Jean Dubuffet Quotes - Page 2

• La exposición de (Jean) Fautrier (en París 1945,fh) me impresionó muchísimo. El arte nunca había aparecido tan plenamente realizado en estado puro. La palabra "arte" nunca había estado tan cargada de significado para mí.

  Jean Dubuffet

  Arte, Fuerte, Paris

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• No hay arte sin embriaguez. Pero me refiero a una intoxicación loca. ¡Que la razón se tambalee! ¡Delirio!

  Jean Dubuffet

  Arte, Medio, Loco

  Jean Dubuffet, Hirshhorn Museum and Sculpture Garden (1993). “Jean Dubuffet 1943-1963: paintings, sculptures, assemblages : an exhibition”, Smithsonian Inst Pr

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• No existe el arte abstracto, o bien todo arte es abstracto, lo que viene a ser lo mismo. El arte abstracto no existe más que el arte curvo, el arte amarillo o el arte verde.

  Jean Dubuffet

  Arte, Amarillo, Doe

  "Prospectus et tous écrits suivants", Vol. II, by Jean Dubuffet, Gallimard, Paris, (p. 206), 1967.

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• I have always been haunted by the feeling that the painter has much to gain from making use of the forces that tend to work against his action.

  Jean Dubuffet

  Feelings, Use, Gains

  "Jean Dubuffet, Works, writings Interviews". Book edited by Valerie da Costa and Fabrice Hergott; Ediciones Polígrafa, Barcelona, p. 9, 2006.

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• I want my street to be crazy, I want my avenues, shops and buildings, to enter into a crazy dance, and this is why I deform and distort their outlines and colours. However I always come up against the same difficulty, that if all the elements were one by one deformed and distorted excessively, if in the end nothing remained of their real outlines, I would have totally effaced the location that I intended to suggest, that I wished to transform.

  Jean Dubuffet

  Crazy, Real, Elements

  "Prospectus et tous écrits suivants". Book by Jean Dubuffet, Vol. II, p. 483, 1967.

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• I took a great deal of pleasure in it, and I still feel nostalgic about it. However, I felt that it had led me to live in a parallel world of pure invention, shut inside my solitude. Naturally, it was precisely for that purpose that it was made and that was why I took pleasure in it, but I wanted to regain body and roots.

  Jean Dubuffet

  Roots, Solitude, Purpose

  "Batons rompus". Book by Jean Dubuffet, pp. 34-35, 1986.

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• Caprice, independence and rebellion, which are opposed to the social order, are essential to the good health of an ethnic group. We shall measure the good health of this group by the number of its delinquents. Nothing is more immobilizing than the spirit of deference.

  Jean Dubuffet

  Order, Numbers, Independence

  "Asphyxiating Culture". Book by Jean Dubuffet, 1968.

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• I have tried to draw the human effigy (and all the other subjects dealt with in my paintings) in an immediate and effective way without any reference to the aesthetic.

  Jean Dubuffet

  Way, Painting, Aesthetic

  "Prospectus et tous écrits suivants". Book by Jean Dubuffet, Vol. II, p. 430, 1967.

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• Lo que me parece interesante es reproducir en la representación figurativa de un objeto todo el complejo sistema de impresiones que recibimos en el curso normal de la vida cotidiana, el modo en que esto afecta a nuestros sentimientos y la forma que adopta en nuestra memoria; y es a esto a lo que siempre me he aplicado.

  Jean Dubuffet

  Memories, Interesting, Feelings

  "Prospectus et tous écrits suivants, Vol. II". Book by Jean Dubuffet, p. 103, 1967.

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• I have always directed my attempts at the figurative representation of objects by way of summary and not very descriptive brushstrokes, diverging greatly from the real objective measurements of things, and this has led many people to talk about childish drawing.. ..this position of seeing them (the objects) without looking at them too much, without focussing more attention on them than any ordinary man would in normal everyday life..

  Jean Dubuffet

  Real, Men, Drawing

  "Prospectus et tous écrits suivants". Book by Jean Dubuffet, Vol. II, p. 105, 1967.

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• ¿En nombre de qué -excepto quizá del coeficiente de rareza- se adorna el hombre con collares de conchas y no de telas de araña, con pieles de zorro y no con entrañas de zorro? En nombre de no sé qué. ¿Acaso la suciedad, la basura y la inmundicia, que son compañeras del hombre durante toda su vida, no merecen serle más queridas y no le sirve de algo recordarle su belleza?

  Jean Dubuffet

  Men, Names, Doe

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• La pintura es... un lenguaje más rico que las palabras... La pintura funciona mediante signos que no son abstractos e incorpóreos como las palabras. Los signos de la pintura están mucho más cerca de los propios objetos.

  Jean Dubuffet

  Painting, Language, Abstract

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• En cuanto a la utilización de este material de colores chispeantes (alas de mariposa hacia 1955, fh) -cuyas partes constituyentes siguen siendo indistinguibles- con el fin de producir un efecto de centelleo muy vivo, me di cuenta de que, para mí, esto responde a necesidades del mismo orden que las que antes me llevaron, en muchos dibujos y pinturas, a organizar mis líneas y manchas de color de modo que los objetos representados se fundieran con todo lo que los rodea, de modo que el resultado fuera una especie de sopa continua y universal con un intenso sabor a vida.

  Jean Dubuffet

  Butterfly, Order, Wings

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• The State has but one face for me: that of the police. To my eyes, all of the State's ministries have this single face, and I cannot imagine the ministry of culture other than as the police of culture, with its prefect and commissioners.

  Jean Dubuffet

  Eye, Police, Ministry

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• I associated it (the word 'Hourloupe', as title of his longest series of work he made exclusively from 1962 to 1974, fh) by assonance with 'hurler' (to shout), hululer (to howl), loup, (wolf), 'Riquet à la Houppe' and the title of Maupassant's book 'Le Horla', inspired by mental distraction.

  Jean Dubuffet

  Book, Titles, Inspired

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