ART BRUT
TACHISME
ART INFORMEL
Jean Dubuffet
urban graffiti, tribal art, and the creations of children and the insane
urban graffiti, tribal art, and the creations of children and the insane.
"In my paintings, I wish to recover the vision of an average and ordinary man
without using techniques beyond the grasp of an ordinary man."
Matériologies
The driving force behind the early works was Dubuffet's entirely novel and extraordinary painting technique.
He combined almost any element with the paint surface, including cement, tar, gravel, leaves, silver foil,
dust and even butterfly wings. Dubuffet created clotted surfaces by mixing oil paint with grit and urban detritus.
‘Art should be born from the materials and, spiritually, should borrow its language from it. Each material has its
own language so there is no need to make it serve a language.'
Dhotel nuance d'abricot, 1947, O/C, 45
x 35”
Smiling Face (La Bouche en croissant)
1948
Oil and sand on canvas. 36 x 28 1/2 in
“Personally, I believe very much in values of savagery;
I mean: instinct, passion, mood, violence, madness."
The Cow with the Subtle Nose, 1954
oil and enamel on canvas, 35 x 45”
Lever de lune aux fantômes (moonrise with ghosts)
1951
oil on isorel, 23.6 x 28.7 in
Voyageur en riches terres (traveling in rich lands), 1954
Madame j'ordonne, 1954
Hourloupe
1962 to 1974
"The word Hourloupe was the title of a small book recently published and in which figured,
with a text in jargon, reproductions of drawings using red and blue ballpoint pens.
I associate it, by assonance, to " hurler " (to roar), to " hululer " (to hoot), to " loup " (wolf),
to " Riquet à la Houppe " and the title of Maupassant's book " Le Horla " inspired by mental instability.
" One expects a painting to open new pathways to how we look at our everyday life (...) Now it is necessary
to become conscious of what we take as real and that what strongly appears to us as such (as such alone)
is nothing more than an arbritary interpretation of things to which can be as well substituted by another.
The distinction that we make between real and imaginary is badly founded. The interpretation of real, which
seems to us vericious, irrefutable, is only an invention of our spirit, or say rather, an antique invention collectively
adopted and of which our spirit is persuaded of. Nothing other than convention. It is not forbidden to imagine the
interpretation of a world deciphered differently, regulated differently, than those which we have held until now in
full confidence. The cycle of works which has been given the name L'Hourloupe answers an undertaking of that sort
A new use of line/perspectural ambiguity
Retardation of seeing (readings rather than recognition)
Rue de l'Entourloupe
(Entourloupe Street)
1963
Jean Dubuffet used a hot wire to sculpt models
from a block of polystyrene with as much
" liberty and ease as a pencil gliding over paper “
Later, he transferred and molded
from polystyrene to epoxy resin.
Cabinet Logologique, 1967-1969
“The Logologique Office is the subjective universe as it appears to me digested by my thinking;
or, in other words : The Logologique Office is like a fish that would itself secrete the water
in which it swims.”
Closerie Falbala
Epoxy resin and concrete with polyurethane paints
built between 1971 and 1973 (and altered in 1976)
Surface area 1610 m2, highest point 8 m
Group of Four Trees
epoxy resin with polyurethane paints, 12 m.
made in 1972 after a 1970 model
Chase Manhattan Plaza, New York (USA)
Monument au fantôme
epoxy resin with polyurethane paints
10 m
Made in 1983 after a 1969 model
Interfirst Plaza, Houston, Texas (USA)
Jean Fautrier
Head of a hostage no. 1
1944
Mixed media on paper mounted on linen
14 x 10 1/2 in. (35.6 x 26.7 cm)
Jean Fautrier
Head of a Hostage, No. 14, 1944
Oil on paper
13 3/4 x 10 1/2 in. (34.9 x 26.7 cm)
Jean Fautrier
Head of a Hostage 1943-4
Tête d'otage
Lead and slate
object: 540 x 295 x 310 mm,
25.2 kg
Lucio Fontana
Movimento Spaziale
The manipulation of space
and its interaction with two
and three dimensional form
was his greatest contributions
to 20th century art.
•founder of Spatialism
•Precursor of environmental art, performance art,
•land art and Arte Povera.
"Luce spaziale", 1951, neon structure, IX Triennale, Milan, Italy
Lucio Fontana
Buchi (‘holes’), beginning in 1949
Concetto spaziale
(spacial concept)
1950 - 1953
Aniline and glass on natural burlap
31 1/2 x 25 5/8 inches
80.5 x 65 cm
Lucio Fontana
Concetto spaziale
Executed in 1951-52
'l. Fontana' (lower right)
painted terracotta
9 1/8 x 11in
Concetto spaziale
1957
gouache and graphite on board
19 x 26 3/4 inches
Concetto spaziale
1958
ink and graphite on canvas
39 x 31 inches
Concetto Spaziale, Natura
bronze sculptures
1959-60
Lucio Fontana
Tagli (‘slashes’)
from the mid-1950s
Lucio Fontana
Concetto Spatiale
1959
100 x 125 cm.
Lucio Fontana
"an art for the Space Age"
Concetto Spaziale
1964
waterpaint and oil on canvas
55 x 46 cm
Francis Bacon
Francis Bacon
Three Studies for Figures at the Base of a Crucifixion (1944)
oil paint and pastel on Sundeala fibre board
94 cm × 74 cm (37 in × 29 in)
Francis Bacon
Study of a nude
1952-3
oil on canvas
Velasquez
Innocent X
c. 1650
Study After Velazquez's Portrait of Pope Innocent X
1953 (200 Kb); Oil on canvas, 153 x 118.1 cm (60 1/4 x 46 1/2 in)
Head VI
1949 (290 Kb); Oil on canvas, 93.2 x 76.5 cm (36 5/8 x 30 1/8 in)
Francis Bacon
Study for Chimpanzee, March 1957
Oil and pastel on canvas
152.4 x 117 cm
Paralytic Child Walking on All Fours (from Muybridge), 1961, oil on canvas, 198 x 142 cm.
Retrato de George Dyer en un espej
Fecha:
1968
Tipo:
Óleo sobre lienzo
Medidas:
198 x 147 cm
Self-Portrait
1971 (200 Kb); Oil on canvas, 35.5 x 30.5 cm (14 x 12 in)
http://www.yveskleinarchives.org/works/flash/zones01.pdf
http://www.yveskleinarchives.org/works/works12_us.html
http://www.yveskleinarchives.org/works/works3_us.html
Performance art
Conceptual art
The International Klein Blue (IKB)
the physical manifestation of cosmic energy that, otherwise invisible, floats freely in the air
'Proposte Monochrome, Epoca Blu'
(Proposition Monochrome; Blue Epoch)
Gallery Apollinaire, Milan, (January 1957)
11 identical blue canvases, using ultramarine pigment
suspended in a synthetic resin 'Rhodopas'
Untitled blue monochrome (IKB 82), 1959. Dry pigment in
synthetic resin on canvas, mounted on board, 36 1/4 x 28
1/4 x 1 1/4 inches
YVES KLEIN
ARCHISPONGE
natural sponges, pebbles and dry blue pigment
in synthetic resin on panel
78 3/4 x 65 in. 200 x 165 cm
Blue Sponge, 1959
Dry pigment in synthetic resin on
sponge with metal rod and stone base,
39 x 12 x 10 inches
Exhibition at the Iris Clert Gallery
(April 1958)
La spécialisation de la sensibilité à
l’état matière première en sensibilité
picturale stabilisée, Le Vide
(The Specialization of Sensibility in
the Raw Material State into Stabilized
Pictorial Sensibility, The Void)
“Recently my
work with color has led me, in spite of myself, to search little
by little, with some assistance (from the observer, from the translator), for
the realization of matter, and I have decided to end the battle. My
paintings are now invisible and I would like to show them in a clear and
positive manner, in my next Parisian exhibition at Iris Clert's."
Zone de Sensibilité Picturale Immatérielle
(Zone of immaterial pictorial sensibility)
Between the creation of the piece in 1959 and his death in 1962,
eight Zones were sold, of which at least 3 involved the elaborate
ritual.
transfer of immateriality ritual
"Klein's receipts verify the existence of an invisible work
of art, which prove that a formal sale has taken place.
As Klein establishes in his 'Ritual Rules', each buyer
has two possibilities; If he pays the amount of gold
agreed upon in exchange for a receipt, Klein keeps all
of the gold, and the buyer does not really acquire the
"authentic immaterial value" of the work. The second
possibility is to buy an immaterial zone for gold and
then to burn the receipt. Through this act, a perfect,
definitive immaterialization is achieved, as well as the
absolute inclusion of the buyer in the immaterial.... Klein
presents capitalist trading strategies and illuminates his
ideas about the indefinable, incalculable value of art.“
Yves Klein, Berggruen Hollein & Pfeiffer, Hatje Kantz 2004 p221
Yves Klein and Dino Buzzati
engaged in the ritual transfer
of immateriality, January 26,
1962
Le Saut dans le Vide
(Leap into the Void)
Photomontage by Harry Shunk
of a performance by Yves Klein
at Rue Gentil-Bernard,
Fontenay-aux-Roses,
October 1960.
Nouveau Realisme (New Realism)
= New Perceptual Approaches To The Real
The critic Pierre Restany, founded the Nouveau Realisme
group in Klein's apartment, on 27th October 1960.
Founding members were Arman, Francois Dufrêne, Raymond Hains, Yves
Klein, Martial Raysse, Daniel Spoerri, Jean Tinguely, and Jacques Villeglé,
with Niki de Saint-Phalle. Christo and Duchamp joining later.
Alongside works by Andy Warhol and Willem De
Kooning, Yves Klein's painting RE 46 (1960) was
among the top-five sellers at Christie's Post-War and
Contemporary Art sale in May 2006. His
monochromatic blue sponge painting sold for
$4,720,000
http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159497653
Previously, his painting RE I (1958) had sold for
$6,716,000 at Christie's New York in November
In 2008 MG 9 (1962), a monochromatic gold painting,
sold for $21,000,000 at Christie's.