Jean Dubuffet, ‘The Gossiper II (Le Deviseur II)’, 1969-1970, Nasher Sculpture Center

enlargement 1984

Image rights: © 2004 Artist Rights Society (ARS), New York/ADAGP, Paris; Photographer: David Heald

1987 A Century of Modern Sculpture: The Patsy and Raymond Nasher Collection, Dallas Museum of Art, April 5 - May 31, 1987; National Gallery of Art, Washington, D.C., June 28, 1987 - January 3, 1988; Museo Nacional Centro de Arte Reina Sofia, Madrid, April 4 - June 5, 1988; Forte Belvedere, Florence, Italy, July 8 - October 16, 1988; Tel Aviv Museum of Art, January 1 - March 31, 1989. Exhibition catalogue. 2003 Outdoor Garden Installation, Nasher Sculpture Center, Dallas, October 20, 2003 - Indefinite.

Mr. and Mrs. Arnold Glimcher, New York
The Pace Gallery, New York
Raymond and Patsy Nasher Collection, Dallas, Texas, 1985

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