1959 Jean Dubuffet Signed Lithograph L’arbre d’ombre

1959 Jean Dubuffet Signed Lithograph  <i>L’arbre d’ombre</
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Price: $1,200.00

Description

Description: We offer an original lithograph by Jean Dubuffet, titled L’arbre d’ombre. The image size is 21 ¼” x 15 ½”, printed on arches (26” x 20”), signed, titled, dated and numbered in the lower margin: "47/75 1959". Catalogue Raisonne: Webel 626. Item #PR00189.

L’arbre d’ombre (Tree of Shadows) is a meditative abstract field, made for the portfolio Expanses, Partitions (Etendues, parois) from the larger print project Phenomena (Les Phénomènes). The Phénomènes is a series of print portfolios made by Dubuffet using subversive techniques with lithography stones to make formless compositions that Dubuffet came to see as topological and textural reference material, almost a catalogue of textures and phenomenon he explored through printmaking. The series began in 1958 and was not finished till 1962.

Jean Dubuffet (1901-1985) was an art school dropout, eternally frustrated with institutions, academies, and aesthetic gatekeepers. He left school to work in the family wine merchant business, and continued his art education on his own. By far his biggest influences came from the common people: the art of children, the insane, the unschooled. Hans Prinzhorn's book Artistry of the Mentally Ill provided much inspiration as well. Dubuffet was instrumental in establishing the style Art Brut, giving name and prominence to the creative output and impulses of marginalized people at a time when the concept of “outsider art” was not well formed or explored. Dubuffet used tar, sand and gravel in his abstract paintings, an impulse that could be seen as a reaction to the devastation of World War II. He was building culture from the ground up, out of ashes and rubble. Though he publicly rejected cultural norms, he enjoyed critical acclaim from peers (like Henri Matisse), critics and collectors in Europe and the US for much of his career. His works are widely collected and displayed in major institutions and museums worldwide.

Condition: Verso has a thin strip of adhesive tape along the top margin and some overall toning from prior framing, but the print is in very good condition.