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Jean Dubuffet
PAYSAGE GRIS AUX TACHES CERISES
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1,500,0002,000,000
LOT SOLD. 1,927,500 EUR
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6
Jean Dubuffet
PAYSAGE GRIS AUX TACHES CERISES
Estimate
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Double Dagger
Indicates that the lot is being sold whilst subject to Temporary Importation, and that VAT is due at the reduced rate
Sotheby's Ownership Interest
Property in which Sotheby's has an ownership interest. Lots with this symbol indicate that Sotheby's owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.
1,500,0002,000,000
LOT SOLD. 1,927,500 EUR
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Details & Cataloguing

Art Contemporain Vente du Soir

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Paris

Jean Dubuffet
1901 - 1985
PAYSAGE GRIS AUX TACHES CERISES
signed and dated 49; signed and dated 49 on the reverse
oil on burlap
89 x 116,8 cm; 35 1/8 x 46 in.
Executed on June 6th 1949.
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Provenance

Pierre Matisse Gallery, New York
Acquavella Galleries, New York
Private Collection, New York

Exhibited

New York, Pierre Matisse Gallery, Jean Dubuffet: the early years 1943 to 1959; an exhibition of paintings by Jean Dubuffet, 9 May - 3 June 1978; catalogue, no. 15, n.p., illustrated
Avignon, Palais des Papes, Dubuffet: Hauts lieux: paysages 1944-1984, 30 June - 2 October 1994; catalogue, p. 40, illustrated in colour
Koln, Galerie Karsten Greve, Jean Dubuffet: Bilder 1943-1955, 29 January - 29 March 1999

Literature

Max Loreau, Catalogue des travaux de Jean Dubuffet, Fascicule V: Paysages grotesques, Lausanne, 1965, no. 61, p. 42, illustrated

Catalogue Note

Jean Dubuffet, août 1959, Vence © Archives Fondation Dubuffet, Paris (Photograph : John Craven)

"Portraits and landscapes must come together and it is more or less the same thing, I want portraits where the depiction follows the same mechanism as that of the depiction of a landscape, here ripples and ravines, there a nose, here trees, there a mouth and a house."

"There is no doubt that Jean Dubuffet has decided to carry us far away, but where?" wrote Max Loreau in his foreword to the Fascicule V of the catalogue of Jean Dubuffet's work: Paysages grotesques (Grotesque Landscapes).  Grotesque because, as he had previously done in the Portraits, the artist here breaks totally with the common places of traditional landscapes scenes. But also grotesque because, indeed, the landscape has nothing to do with a "completed spectacle". It becomes instead an invitation to mental wanderings.

From Marionnettes de la ville et de la campagne (Marionnettes of the city and the country) to Corps de Dames (Women's bodies) and Non-Lieux (Non-places), to name but a few, Dubuffet's works are organised around an important number of consecutive series which constitute, every time, a change in style and vision of the world. Like all great artists, Dubuffet subjects his models to the artistic demands of his new series. The traditional genres of painting: the portrait, the representation of the female nude, the landscape or still life, are revisited in each new opus and reinterpreted through the new pictorial language he develops.

In this, Paysages Grotesques not only constitutes a major development in the history of art but also prefigures revolutionary pictorial techniques of the time as Dubuffet employs an important number of materials in his compositions which are neither bucolic, nor heroic, and far from the romantic ideal. He uses sand, gravel, tar, plaster, coal, stones and asphalt that he boils in a pot and spreads across the canvas with a trowel, a soup spoon, a knife or his fingers thus metamorphosing the countryside, endowing a work such as Paysage gris aux taches cerises with a rare and singular presence.

The pictorial matter seems to rise up like fertile earth on the cusp of germination. The paintings hit the gaze, "either by representing a relief, or by figuring a living being, living a singular life midway between existence and non-existence, between the real and the imaginary, halfway between belonging to the place objectively represented in the painting or only to the artist's mental world." (Jean Dubuffet, Collège de Pataphysique, documentation published by Noël Arnaud). A beautiful lesson on the alchemy of painting.

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