Bain de terre

細節

Jean Dubuffet (1901-1985)
Bain de terre
signed and dated 'J. Dubuffet 57' (upper right); signed, titled and dated 'Bain de Terre, J. Dubuffet, Octobre 57' (on the reverse)
oil and collage on paper laid down on canvas
20½ x 31 1/8in. (52 x 79cm.)
Executed in 1957

來源

Arthur Tooth and Sons Ltd., London.
Lord Croft, Lodon.
Anon. sale; Christie's London, 2 July 1992, lot 34.
Jean Albou conseil, Paris.
Acquired directly from the above by the present owner.

出版

M. Loreau, Catalogue des travaux de Jean Dubuffet: Célébration du sol I, lieux cursifs, texturologies, topographies, fascicule XIII Lausanne 1969, no. 95, (illustrated p. 72).

展覽

London, Arthur Tooth and Sons Ltd., Jean Dubuffet, Paintings 1943-57, April-May 1958, no. 25 (illustrated).
London, Tate Gallery, Private Views: Works from the Collections of Twenty Friends of the Tate Gallery, April-May 1963, no. 58.
Edinburgh, Museum of Modern Art, 1963.

注意事項

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拍品專文

"All my works of this period (the last four months of 1957) belong to my project for the execution of a cycle of large paintings celebrating the ground….My idea was to obtain large paintings by means of assemblages. To that end the first step was collecting a considerable number of basic paintings depicting the different elements that compose the surface of the ground, and out of them later cutting pieces and juxtaposing them in various ways. What I had in mind was to portray these surfaces without using lines or forms. I meant to evoke any area of bare ground - preferably an esplanade or roadway - seen from above, that is, a fragment of a continuous unit, perhaps vaguely divided into zones... What captivated me in the first place was the opportunity afforded of composing paintings by the simple method of juxtaposing textures on which there were no objects with clearly defined contours, and which gave one the same impression as looking down at a vast expanse of ground that could be endlessly prolonged…..During this whole period I again experimented assiduously with a method I had already used extensively in the preliminary paintings for my Tableaux d'Assemblages …It consists in applying sheets of paper to fresh paint. But, while till now I had always used sheets of newspaper … this time after experimenting with large pieces of various materials, oilcoth, satinette etc., I tried sheets of white drawing paper, first of quite ordinary quality, then pure rag Arches. Often an arresting image would appear on the sheet of paper. I undertook to preserve the ones that interested me. Soon I began working with a view to obtaining imprints rather than to preserving the painting itself. Certain sheets of paper were used for several successive imprints, then I Eould make duplicates on other sheets. Later cutting up these papers and assembling the pieces. I made assemblages of oil paintings on paper - # were directed towards the realization of Topographies. The ones on paper, however, came nearer to what I had in mind than those on canvas…. (and I put them aside )….The result was that in the end there #as not enough of the paintings left for my assemblage experiments, so that, of the many Topographies I had in view, only one was completed…. Needless to say I intend to take up this abortive enterprise once more in the future." (Jean Dubuffet Topographies, #exturolofgies et Quelques Peintures repr. in Dubuffet exhib. cat. Museum of Modern Art. New York. 1962. pp.128-129.)