JEAN DUBUFFET | I. HOMME PORTANT UN INSTRUMENT II. PERSONNAGE III. PERSONNAGE [3 WORKS]

i. William Louis-Dreyfus, Mount Kisco, New York (acquired in 1993)

The William Louis-Dreyfus Foundation (gift of the above in 2016)

ii. & iii. William Louis-Dreyfus, Mount Kisco, New York (acquired in 1966)

The William Louis-Dreyfus Foundation (gift of the above in 2016)

i. Max Loreau, Ed., Catalogue des travaux de Jean Dubuffet: Fascicule XXI, L'Hourloupe II, Lausanne 1968, cat. no. 119, p. 68, illustrated

ii. Max Loreau, Ed., Catalogue des travaux de Jean Dubuffet: Fascicule XXI, L'Hourloupe II, Lausanne 1968, cat. no. 132, p. 78, illustrated

iii. Max Loreau, Ed., Catalogue des travaux de Jean Dubuffet: Fascicule XXI, L'Hourloupe II, Lausanne 1968, cat. no. 243, p. 141, illustrated

Four Seasons Hotel, Washington D.C., 2002-2010

“In September 1964, Dubuffet returns to his personnages and sites which are more mental and imaginary. …Nevertheless, to have gone through the ordeal of objects, tools, and houses, the appearance [of these subjects] took a new turn. The pieces of the game have become more massive and rough; arriving from composite mechanics of sorts from another time: that is, the Stone Age and its irrationality all at once… Moreover, these beings are made of what becomes more numerous and smaller parts, which is from this point on impossible to identify to a single member. So as to ensure a general economy in the painting, the relationship which links the anatomical constitution of the personnage to the site begins to change. Man begins to be provided with a distinct individuality: now more agitated than the landscape, more obsolete and more nervous too, but above all, more delusional.”

(Max Loreau, Catalogue des travaux de Jean Dubuffet: Fascicule XXI, L'Hourloupe II, Lausanne 1968, p. 7)