Jean Dubuffet (1901-1985)
Jean Dubuffet (1901-1985)
Jean Dubuffet (1901-1985)
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Jean Dubuffet (1901-1985)

Mire G 90 (Kowloon)

细节
Jean Dubuffet (1901-1985)
Mire G 90 (Kowloon)
signed with artist's initials and dated 'J.D. 83' (lower right)
acrylic on paper laid on canvas
26 5/8 x 39 3/8in. (67.5 x 100cm.)
Executed in 1983
来源
Estate of the Artist, France.
Waddington Galleries, London.
Private Collection, France.
Anon. sale, Sotheby's London, 24 June 2004, lot 166.
Acquired at the above sale by the present owner.
出版
M. Loreau, Catalogue des travaux de Jean Dubuffet, Fascicule XXXVI: Mires, Paris 1988, p. 114, no. 93 (illustrated, p. 42).
展览
West Palm Beach Florida, Waddington Galleries & Tribby, Jean Dubuffet: The Late Works, 2001.
注意事项
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

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拍品专文

Energised strokes of red, yellow and blue coalesce into an excited vortex in Jean Dubuffet’s Mire G 90 (Kowloon). Channelling the artist’s lifelong preoccupation with graffiti, the painting flickers with quixotic gestures and lines, redolent with an expressive force. Painted in 1983, during the last years of the artist’s life, the present work is part of Dubuffet’s series Mires (Test Patterns), his penultimate visual triumph in a ceaseless quest to broaden the definitions of art; works from the series became part of his contribution to the 1984 Venice Biennale. Reflecting upon his all-encompassing, comprehensive vision, Dubuffet said, 'I want to free myself from the old nomenclature that I was led to believe catalogued reality. I want to transport my vision of what is around us in a different register, I want to live in an alternative reality' (J. Dubuffet quoted in M. Loreau, Catalogue of Works by Jean Dubuffet, issue XXXVI: Mires, Paris, 1988, p. 98). Indeed, Mire G 90 (Kowloon) embodies this sense of boundlessness, untethered from the banal associations of what Dubuffet believed to be a rigid visual language. Writing after the artist’s death in 1985, critic John Russel defined his work as ‘an aesthetic of continual change’ (J. Russell, ‘Jean Dubuffet, Painter and Sculptor, Is Dead’, New York Times, 15 May 1985). It is an evolution which continues to fascinate and will be the subject of a retrospective at the Barbican Art Gallery, London, in 2020. Released from the confines of representation, in the colours of Mire G 90 (Kowloon) exists a sense of regeneration and renewal.

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