous envoie ci-joint le barême des nouveaux prix de mes tableaux.“ Dubuffet zeigt sich erfreut, dass seine Ausstellung in Italien trotz aller Schwierigkeiten, die Rudy dadurch entstehen könnte, auf nächsten Juni verschoben wird: „Je suis content que cette exposition en Italie sont différée à Juin prochain; Je me rends bien compte que cette modification de ce qui avait été arrangé ave M.

Cardazzo est facheuse et vous contrarie un peu mais je pense que vous arrangerez cela sans trop de difficulté et que ce sera bien mieux ainsi.“ („Ich bin froh, dass die Ausstellung in Italien auf nächsten Juni verschoben wird. Mir ist klar, dass diese Änderung dessen, was mit Herrn Cardazzo vereinbart wurde, ärgerlich ist und Sie ärgert, aber ich denke, Sie werden es ohne allzu große Schwierigkeiten arrangieren konnen und dass die Ausstellung dadurch viel besser sein wird.: „De cette manière on fera une manifestation bien préparée et qui nous laissera tous, quel que soit le résultat, de bons souvenirs. Bonnes vacances ! Bons bains !“ (Übersetzung: „Auf diese Weise werden wir eine gut vorbereitete Veranstaltung haben, die bei uns allen, unabhängig vom Ergebnis, gute Erinnerungen hinterlassen wird. Schöne Ferien !“) Dubuffet zog 1955 nach Vence an der Côte d’Azur 1960, wo er ein großes Haus mit Atelier bauen ließ. Im selben Jahr entstanden Assemblages d’Empreintes und die Tableaux d’assemblage-Serie. Zudem hatte Dubuffet seine erste Ausstellung in London (im Institute of Contemporary Arts). Im darauffolgenden Jahre sollten Ausstellungen in der New Yorker Pierre Matisse Gallery und in der Frank Perls Gallery in Beverly Hills stattfinden, sowie eine Ausstellung in der Galerie Rive Gauche in Paris. Bei Herrn Cardazzo handelt es sich höchstwahrscheinlich um den Kunsthändler Carlo Cardazzo (1908-1963), einem engen Freund der Kunstsammlerin Peggy Guggenheim, der starken Einfluss auf ihre Sammlung hatte. Jean Dubuffet erreichte große Bekanntheit als Gründer der Art-Brut-Bewegung. Er war fasziniert von der „rohen“, antiintellektuellen Kunst von Autodidakten, besonders der von Kindern, von psychisch Kranken und Menschen, die sich nicht auf etablierte, bildungsbürgerliche Normen stützen. Diese Faszination brachte ihn dazu, die Techniken der gesellschaftlichen Außenseiter nachzuahmen und ihren eigenwilligen Stil in seine Arbeit aufzunehmen. 1918 studierte er gemeinsam mit Raoul Dufy, Suzanne Valadon und Fernand Léger Kunst an der Académie Julian in Paris. Dubuffet brach das Studium allerdings schon nach sechs Monaten wieder ab. Erst in den frühen 1940er Jahren widmete er sich wieder voll der Kunst und gründete mit André Breton und Slavko Kopac 1948 die Compagnie de l’Art Brut..

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Dubuffet, Jean

Maler und Bildhauer (1901–1985). Eigenhändiges Manuskript ohne Unterschrift. ohne Ort und Datum. 4to. 1 p.
$ 926 / 950 € (83460)

Manuskript in Tinte mit Radierungen und Korrekturen von Jean Dubuffet zur Innovation in der Kunst und Veröffentlichungen in Art News. „[…] Leurs injures n'ont pas variées. Elles ont toujours été dans tous les cas exactement celles que Art News publiait dans son 10e numéro:“ un pot de peinture lancé au visage du public. Insulte à l'art. Grossièreté. Paquet d'ordures. Psychopathie.“

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Dubuffet, Jean

painter (1901-1985). Archive of 17 letters (9 ALS’s, 6 TLS’s and 1 autograph note signed and a typed note signed) and notes, each signed, in full or "Jean," to the family of art collector Maurice Culberg. Various places. Together 20 pages, 4to or smaller, couple on personal stationery, most on onionskin paper; condition generally good. Some with the original envelope.
$ 9,261 / 9.500 € (87875)

To the family of art collector Maurice Culberg, in French or English, mentioning the "violent" opposition by some to his work, giving the dates and locations of his various exhibitions, describing the building and use of his studios in Vence, mentioning the names of some other buyers of his work including Charles Zadok, and discussing his Monument with Standing Beast public sculpture in Chicago. 21 February 1952, to Maurice, in English: „[…] I hope we'll see you in New York in a week, as you had said.

[…] I started again to paint quietly, every day, the whole time. The exhibition, I think, is not without any success, some people are strongly interested. The[re] were articles in several newspapers, the most violently against. It does not matter at all. One must expect, when he proposes a change in any field, there will not go without outcries and fury. […]“ 18 October [1954], to "My very dear Maury," in English: „[…] Did you hear that Mr. Zadok bought also several pictures of mine […]? "There will be a big show of my pictures, done from 1942 to 1954, in Paris, at the Cercle Volney, from March 15th to April 15th. "These days I am busy with lithographs, and small pictures with gouache. […]“ 26 October 1955, to the Culbergs' daughter Franka, writing from Vence: „[…] I do not feel perfectly at ease […], but a little like an exile in a foreign land. […] However, I have good working conditions here: very good light, several workshops (I'm getting ready to build new ones). I'm working a lot, endlessly. […] The very strong friendship that tied me to [her father, Maurice] leads me to feel tied to you by family and I feel a bit like your brother, or your uncle. What a precious good it would be for me if he were now alive! But, well, he is dead. He remains a brilliant star in the sky of my life. […]“ 18 December 1966, to "good little Frankie": "I've been extremely busy for two months with my paintings; and the work site for my Chinese ink 'collections' (in the little studio that is reserved for them and which your mother knows) is a bit abandoned. […]“ 7 January 1956, to Mrs. Ruth Culberg: „[…] My painting still occupies me a great deal constantly. The new buildings I had constructed in Vence, and which comprise several very bright large studios, now provide me with places there [that are] well adapted to my needs and where I am very happy. […]“ 11 October 1957, to "Dear friend Ruth," in English: „[…] In July we drived [sic] to Switzerland and Germany […] but it was very bad for Lili, she was very tired and nervous; I see she cannot make such trips, it is too tiring for her. […] I was very pleased with the exhibition of Leverkusen, I met there several people very enthusiastic, and important and interessant [sic] articles in newspapers. […]“ 1 August 1958, to "My dear little Franka": „[…] I am very busy [in Vence], because I work a lot. I suffer a bit from the heat that is raging these weeks and does no good for my business. […]“ 29 March 1959, to "Dear friend Franka": „[…] An exposition of my paintings should open in Paris, at the Daniel Cordier Gallery, April 28th. This exposition is titled, 'Celebration of the soil.' It will include some very difficult canvases with a particular spirit, some called, 'Topographies,' others, 'Texturologies.' They are very austere paintings in which no people at all appear. "Daniel Cordier is now (since two years) my art dealer in Paris. He is a very educated and cultivated man, very intelligent and knowing painting extremely well. […] He's in New York right now. […] He hopes that he will find there some possibilities for purchasing my paintings. […] He asked me to give him a few addresses of people who own my paintings and who would be likely, either to sell some to him, or to give him information to help him find others that he might eventually buy. This is why I've given him your address. […] "These last months I've been very busy making a very large series of lithographs (several hundred); that has led me to establish veritable print shops in Paris and Vence; I employ two workers. Because of this, I haven't made many paintings, but I have nevertheless made a few.“ 31 January 1979, to "Dear Franka," in English: „[…] I keep a very nice remember [sic] of our meeting […] And I also very often think of your dear father. I keep a great affection for his memory. His meeting is amongst the most important events of my life. […]“ 2 December 1982, to "Dear Franka": „[…] Regarding the eventual monument in Chicago […] Pace Gallery (with which I have an exclusive agreement for the U.S.A.) has right now in New York some large painted sculptures (3 and 4 meters high). It is possible to build, on order, more important monuments. But I'm afraid that it would be inopportune to suggest, at least for the time being, a second monument in Chicago. […]“ With--Small group of ephemera and letters to Franka Culberg from museums, galleries, and others relating to her art collection, including manuscript notes in unknown hand, a purchase agreement, a telegram, etc. 1956-86. Provenance: Ruth Culberg; thence by descent to Franka Culberg Vlack..

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Dubuffet, Jean

French painter and sculptor (1901-1985). Lettre signée dactylographiée adressée Alecto de Londres. Vence. 22.05.1967. 4to. 1 p.
$ 2,437 / 2.500 € (47191/BN31935)

À propos du jeu de cartes qui doit être édité par la maison Alecto. Dubuffet juge excellente la maquette du spécimen mais précise que si l'impression se fait sur un papier rapporté et non sur la carte elle-même, il faudra veiller à la qualité du collage: "[...] Dans le specimen en question il y a une feuille collée sur le dos propre de la carte, et le collage n'est pas bon (la feuille de papier rapportée se décolle, ne tient pas bien collée; et aussi alle se plisse et se marque de cassures quand on tord un peu la carte; d'ailleurs ce collage a tendance à donner à la carte un peu de courbure).

Je ne sais si vous envisagez d'imprimer sur le dos même de la carte (ce qui serait sûrement préférable) ou bien de procéder comme pour ce specimen, en contre-collant une feuille de papier rapportée au dos la carte. Dans ce cas il faudrait étudier très soigneusement la nature de la colle à employer, afin d'obtenir un collage très solide, et qui n'ait pas cette conséquence de courber un peu la carte. Il est évidemment important que les cartes soient parfaitement planes, bien exemptes de courbure. A part cet inconvénient dû au collage, je suis maintenant très content avec ce dos des cartes; il me semble qu'il fait très bon effet; êtes vous de mon avis? [...]". - Il ajoute en post-scriptum que M. Jaeger, de la galerie Jeanne Bucher, a fait soumettre la traduction anglaise du texte qui doit servir de mode d'emploi. - L'édition originale de ce jeu de cartes, intitulé "Banque de l'Hourloup, cartes à jouer et à tirer" fut tirée à 350 exemplaires numerotés, sous emboîtage illustré..

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Dubuffet, Jean

French painter (1901-1985). 7 autograph letters signed, 4 letters signed, 13 autograph notes, one of which signed, and 5 autograph receipts. Paris, Vence, El Goléa (El Meniaa, Algeria), and no place. Various formats. Altogether ca. 23 pp. on 32 ff. Together with 2 postcards by Lili Dubuffet, 1 letter by Alexandre Vialatte, a facsimile postcard by Jean Dubuffet, the reproduction of a group photograph with Dubuffet and Sibille Boffard, a poster for a 19.
$ 23,395 / 24.000 € (83052/BN54486)

Correspondence with his neighbour in Paris, informal assistant, and close friend Sibille Boffard. Most letters are charming documents of the friendship, including the earliest two letters from Dubuffet's 1948 stay in El Meniaa (El Golea), Algeria. On 23 January he sends greetings to Boffard and mutual friends including the writer Alexandre Vialatte and complains about the weather: "Who expects to find heat here is terribly mistaken. One lives wrapped in the wide and heavy burnous that deprives you of the usage of the hands and the hood makes it impossible to see and to move the head".

The second letter from 22 April is no less skeptical: "Travelling is like hunting marsh birds - long, tedious times, inconvenience and annoyance - occasionally rewarded with a good catch. Travelling to countries that are very uncomfortable for the body and the mind has this advantage over others that they make the return more enjoyable. We have been waiting for several days for a car that removes us from this place in the desert [...]". In a letter from 15 May 1949, Dubuffet contemplates the institution of "two kinds of marriage", one that is easily dissolved and one "for the venturers" that is inseparable, and invites Boffard for cake. In an undated letter, he thanks her enthusiastically for a party, underlining that it "has been a long time since I had been so highly amused". Two letters, one of which is dated 13 July 1955, the other undated, of a personal nature strike a darker note. In the dated letter from Vence, Dubuffet first thanks Boffard for sending him yearbooks that he uses to clean his brushes. He then mentions that she has been "severely tested" by life, wishing her well and discusses his wife's depression that renders the atmosphere in the house "often sombre". In the second letter, also to thank Boffard for yearbooks, Dubuffet writes about a severe case of lumbago that keeps him from work. - Two undated letters probably from the late 40s contain work-related instructions for Boffard. In a typed letter, Dubuffet instructs her to varnish a glass pane in his workshop, to convey two drawings of hippos from his "Collection de l'art brut" to a photographer, and to gather information concerning possibilities for the reproduction of a drawing of Slavko Kopac, the longtime curator of the Art brut collection. The second letter with instructions is truly remarkable, as Dubuffet had sent art supplies to Boffard to be distributed to the outsider artists Georges Berthomier (1897-1963) and Fernand Costa in the psychiatric hospital of Ville-Évrard. Dubuffet added a sketch of the hospital, indicating the pavilion of Juliette Élisa Bataille and enclosing a list of several patients with details concerning their interest in artistic work. He also asks Boffard to meet a Madame Sée in order to establish contact with a Swedish psychiatrist. Dubuffet's famous and groundbreaking Art brut exhibition was held in October 1949 at the Galerie René Drouin. The enclosed facsimile postcard was Boffard’s invitation to the opening. - The final three letters concern works by Dubuffet in Boffard’s possession. In an undated letter, he asks her to lend him a "small gray gouache" of his for an exhibition at the gallery of René Drouin, possibly the Art brut exhibition. This is possibly the same gouache that Dubuffet discusses in a long typed letter from 15 April 1960. There he bitterly complains to Boffard, as she "refuses to help him with the research" on the gouache that had apparently changed ownership in the meantime. Dubuffet explains to her that it is normal and beneficial for a collector to participate in the preparation of an artist's catalogue raisonné. In the final letter from 22 April 1960, Dubuffet thanks Boffard for her response, explaining that he is convinced that the new owner, a Mrs de Gavardy, will permit photographs to be taken. - Ten notes are instructions for Sibille Boffard or indicate the names of businesses, including a frame maker and a bookbinder, with which she had to deal for him. Three notes contain short aphorisms on love: "On est toujours soûlé quand on est amoureux". - Well preserved overall. Several notes and letters with instructions crossed out by Sibille Boffard. Some browning, occasional minor tears, particularly to the notes and receipts..

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Dubuffet, Jean

2 ms. Briefe mit eigenh. U.
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To Vearl Moody from „Magic Lantern Books“: „[...] Il existe en bon nombre des sérigraphies et aussi des affiches ou reproductions de mes oeuvres, mais elles sont toujours éditées par des galeries ou musées; je n’en possède que des exemplaires de référence pour mes archives, dont je ne peux me dessaisir [...]“ (June 14, 1976). – Each on stationery with printed letterhead.


Dubuffet, Jean

Ms. Brief mit e. U.
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Jean Dubuffet (1901–1985), French painter and sculptor. Typed letter signed. Paris, December 26, 1975. ½ p. Large 4°. – To Johan Ehrnrooth from the art gallery „Christel“ in Helsinki: „[...] J’ai moi-même aussi pour l’oeuvre et la personnalité de Asger Jorn une très haute considération, et de forts liens d’amitié et d’estime réciproques m’unissaient à lui. Cependant je suis incommodé par l’aspect commercial d’une mise en vente d’estampes fondée sur un hommage à sa mèmoire et c’est pourqoui je préfère ne pas m’associer à cette publication [...]“. – On stationery with printed letterhead.


Dubuffet, Jean

2 ms. Briefe mit eigenh. U.
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To Gil Moody from „The Word Bookstore“: „J’ai reçue votre lettre [...] et je fais tous mes voeux pour le succès de votre librairie. Mais je ne peux pas vous donner satisfaction pour dédicacer des livres. Je pense que les dédicaces doivent demeurer réservées à d’exceptionelles circonstances d’ordre intime et personnel et qu’elles perdraient leur signification à être commercialisées [...]“ (August 20, 1979). – Each on stationery with printed letterhead.


Dubuffet, Jean

Sammlung von 42 Briefen u. tlw. Manuskripten (davon 32 ms. und 10 eigenh.) mit eigenh. Unterschrift „Jean Dubuffet“, „jean D.“ und „Jean“ an Geert van Bruaene.
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Unpublished, rich in content and considerable letter collection of Dubuffet with the Belgian surrealist poet, actor and art trader Geert van Bruaene (1891-1964):   Rare autograph letters. Very important unpublished correspondence to Geert van Bruaene (theatre actor, intorducer and initiator of expressionism, surrealism and modern art in Belgium) who held galleries and pubs with catchy names starting with the Cabinet Maldoror (1923) and closing with La Fin des Haricots (1959). In between Bruaene was managing La Vierge Poupine, Le Jabot de Plui, La Délicieuse Aventure, La Fleur en Papier doré, and Le Diable par la Queue where in December 1949 Jean Dubuffet had his first exposition in Europe. This rich correspondence testifies Dubuffet's and van Bruaene's mutual friendship, esteem and professional cooperation. Van Bruaene held also close relationship with Magritte and Marcel Marien. The building of collections linked with Art Brut may be retraced in these present letters. Dubuffet's tone is cordial, he offers several books and posters. Dubuffet turned to van Bruaene for making an exposition in Brussels, as he was sick and tired of Paris. Dubuffet did agree in an exposition in Belgium only if van Bruaene was the investigative. These letters make it possible to follow Dubuffet's return to the art scene and show Dubuffet gaining international reconnaissance in the artistic field. - "Je suis content de ce voyage à Bruxelle pour ce qu'il m'a donné de faire connaissance avec vous. J'aime votre lettre qui est comme son auteur pleine de saveur et de chaleur et de folie et de sève et de jus et je me dis ce van Bruaene là est mon homme et je suis son homme. [...] Merci de vous constituer le légat de l'Art Brut auprès des psychiatres belges." (Translation: "I'm very satisfied concerning this journey to Brussels because I got to know you. I like your letter that is - as its author - full of taste and warmth and mad passion and sap and juice and I'm telling to myself this van Bruaene there is my man and I am his man. [...] Thank you for coming forward as a legate for the Art Brut near to the Belgian psychiatrists."). - "Je n'ai pas mis de dédicaces à votre adresse sur les livres; elle y est incluse, vous le savez en pensée. Quand vous aurez regardé ces livres vendez-les. Il faut vendre les choses, vendre jusqu'à sa chemise. Il faut que choses passent de mains en mains et les chemise de dos en dos." (Translation: "I haven't put dedications for you on the books; it is included there, you know it in thought. After you will have looked through the books, sell them. Things must be sold, sell everything down to the shirt. Things must be passed on from hand to hand and shirts from back to back."). - "Jusqu'à présent j'ai toujours refusé toutes offres qui m'ont été faites concernant toutes expositions ou participations mais avec toi c'est autre chose. Avec toi je marche. Je ferai tout ce que tu voudras [...] Seulement quand c'est des petites choses sur papier les gens trouvent que c'est des choses mineures; ils sont entêtés avec leurs peinture à l'huile et leur grands formats". (Translation: "Until today I've refused all offers concerning all expositions or participations but with you it's something different. OK! I will do everything you want. [...] Just if there are small things on paper people consider them as minor things; they are stubborn with their oil painting and their large formats."). - "Cher merveilleux Geert, J'écris par ce courrier à Henri Michaux pour lui faire ta commission et chanter ta louange. N'abandonne pas ton projet d'exposition de Wols. [...] N'abanndon surtout pas ton projet d'exposition de Max Ernst. Il faudrait aussi faire une exposition de [Raoul] Ubac. C'est un belge. Et que devient le projet d'exposition de Yves Tanguy." (Translation: "Dear marvellous Geert, I write by means of this mail to Henri Michaux to give him your message and sing him your praises. Don't abandon your exposition project of Wols. [...] Also don't abandon in any way your exposition project of Max Ernst. There must also be an exposition of [Raoul] Ubac. He is Belgian. And what about the Yves Tanguy exposition."). - "Je travaille très assidument et je sors très peu de ma maison, passant des suites de jours sans mettre mes souliers". (Translation: " I am working very assiduously and I hardly leave the house, spending a series of days without putting my shoes on."). - "J'ai recu un exemplaire du numéro récemment paru de la revue 'Cobra' mais je n'aime pas cette revue. J'ai peu de sympathie pour ces petits jeunes hommes qui la font et qui me paraissent des faux artistes et culturels cent pour cent et d'esprit peu original." (Translation: "I've received a copy of the recently published number of the magazine 'Cobra' but I don't like this magazine. I have only little sympathy for these small young men who do it and who seem to me a hundred per cent false artists and culturals andfrom little original spirit."). - "Mon art vise non pas à instituer des fêtes pour distraire de la vie courante mais à révéler que la vie courante est une fête bien plus intéressante que les pseudos fêtes qu'on institue pour la faire oublier. Ce n'est pas la faire oublier que je veux mais la célébrer mise à nu, dépouillée de toute guirlande et toutes choses mises au pire. De là vient le malentendu qui conduit beaucoup de personnes à me croire un trouble-fête. Ces personnes qui n'osent renoncer aux guirlandes dans la crainte que sans les guirlandes il n'y ait plus de fête. [...] mais pour moi il n'y a pas de bien ni de mal ni de mieux ou de pire. J'entends bien célébrer tout. Je suis preneur du tout-venant." (Translation: "My art does not aim to establish parties to distract from everyday life but aims to reveal that everyday life is a party far more interesting than the pseudo parties that are established to forget life. I don't want life to be forgotten but to be celebrated laid bare, stripped of all garlands and at worst. From there the misunderstanding came and led many people to believe I am a kill-joy. These people don't dare to reject garlands fearing that without garlands there would be no more party. [...] but for me there is no good no bad no better or no worse. I understand it well to celebrate everything. I'll have it, the ordinary stuff."). - "Tu as raison de te plaindre de mes défaillances correspondancières." (Translation: "You a right to complain about my failures as correspondent.").   Two letters concern a disease of Lili.


Dubuffet, Jean

Photographie einer seiner Arbeiten mit rückseitiger Annotation, Widmung und Unterschrift.
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