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Jean Dubuffet, Algèbre de l’Hourloupe, 52 figures extrapolatoires, %category% on %material%
Jean Dubuffet, Algèbre de l’Hourloupe, 52 figures extrapolatoires, %category% on %material%
Jean Dubuffet, Algèbre de l’Hourloupe, 52 figures extrapolatoires, %category% on %material%
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Jean Dubuffet, Algèbre de l’Hourloupe, 52 figures extrapolatoires, %category% on %material%
Jean Dubuffet, Algèbre de l’Hourloupe, 52 figures extrapolatoires, %category% on %material%
Jean Dubuffet, Algèbre de l’Hourloupe, 52 figures extrapolatoires, %category% on %material%
Jean Dubuffet, Algèbre de l’Hourloupe, 52 figures extrapolatoires, %category% on %material%
Jean Dubuffet, Algèbre de l’Hourloupe, 52 figures extrapolatoires, %category% on %material%
Jean Dubuffet, Algèbre de l’Hourloupe, 52 figures extrapolatoires, %category% on %material%

Algèbre de l’Hourloupe, 52 figures extrapolatoires, 1968
Jean Dubuffet

Master Artists

Design : paper

135 x 125 x 2 cm 53.1 x 49.2 x 0.8 inch

€4,500 4 500 €
Secure delivery : France   + €90
Shipping : Two to three weeks
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About the artwork

Type

Open edition

Signature

Not Signed

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery

Medium

Design: paper

Dimensions cm • inch

135 x 125 x 2 cm 53.1 x 49.2 x 0.8 inch Height x Width x Depth

Framing

Artwork sold framed

Artwork dimensions including frame

138 x 128 x 3 cm 54.3 x 50.4 x 1.2 inch

Tags

Black

Artwork sold in perfect condition, framed, ready to hang

Artwork location: France

A 12-year cycle, the artist's longest and most monumental, which initiated the gallery's relationship with the artist. It began with small, instinctive graphic drawings, initially executed in blue and red ballpoint pen.

They explore the infinite variety of the world through an adventurous line, allowing images to emerge, using a wide range of techniques: markers, felt-tip pens, vinyl, collages, and cutouts of all kinds, which excite the artist with their almost magical visual potential. Continuing this adventure on paper, he takes the path of paintings and sculptures, which will become monumental, culminating in the most unimaginable architectural creations, such as the [unspecified building], housing the [unspecified] and the costumes of the show. Some twenty solo exhibitions, as well as numerous publications, mark Jean Dubuffet's journey at the Jeanne Bucher Jaeger gallery.

For the card game (which isn't a true card game since it merely plays with its form), Dubuffet composed 52 figures based on the spontaneous, direct inventiveness of the hand, which independently creates the lines, shapes, and figures. These figures reveal a dog, a clown, a rocket, or two people embracing only to immediately conceal them again, thus leading the imagination in a different direction.

The 52-card deck has been published in two successive editions. The first, in 1967, was titled and silkscreened from Jean Dubuffet's original marker drawings (1964-67), produced with the London-based publisher Alecto. This edition was limited to 350 numbered copies, plus 30 copies not for sale. The 52 cards, measuring 25 x 16 cm, each feature a different image on its face, rendered in a limited color palette: blue and red on a black background, alternating solid colors and hatching according to the artist's distinctive style. In addition to the 52 cards, the set includes a title card and a box, decorated with two motifs, which bears the handwritten instructions on its inside.

The second edition, based on the same original drawings by Jean Dubuffet and published in March 1968, is a co-edition between Galerie Jeanne Bucher and Galerie Beyeler, printed by the master cardmaker Baptiste-Paul Grimaud in Nancy. This second edition is titled "The format of the cards is 17 × 11.2 cm, the same as the originals."

The title card and the card backs feature original designs that were used to decorate the front and back of the box, respectively. This is an unlimited offset print run, which also resulted in a special edition for English-speaking countries. This second set comes in a slightly different box and features a new title on a white background. It includes a card listing the 52 figures in the game, followed by their English translations. Jean Dubuffet's card game was studied in the catalogue raisonné by Max Loreau and later by Sophie Webel.

In this version, which reproduces the previous one, the drawing that appeared on the back of the half-title card is replaced by the list (titled) of the fifty-two titles accompanied by their English translation.

The work, as well as and was the subject of a specific presentation at the gallery between November 7 and 30, 1968.

So that everyone can play their games of , which Dubuffet considers as an algebra, all the beings or objects that populate these cards, rather than being taken for themselves, are destined to light up, by chance, multitudes of combinations.

Bibliography:

Catalogue of the works of Jean Dubuffet, Maps, Utensils, fascicle XXII, Switzerland, 1975, ill. 168, pp.54-57

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About the seller

Jeanne Bucher Jaeger • France

Artsper seller since 2017

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Jean Dubuffet
France  • 1901  - 1985
Master Artists

Presentation

Jean Dubuffet was born in Le Havre on 31 July 1901 into a family of wine merchants. A paradox marked his life: fascinated by the fringes of society and madness, he could never be able to give up the privileges offered by his fortune even though he despised the bourgeois and the intellectuals. One of the most important French painters of the 20th century, Jean Dubuffet was the first to coin the term Art brut, to label the art of outsiders with no artistic education. 

After a short stint at the Académie Julian in 1918, he established his studio in a building owned by his family's business. Eventually, he joined his father's business but took numerous breaks to travel and to work in other cultural fields, always self-taught: painting, literature, languages, music. 

His real artistic career began in his forties: for the next four decades, he built a rich body of work, wrote essays and poetry, played jazz, and experimented with different materials and techniques. In his first series of paintings, Rues de Paris, Hautes Pâtes, Mirobolus, Macadam et Compagnie, he stated his desire to stay away from schools and art movements, advocating for spontaneity of the artistic gesture, instinct and the use of "low" materials, such as sand or tar. 

He first used the term art brut in 1945 to define the spontaneous and primitive productions of outsiders or the mentally ill, works that he had been collecting, but also to define his own work. In 1948, he created the Compagnie de l'art brut with André Breton, Jean Paulhan, and Michel Tapié, whose goal was to study and disseminate this involuntary art. He produced multiple series: Sols et terrains, Paysages du mental, the famous Tableaux d'assemblages. He was attracted by the grotesque and wanted his work to offset viewers, like a "punch to the gut". He painted for his own enjoyment and has little interest in other painters. 

Between 1962 and 1983, he worked on the Hourloupe cycle. He produced paintings, drawings, assemblages, sculptures, “praticables", architectural pieces in three essential colors: red, blue, and white. The “praticables" are animated paintings mainly assembled under the name Coucou Bazar, a work bridging painting, sculpture, dance, and performance. First presented in New York in 1973, Coucou Bazar came to life more recently in 2013 at the Musée des Arts Décoratifs in Paris and in 2016 at the Fondation Beyeler in Basel, Switzerland. 

Today, his works continue to be exhibited in the world's greatest museums. In 2019 the MUCEM in Marseille presents his exhibition "Jean Dubuffet, a barbarian in Europe" and another major exhibition of his works is held at the Palazzo Franchetti in Venice.

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