Dhotel nuancé d'abricot

            I remember well my creation of one of my more famous works called Dhotel nuancé d'abrico. I was a difficult project and exertion to even prepare the surface on which I carved. As you can see from the photograph I have provided above, the drawing surface has been completely blackened. I had to do that myself so I would be able to perfect the exact thickness and texture of my desired surface. The first thing I did was taking a clean canvas and spread a thick layer of black paint. On top of that I put ash, coal dust, sand, and other powders to get the tone of black that I wanted. On this mixture, I placed a strange “apricot” mixture of many colors and then covered it all with more black paint.                        

            At this point, I started actually painting the figure. I used a cream colored paint to paint the background of the head and the body. Then I used a blunt edge to carve in all of the details of the face and the rest of the body using various levels of deepness to show thickness. Afterwards, I went over the colored part with a layer of “apricot” paint to give the man some distinct character and painted in some minute details. As one could imagine, this work took up a lot of my time and I was a little apprehensive of making a mistake. Once I was done, I felt very proud and confident about it.

First Solo Art Exhibition

 

            I am holding my first solo art exhibition soon. It is currently the year 1944. My reintegration into the art world has since passed two years ago. I hope to amaze the world with my simple and meaningful artworks. Many works look like they were created by amateurs, but I believe them to be amazing. My collection is mostly comprised of pieces made in my new, primitive looking style. I believe that all art, no matter how dubious and homely, contains value somewhere in its style and the level of effort imbued in each stroke. The concept of ugliness does not exist in any painting, only unappreciated value and genius. Many of my paintings have very simple themes and others have a very simple design. I hope other aficionados of art will be accepting of my new style of art.

            I have painted many landscapes between the revival of my interest in art and now. One of the first ones that I did was of a field with many distorted cows drawn in many different locations. These cows seemed very awkward and tilted. Afterwards, I switched over to the illustration of urban environments with people and buildings. My paintings of this setting were different from those of others though. I painted of things that were unheard of other artists, such as painting an alleyway instead of the boulevard. I also depersonalized my subjects in these paintings. I am hopeful that these newer paintings will satisfy my observers.

What has the art world come to?!?

            I simply cannot believe that our acclaimed artists would depict the devastation of the war in the form of beauty. This is utter nonsense! Why would anyone even dare to depict the suffering of the people in works of splendor and magnificence? The Second Great War already has had an enormous effect on many countries, France especially. I cannot see how one is able to create something graceful that derives from this suffering of the people. I believe the paintings that we create should portray the anguish of the souls of the deceased without a trace of appreciation or brilliance in it.

            This is an outrage! This style is completely unsuited for this age. I have now been convinced, I must pick up my brush once more. I must save the art world in any way possible. The derivation of beauty from suffering is simply unacceptable! This is where the style I have studied intensely will shine. I have decided to deviate from everyone else’s standard of following culture and letting it influence their art. The focus of art should shift to the chaotic, primitive drawings that I have learned to appreciate. The works of crazed inmates located in asylums perfectly depict the distortion and suffering caused by war and violence. I believe that to paint in this unique style, artists must isolate themselves from popular culture and explore their own inspirations, whether they are good or bad.

Laying Down the Brush

            It is currently the year 1924, almost 1925. I have decided to leave the world of art for good in favor of helping to support my family. This decision is very tough for me, but I do not regret my decision. My appreciation of the art world around me has declined rapidly. I have started to doubt my own skill at painting and started to contemplate laying down my brush a while ago. I think I will instead help in managing the family business back home, in La Havre. I do not know how long I will be in hiatus from art. It could be just two years, it could be twenty years. That will all be revealed in due time, though. I hope that my transition from the world of art into the world of business will be peaceful.

            I have come to a decision that in the next year, in 1925, I will return to La Havre, my hometown. I have not traveled there in quite a while and I long to see my parents again. I sincerely hope that they are well. My father is a merchant whom deals with the purchase and sale of fine tasting wines. I believe that in the years in which I am at home, I will assist my father in his business and maybe establish my own business. I will most likely draw or paint in my free time, but it is unknown to me when or if I will rejoin the world of art. I shall find out when it happens.

My Life Story

            Hello readers. My name is Jean Dubuffet, a great painter and sculptor if I don’t say so myself. I currently live in Paris and it is currently 1985. I have been admired for my simple yet symbolic and representative works of art. I both paint and sculpt, but I am better known for my paintings and my distinct art style. The popularization of the art style, “Art Brut” as they call it, was my doing. This style is based around the drawings of the non-appreciated artists- children and the insane. This is why these works seem primitive. This art style was my retaliation against the culture-influenced art of that age. I hated how artists at that time would imbue beauty into serious subjects like war and death. I then decided to turn away from the art of others and focus on this new style, ignoring the approaches of other artists.

            My date of birth was July 31, 1901 in a city called Le Havre. This is where I spent most of my student life until the age of 17 when I moved to Paris. The education I received at Le Havre, in my opinion, was ineffective and I decided to read so I would be able to learn more outside of school. This is where my interest in at began as I read the works of Dr. Hans Prinzhorn. They depicted the drawings of the crazed prisoners lying in asylums. In France, I studied at the Académie Julian for six months before I became dissatisfied with the studies there. I left and on my own I developed interests in art, music, and literature.

            In 1930, my family and I founded a wine business in Paris. With me, I had my wife that had wedded with me in 1925. This exertion did not last long for me, though. By 1934 I had left the business and left my wife and daughter to find my inspiration for a truly unique style of art that everyone could participate in. In 1937, I set down my brush once again because that inspiration was never found and I started doubting my abilities as an artist. In 1942, my interest in art was renewed when I found a new inspiration in the anti-culture art of the simple and primitive figures of Art Brut. I started to paint in this style myself. I refused to include the so called “beauty” that existed in everyone else’s artwork. I painted in this style as well as taking requests for portraits. I wished for my work to be unique, so I changed the emphasis of the painting to the minute imperfections of the patron. By 1944, I had built up quite a collection of art and held my own exhibition.

            For many years, I painted and eventually, my love for the complex textures and materials of the buildings around me led me to pursue sculpting as well. I used very simple materials like papier mâchier so I could work quickly and efficiently decorate them easily. I say my life has been a success. Alas, my time of passing is at hand. I Thank you for reading of my life’s work.