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拍品詳情

當代藝術日拍

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倫敦

Jean Dubuffet
1901-1985年
DRAMATIQUE V
signed with the artist's initials and dated 84
acrylic on paper laid down on canvas
67.5 by 99.7 cm. 26 1/2 by 39 1/4 in.
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來源

Mrs Isalmina Dubuffet, Paris (by descent from the artist)
Ernst Beyeler, Paris (acquired from the above in 1987)
Christie's, London, 22 June 2011, Lot 329
Acquired from the above by the present owner

展覽

Winterthur, Kunstmuseum Winterthur, Liberté & Egalité, 1989, n.p., no. 31 (text)
Zurich, Art Focus, Jean Dubuffet, Travaux de 1951 à 1984, November 1997 - January 1998, p. 33, illustrated
Basel, Galerie Beyeler, Jean Dubuffet, October 2009 - January 2010, no. 9 (text)
London, Timothy Taylor, Dubuffet: Late Paintings, May - July 2016

出版

Max Loreau, Ed., Catalogue des travaux de Jean Dubuffet, fascicule XXXVII: Non-Lieux, Paris 1989, p. 56, no. 128, illustrated

相關資料

Channelling an explosive energy of impulsive brushstrokes, Dramatique V embodies one of the final paintings in Jean Dubuffet’s astounding final series Non-Lieux. The unambiguous signatures scrawled across the abyssal background succeeded in heightening his creative frequency, losing all sense of identity and definition. Dubuffet’s aim within the series was to disconnect the outcome associated with any definable material or a sense of rationale. The artist aspired to sacrifice any last remnants of recognisable objects or patterns to advance steadfastly towards certain emptiness.

The volatile temperament of every line and curve within the present work are an outcome of Dubuffet’s continuous repetition to energetically  re-trace the previous gesture in order to rupture its accuracy. Dramatique V is a vivid example of how the artist wanted to reduce the impact of colour within his final series. Monochromes dictate the event and the red and blues are forced into the background where an uncompromising nakedness prevails. The free reign of Dubuffet’s painterly hand over the quaking depth of darkness, illustrates an incomparable field of energy where the viewer’s gaze can focus without forcing a response in representational references. The magic within Dramatique V lies in his articulation of a world that runs parallel to the phenomenon of the visible, producing an abstract universe absent of the human figure. Dubuffet further delves into the ideas behind his Non-Lieux series by commenting “They are intended to depict the fact that the term ‘being’ itself is groundless, an idle projection of our fantasy” (Gallimard, Ed., Jean Dubuffet; Biographie au pas de course, Paris 2001, p. 166).

From 1974 onwards, the later titles of Dubuffet’s series show a transformation in language. Lieux Abrèges, Sites Aléatoires and the series in which we find Dramatique VNon-Lieux, loosely translate to ‘non places’ or ‘no grounds’ and suggest a motive of mapping the riddle of existence and comprehending the infinity of death. This vision gave Dubuffet a clairvoyant trait, anticipating his departure from the material world and welcoming himself to the void of space and intellect within his work. Dramatique V is a dazzling and engaging work presented in the final series of Dubuffet’s astounding career. At 83 years old, Dubuffet was plagued by ailments during the 1984 series’ creation yet despite his poor health; he was able to produce over numerous striking works. His capacity to dissolve the mind’s failure in distinguishing the material from the ideological world proves Dubuffet’s oeuvre remains eternally vibrant and perpetually versatile.

當代藝術日拍

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倫敦