Jean Dubuffet, ‘Chat Botté’, 1952, Sotheby's

Property in which Sotheby’s has an Ownership Interest (see Conditions of Sale for further information)

From the Catalogue
“I see my landscapes as a marriage between the conceptual and the concrete. Here are the forms of the earth, the terrain under your feet, the landscape which is everywhere…These are the matrix of life…This one, lying stretched out, already has eyes, it spreads its arms. That little one crouches, attempting to rise. It is inert matter thinking about becoming alive.” Jean Dubuffet, 1952
—Courtesy of Sotheby's

Signature: signed and dated 52

Avignon, Palais des Papes, Dubuffet, Hauts lieux: paysages 1944-1984, June - October 1994, p. 67, illustrated in color
Reno, Nevada Museum of Art, Dubuffet-Miro: Selections from the Acquavella Collection, July - September 1997, p. 85, illustrated

Max Loreau, Ed., Catalogue de Travaux de Jean Dubuffet, Fascicule VII: Tables paysagées, paysages du mental, pierres philosophiques, Paris 1979, cat. no. 199, p. 127, illustrated

Pierre Matisse Gallery, New York
Acquired from the above by the present owner

About Jean Dubuffet

In his seminal modernist paintings, Jean Dubuffet delved deep into questions of ground and materiality. Such themes were highly charged during the post–WWII period in which he worked, shortly after the destruction of many European cities as well as the Japanese cities of Hiroshima and Nagasaki in the war. The surfaces of his canvases are thick and clotted; their aesthetic is muddy and scatological. Dubuffet coined the term “Art Brut” to describe the kind of work that he collected and aspired toward: the untrained, outsider art of alienated groups, including children and the mentally ill. His own paintings are purposefully “deskilled,” often possessing the spontaneity and crude aesthetic of finger paintings.

French, 1901-1985, Le Havre, France, based in Paris, France