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拍品專文
Paysage éclectique, executed in 1957, belongs to Dubuffet's 'Tableaux d'Assemblages' group of paintings. This sense of its being an 'Assemblage' appears almost to place it half way between a collage and a quilt. The various areas of canvas fuse together to create an overall effect like an Informel stained glass window. It seems to gleam with a dark and understated earthy lustre, and the various areas all conspire to make the eye dance across the surface incessantly. Dubuffet expressly linked the 'Assemblage' paintings such as Paysage éclectique to his butterfly-wing paintings, and the strange haze of the overall effect of the canvas bears out the justice of this comparison.
Although Dubuffet had been creating various forms of assemblage for some time, it was only in 1955 that he began to explore the potential of the technique on canvas. Dubuffet would create various canvases, often schematised so that one would be completely covered with sky, another with earth, another with the colour of the sun. He would then cut them up and piece them together to form a new, highly variegated picture. The flexibility of this technique meant that he could even replace and substitute the various elements as he desired - the sky did not have to represent the sky, nor the sun the sun. In Paysage éclectique, the rich tapestry of shapes and colours that has been weaved together shows a fantastic melange of elements that have been fused together, regardless of their original significations, to create an emotive and vibrant landscape.
Dubuffet always valued chance and accident in his work, not least because it was self-generating, and therefore meant that some force other than the artist had been at play in the creative process. However, chance and accident had ever proved fickle partners. In the assemblages, Dubuffet now had the chance to edit and concentrate 'accidents' on his source canvases. He could take as many as he liked and place them together, acting as a guiding hand, a conductor. With this interplay of many chance results, Dubuffet has managed to weave together a pulsing and vibrant collaboration between the directing forces of the artist and of chance. This makes Paysage éclectique appear as a living work. It is the organic product of the world, not mere artifice, or as Dubuffet himself wrote, a 'kind of continuous universal soup with the savor of life itself' (Dubuffet, Memoir on the Development of My Work from 1952, pp. 73-138, p. 121). In this way, Dubuffet has created an eclectic landscape that does more than merely represent it is self-generating, self-forming and as such is a landscape segment of the force of nature.
Although Dubuffet had been creating various forms of assemblage for some time, it was only in 1955 that he began to explore the potential of the technique on canvas. Dubuffet would create various canvases, often schematised so that one would be completely covered with sky, another with earth, another with the colour of the sun. He would then cut them up and piece them together to form a new, highly variegated picture. The flexibility of this technique meant that he could even replace and substitute the various elements as he desired - the sky did not have to represent the sky, nor the sun the sun. In Paysage éclectique, the rich tapestry of shapes and colours that has been weaved together shows a fantastic melange of elements that have been fused together, regardless of their original significations, to create an emotive and vibrant landscape.
Dubuffet always valued chance and accident in his work, not least because it was self-generating, and therefore meant that some force other than the artist had been at play in the creative process. However, chance and accident had ever proved fickle partners. In the assemblages, Dubuffet now had the chance to edit and concentrate 'accidents' on his source canvases. He could take as many as he liked and place them together, acting as a guiding hand, a conductor. With this interplay of many chance results, Dubuffet has managed to weave together a pulsing and vibrant collaboration between the directing forces of the artist and of chance. This makes Paysage éclectique appear as a living work. It is the organic product of the world, not mere artifice, or as Dubuffet himself wrote, a 'kind of continuous universal soup with the savor of life itself' (Dubuffet, Memoir on the Development of My Work from 1952, pp. 73-138, p. 121). In this way, Dubuffet has created an eclectic landscape that does more than merely represent it is self-generating, self-forming and as such is a landscape segment of the force of nature.