Jean Dubuffet

Estate of the Artist
Waddington Galleries, London
Christie's, New York, November 20, 1996, lot 46
Irving Galleries, Palm Beach
Acquired by the present owner from the above

Max Loreau, ed., Catalogue des travaux de Jean Dubuffet: Fascicule XXVII: Coucou Bazar, Lausanne, 1976, cat. no. 49, p. 43, illustrated

This work is in very good and sound condition overall. There is evidence of light wear and handling to the edges. There are scattered dust accretions and a surface abrasion on the edge of the figure's right hand that has resulted in a minor paint loss.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

In 1971, Jean Dubuffet conceptualized and began sculpting figures, affectionately designated “animated paintings” for his Coucou Bazar, a modern, majestic interpretation of the tableaux vivants from the 19^th Century. Le Griot, an energetic, asymmetrical acrylic on klégécell panel sculpture, served as one of 98 Practicables, figures that acted as both living forms and stage props, which actors could easily move and manipulate. The circus-like spectacle of Coucou Bazar dazzled audiences in New York, Paris and Turin, unprecedented at the time in both its elaborate, awe-inspiring scale and its artistic ingenuity.

Le Griot and the entire Coucou Bazar epitomize l’Hourloupe, Dubuffet’s most iconic and celebrated artistic cycle that lasted from 1962 until 1974. An iconic Hourloupe construction, Le Griot’s thick black outlines emphasize the doodle-derived patterns that comprise the figure, harmoniously balanced out by the bold abstractions of primary reds and blues with white. By limiting himself to just these four colors throughout the entire L’Hourloupe cycle, Dubuffet eliminates expressionism as a function of color. The ability to free his art from cultural inhibitions and prescribed color relationships elevates these figures to exist as part of the real.

The creation of Le Griot demonstrates Dubuffet’s ability to captivate audiences with skill, color and form. Generating a tremendous energy and frenetic movement, Le Griot is an example of how the artist envisioned the world through a kaleidoscope of jumbled and savage, yet elegant forms. Although this example lends itself to participate fluidly in Coucou Bazar, individually it stands as an authoritative and spiritual figure, inspired by the mystic leaders the artist met in his brief yet transformative trip to West Africa.  It is only fitting that Le Griot translates from French to mean “the storyteller, singer, poet and musician;” ever the master of playful humor, Dubuffet invented the word L’Hourloupe purely based on its sound.