Details & Cataloguing



Jean Dubuffet
1901 - 1985
signed J. Dubuffet and dated 57 (lower right); signed J. Dubuffet, titled Paysage désorienté and dated juin 57 (on the reverse) 
oil on canvas
65 x 81 cm; 25 9/16 x 31 7/8 in.
Painted on June 7th, 1957.
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Galerie Paul Facchetti, Paris
Collection Pietro Campilli, Rome
Galerie Beyeler, Basel
Arnold Herstand Gallery, New York
James Goodman Gallery, New York
Collection Ellen Cantrowitz, New York
Acquired from the above by the present owner 


Basel, Galerie Beyeler, Jean Dubuffet, février - avril 1965, no. 40; catalogue, illustrated in colour, np.
New York, James Goodman Gallery, Dubuffet: Form & Texture, 21 October - 15 December 2015; catalogue, illustrated in colour, p. 17


Jean Dubuffet, Jean Dubuffet : catalogue des peintures faites à Vence du 1er avril au 31 août 1957, Paris, 1958, no. 11, illustrated np.  
Max Loreau, Catalogue des travaux de Jean Dubuffet. Fascicule XIII : Célébration du sol I, Lieux cursifs, texturologies, topographies, 1969, Lausanne, no. 52, illustrated p. 41

Catalogue Note

The objective of painting is to animate a surface.
Jean Dubuffet

Bold ode to matter, Paysage Désorienté illustrates better than any other Dubuffet's paintings from the end of the 50s his radical rupture with formalism. Leading figure of informal art and fierce defender of art brut, of which he is a major representative, the polymath artist here makes room for this "part of chance specific to each medium" he vividly described in his writings of the 60s.

With its mute tones, its subject blending into the background, and its spontaneous and rough touch reminiscent of Paysages du Mental from the early 50s, as well as the childhood drawings the artist was fond of, Paysage Désorienté is particularly emblematic of the famous Lieux Cursifs Dubuffet created in Vence between April and September 1957.  

Flattened up, the ground plane and protagonists embedded in the pictorial matter here merge into an intellectual construct indicative of Dubuffet's poetical and strange world vision. Initially bought from the mythical Facchetti gallery -the one who exhibited Michel Tapié protégés for its opening in 1951, organizing an outstanding exhibition entitled Signifiants de l'informel with works by Fautrier, Dubuffet, Mathieu, Michaux and Riopelle, before holding the first French retrospective exhibition of the then little known American painter Jackson Pollock- Paysages Désorienté is also highly representative of the most avant-garde trends of the post-war period.