Jean Dubuffet, ‘Impair et Amble’, Christie's

Jean Dubuffet (1901-1985)

Impair et Amble

signed and dated 'J. Dubuffet 63' (lower left); signed again, titled and dated again 'Impair et amble J. Dubuffet mars 1963' (on the reverse)

oil on canvas

38 1/2 x 51 1/4 in. (97.8 x 130.2 cm.)

Painted in 1963.

Signature: signed and dated 'J. Dubuffet 63' (lower left); signed again, titled and dated again 'Impair et amble J. Dubuffet mars 1963' (on the reverse)

Venice, Palazzo Grassi, Centro Internazionale delle Arti e del Costume, L'Hourloupe di Jean Dubuffet, June-October 1964, no. 6 (illustrated in color).

Paris, Galerie Jeanne Boucher, L'Hourloupe, December 1964-January 1965, n.p. (illustrated).

London, Tate Gallery, Jean Dubuffet: Paintings, April-May 1966, p. 59, no. 114 (illustrated).

Amsterdam, Stedelijk Museum, Jean Dubuffet, June-August 1966, no. 106 (illustrated).

New York, Solomon R. Guggenheim Museum, Jean Dubuffet, 1962-66, October 1966-February 1967, no. 7 (illustrated).

Kunsthalle Basel, Jean Dubuffet: L'Hourloupe, June-August 1970, no. 8 (illustrated).

Paris, Artcurial, Le Belve´de're Mandiargues: Andre´ Pieyre de Mandiargues et l'art du XXe sie'cle, May-July 1990, p. 155 (illustrated in color).

Martigny, Fondation Pierre Gianadda, Dubuffet, March-June 1993, p. 141, no. 88 (illustrated in color).

Venice, Château de Villeneuve, Chambres pour Dubuffet, July-October 1995, p. 101, no. 62 (illustrated in color).

Paris, Centre Pompidou, Musée National d'art Moderne, Jean Dubuffet (1901-1985): Exposition du Centenaire, September-December 2001, p. 258 (illustrated in color).

M. Loreau, Catalogue des travaux de Jean Dubuffet: fasicule xx: L'Hourloupe I, Paris, 1966, pp. 65 and 205, no. 128 (illustrated in color).

M. Loreau, _Dubuffet et le Voyage au Centre de la Perception,_Paris, 1966, n.p. (illustrated).

H. Damisch, "Second Method: the Hourloupe of Jean Dubuffet," _Art and Literature,_no. 11, Winter 1967 (illustrated).

R. Barilli, _Dubuffet: Oggetto e Progetto, il Ciclo dell'Hourloupe,_Milan, 1976, p. 26, no. 25 (illustrated).

A. Franzke, _Dubuffet,_New York, 1981, p. 170 (illustrated).

L. Trucchi, _Dubuffet,_Florence, 2001, p. 31 (illustrated in color).

Jean Planque, Paris

Private collection, Geneva

Galerie Artcurial, Paris

Private collection, France

Galerie Fabien Boulakia, Paris

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