Early management
190 1 was born in Havell, a wealthy family of wine merchants. Because his family was well-off and wealthy, and he was smart since childhood, he successfully finished all the courses from primary school to junior high school. He attends Harvard local high school during the day and art school at night.
19 18 His father moved his family to Paris in order to open up new business areas. So Dube studied painting in Académie Julian, France. But he's rebellious. After only one year, he refused to accept traditional art training and continued to paint privately, but spent most of his time on music, language learning, experimental drama and puppet art, and began to associate with local artists in Paris in his early twenties. Because of the introduction of his friends, he once got very close to the surrealist circle.
From 65438 to 0925, Dubfitt returned to his hometown to help his family run the wine business.
1930, he started his own wine industry. During his business career from the late 1920s to 1930s, he started writing intermittently several times, but he was always faced with the fate of giving up in the end, because he could never find his own way. Facing the numerous innovative art forms that have appeared since this century, he doesn't want to do anything that others have already done. He hates cliches very much.
1937, Du Bufei once again put down his brush in despair and even planned to give up the road of art from now on.
Professional painter
1942, Du Bufei regained his brush and became a professional painter. He accidentally discovered a secret in children's paintings: an image can be concrete, but it can break through the realistic routine. He felt as if there was something unspeakable new in this concrete. He immediately set out to this semi-figurative road. He did many experiments on images, but he soon noticed the limitations and repetitiveness of children's paintings, and he felt that he had to find another way.
From 65438 to 0944, Du Bufei held his first solo exhibition at drouin Gallery in Vandom Square.
1945 during his visit to Switzerland from July 5 to 22, I was deeply shocked to come into contact with many works of art created by mental patients. After returning to France, the term "bulut of Art" was put forward and introduced and popularized in the serial publication "Cahiers de l 'Artbrut".
1947165438+1October, Le Foyer de l 'Artbrut was established in the basement of drouin Gallery. He put all the relevant documents, photos and related materials that he has spent a lot of effort to collect in the past two years there. The first opening exhibition featured the sculpture "babs Mittel" collected by Swiss collector Joseph Oscar Muller.
From 65438 to 0947, in order to pursue new creative inspiration, Du Bufei went to the Sahara Desert in North Africa several times. He lived there for several months, studying literature and painting, hoping to integrate into the desert life of the local people.
Native art association
1948 10, Du Bufei invited several friends to set up Art bulut Company.
1June, 949 to1October 10, an original art exhibition was held in Touran Gallery, Paris, with 200 works by 63 authors. Dubfitt took the opportunity to publish a famous article "L 'Art Brut Prelude Aux Arts Cultures" in the exhibition catalogue, in which he expressed his fierce stance on defending original art and made some definitions of original art, which caused discussion in the media.
At the end of 1949, he embarked on a journey of exploring original art. He went to mental hospitals in France, Switzerland, Belgium, Germany and other places to find new authors and works.
1950, when he went to Heidelberg, Germany, he saw with his own eyes the Collection of Prinzhorn, which he read in a book more than 20 years ago, and was greatly shocked. During this period, Du Bufei's original artistic concept seems to become more intense with his more and more abundant discoveries. He even formed a set of theories to distinguish good from evil, and divided art into "true art" and "false art".
195 1 year1October, the Native Art Association was dissolved.
195110 On October 23rd, Dubuffet crossed the Atlantic with his wife Lili and the original works of art in a box, and arrived in new york, where he had never met before.
195 1 year 65438+February-195265438+1October, held a retrospective exhibition at Chicago Art Club.
1952 held an exhibition in Pierre Mattisse Gallery, new york from February to March.
1April, 952, he left new york and returned to Paris.
1955 At the beginning of the year, they moved to a small town called Vance in the southeast of France in order to let their wife Lily get well.
In the summer of 1959, an exhibition was held in Dubufeit, and 40 works by 15 authors participated.
1On September 24th, 962, Du Bufei once again organized the local art association in Paris. Referring to the articles of association and purpose of the association more than ten years ago, Dubufeit decided to locate this place as the research center of native art this time.
1967, Du Bufei held an original art exhibition with the help of the Museum of Decorative Arts. This time, Du Bufei selected 700 works from 75 authors, forming this huge exhibition of original art, which is more than three times larger than the exhibition of 1947 in Tu 'an Gallery.
1970, Dubfitt announced that he was willing to donate these works to set up an art museum in order to seek the safety of the original art collection and keep it open to the public.
On February 26th, 1976, La Collection del 'art Brut a Lausanne, located in Lausanne, Switzerland, was officially opened to the public, and Du Bufei's collection was collected.
1985 died in Paris.
Artistic creation editor
Du Bufei's most distinctive technique was formed in about 1945, and he used it for 15 years. He used sand, clay, fixative and other elements to mix pigments to form a thick foundation, and then created in this foundation. The whole picture was scrawled and mottled, and he used various methods to bring it a practical and powerful fact. As a natural object, the truth of this painting is the most important in obtaining the mysterious and primitive effect he pursues. What emerges from the foundation or fuzzy objects are deformed figures, who combine crazy features with the rich image power of prehistoric art, such as fur hats. Throughout his works in the 1950s, the main colors are brown, dark ochre and black, which are similar to monochromatic paintings.
In the early 1960s, Du Bufei created a series of decorative paintings, and deliberately named them "meaningless hour magnifying glasses". This new style has been successfully extended to today's paintings, sculptures and environmental sculptures, showing a sense of ritual tension and alienation from the art of mental illness in the design. This fantasy world created with restless mind has absorbed Du Bufei with its visual and psychological dramas and used it as a creative resource.
Du Bufei is independent of American abstract expressionists. Before many of them, he painted mainly in an intuitive way. When painting on a solid foundation, he took advantage of every possible accident. He used decorative techniques and materials, broken outlines and dirty and bloody colors on the surface to make the characters lose control and become crazy. As shown in the painting Gypsy.
Du Bufei has a habit of drawing one theme or several related themes at a time. After 1957, it was called his "non-image" period, almost entirely painting abstract paintings. But strangely, at the same time, there were still very concrete paintings until his new series "Circus de Paris" was born in 196 1 and 1962. Thus, he entered another new beginning. He draws everything he sees in a semi-automatic way, which has a strong sketching effect. Du Bufei once lived in New York, and his studio is located in Pauli District, east of downtown new york. He didn't stay in America for long, because America was not as naive, primitive and weird as he hoped.
There are also many inherent dialectics in Du Bufei's works: art-anti-art, image-no image, color-monochrome, solid-plane and so on. His creative process usually ignores the existence of the audience and the development of art history, and thinks that his creation should not care about the eyes of others, but hopes that art will be shared by the general public. He criticized art many times and rejected official institutions, but it was finally exhibited at the National Museum of Modern Art in France. Despise glory, but accept the honor recognition of 1984 Venice Biennale; Businessmen who disdain to commercialize art manage their own works. In a word, Du Bufei is a great artist full of contradictions.