By Jean Dubuffet
Anyone setting out, as we do, to look at the works of irregulars will ultimately acquire a totally different notion from the one commonly held in regard to approved art, the art of museums, galleries, salons - let us call it cultural art. Complete article in L’art brut préféré aux arts culturels, Galerie René Drouin, Paris, 1949.
By Jean Dubuffet
It may be that artistic creation, with all that it calls for in the way of free inventiveness, takes place at a higher pitch of tension in the nameless crowd of ordinary people. Complete article as a foreword of L’Art Brut by Michel Thévoz, Skira, 1975.
By Michel Thévoz
In the Collection's early days, prior to its transfer to Lausanne, it was Jean Dubuffet himself with the help of a very select band of associates, and notably Slavko Kopac, who took full responsibility for its management, development and documentation. At first, Dubuffet considered that it was useful to act in virtual secrecy. Complete article published in the book The Art Brut Collection, BNP Paribas Suisse, 2001.
By Lucienne Peiry
95,000 Euros for a mask by Pascal-Désir Maisonneuve; 30,000 and 19,000 Euros for two small drawings by Aloïse. Interest is growing in the poorest art that there is and the price rises on the international market have been dazzling. Complete article published in the magazine Ligeia, 2004.
By Lucienne PeiryLucienne Peiry
“A song bawled out by a girl brushing the stairs affects me more than a skilful cantata. Everyone has their own taste. I love the little. I also love the embryonic, the badly made, the imperfect, the mixed. I prefer rough diamonds, in their gangue [rock casing]. And with toads”.
These remarks by Jean Dubuffet, written in 1945, already contained a sort of definition of Art Brut before the term actually existed. Complete article published in Dubuffet & L’Art Brut, exhibition catalogue, 2005.
For all Art Brut authors, creation is born of a vital necessity that was of a ritual, magic, prophylactic or therapeutic nature, rendering the boundary line between art and life extremely tenuous. For some of them, the need to create arises from a revelation, a vision, an auspicious encounter or, simply, this or that occasion: one thinks of Eugenio Santoro (1920-2006), whose first drawing was inspired by the 100th anniversary of the chocolate factory where he worked. Sometimes it is triggered by a painful life event: death, exile, illness or war. In such cases, the creations are part and parcel of the body, a mate for life, until death doth part them. Such authors of Art Brut will unflaggingly produce their subversive and inventive pieces imbued with extraordinarily forceful expressivity. Complete foreword extracted from l'Art Brut, Flammarion, Paris, 2012.
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