Word: dubuffet
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...Personally," Painter Jean Dubuffet once declared, "I believe very much in values of savagery. I mean: instinct, passion, mood, violence, madness." No one can accuse Dubuffet of being false to his credo, for his paintings (see color) often seem to be the work of a savage or a madman-or a child. They have caused gasps of shock and hoots of derision; yet today a Dubuffet canvas can command as much as $30,000, and among critics it is now the thing to say that Dubuffet himself is the most important painter to come out of postwar France...
...more uninhibited of the new media boys, there is not much future any more to using only such oldfashioned tools as brush, chisel or paint. They find their tradition in the burlap-bag "paintings" of Italy's Alberto Burri, the childlike deformations of France's Jean Dubuffet, and the once shocking collages of Germany's late Kurt Schwitters. Last week these Old Masters were duly represented by Martha Jackson in a special "historical section." The rest of the gallery was given over...
...Jean Dubuffet, the only Ecole de Paris painter whose painting philosophy they felt matched their own. Their final choices ranged from Elaine de Kooning's near realistic portrait of husband Willem to the abstract Black Forms by East Hampton's John Little, in which a human form can be seen with some imagination...
...nightmares, spent four days in 1942 in a Trappist monastery that "transformed" him. Today he tries to "create works which reflect my thirst for harmony and unity." His "meditations in paint" are vivid abstractions that combine warm, bright Fauve-like colors with the restrained forms of cubism. ¶ Jean Dubuffet, the chief barnstormer for "I'art brut" (raw art), who mixes a thick paste of colors with sand and even ashes, constantly changes his style because "I am unstable and anxious." Using as his point of departure children's scrawls and the art of the insane...
...Painter William Scott, 43, now having his first one-man show in Manhattan at the Martha Jackson Gallery. Scott's ominous saucepans owe something to the slick stick school of France's Bernard Buffet (TIME, Feb. 27), just as his segmented, all-red nudes do to Jean Dubuffet's art brut. But placed alongside Manhattan's avant-garde painting they look right at home...