GENERAL DESCRIPTION
In Surrealism, art and literature were closely interwoven, especially in France, where the cultural milieu often produced highly articulate artists. After World War II, Jean Dubuffet, an idiosyncratic writer, painter and polemicist, carried the irrationalism of Surrealism and Dada into a new dimension. While Matisse was glorifying his old age with epic paper collages, Dubuffet was making art that appeared primitive, paradoxical, absurd and extremely witty. He used the mud daubs and graffiti of the modern city in marvelous ways. Almost any shape or material was grist for Dubuffet's iconoclastic mill. In "The Reveler" the human figure is seen as a cheerful and probably drunken jigsaw puzzle; a child's game or scribble becomes sophisticated art. "The Reveler" also seems free and joyous; in his own way Dubuffet expresses as much "joie de vivre" as Matisse.
Excerpt from
- Anne R. Bromberg, Dallas Museum of Art: Selected Works (Dallas, TX: Dallas Museum of Art, 1983), 134.
NOTES
Catalogue essays
Artist/designers
Dubuffet_Jean: ULAN: 500019113
Cultures
Geography
France (nation): TGN: 1000070
Process/materials
canvas: AAT: 300014078
impasto (painting technique): AAT: 300053368
oil paint: AAT: 300015050
Historical periods
twentieth century (dates CE): AAT: 300404514
Individuals
Subject terms
biomorphic abstraction: AAT: 300069065
black (color): AAT: 300130920
canvas: AAT: 300014078
curves (geometric figures): AAT: 300378887
Dada: AAT: 300021500
drinking: AAT: 300379698
geometric abstraction: AAT: 300056509
impasto (painting technique): AAT: 300053368
outsider art (art brut): AAT: 300056472
painting (visual works): AAT: 300033618
revelers: AAT: 300380098
stripes: AAT: 300010230
Surrealist (style or movement): AAT: 300021512
white (color): AAT: 300129784
RELATED OBJECTS
PROVENANCE
Until 1966: Galerie Beyeler, Basel, Switzerland [1]
1966: Dallas Museum of Fine Arts, gift of James H. and Lillian Clark [2]
The main source for this provenance is the letter from Sue Graze of the Dallas Museum of Art to Lillian Clark of Dallas, dated June 15, 1987, copy in Dallas Museum of Art Collections Records object file.
[1] See the letter from Merrill C. Rueppel of the Dallas Museum of Fine Arts to Mr. Ernst Beyeler of Galerie Beyeler, dated April 4, 1966, copy in Dallas Museum of Art Collections Records object file.
[2] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
- Museum of Modern Art~Learn more about Dubuffet's rebellious and innovative thinking.
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 1966.14
Category
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General Description
In Surrealism, art and literature were closely interwoven, especially in France, where the cultural milieu often produced highly articulate artists. After World War II, Jean Dubuffet, an idiosyncratic writer, painter and polemicist, carried the irrationalism of Surrealism and Dada into a new dimension. While Matisse was glorifying his old age with epic paper collages, Dubuffet was making art that appeared primitive, paradoxical, absurd and extremely witty. He used the mud daubs and graffiti of the modern city in marvelous ways. Almost any shape or material was grist for Dubuffet's iconoclastic mill. In "The Reveler" the human figure is seen as a cheerful and probably drunken jigsaw puzzle; a child's game or scribble becomes sophisticated art. "The Reveler" also seems free and joyous; in his own way Dubuffet expresses as much "joie de vivre" as Matisse.
Excerpt from
- Anne R. Bromberg, Dallas Museum of Art: Selected Works (Dallas, TX: Dallas Museum of Art, 1983), 134.
Fun Facts
Archival Resources
Web Resources
Notes
Catalogue essays
Artist/designers
Dubuffet_Jean: ULAN: 500019113
Cultures
Geography
France (nation): TGN: 1000070
Process/materials
canvas: AAT: 300014078
impasto (painting technique): AAT: 300053368
oil paint: AAT: 300015050
Historical periods
twentieth century (dates CE): AAT: 300404514
Individuals
Subject terms
biomorphic abstraction: AAT: 300069065
black (color): AAT: 300130920
canvas: AAT: 300014078
curves (geometric figures): AAT: 300378887
Dada: AAT: 300021500
drinking: AAT: 300379698
geometric abstraction: AAT: 300056509
impasto (painting technique): AAT: 300053368
outsider art (art brut): AAT: 300056472
painting (visual works): AAT: 300033618
revelers: AAT: 300380098
stripes: AAT: 300010230
Surrealist (style or movement): AAT: 300021512
white (color): AAT: 300129784
RELATED OBJECTS
PROVENANCE
Until 1966: Galerie Beyeler, Basel, Switzerland [1]
1966: Dallas Museum of Fine Arts, gift of James H. and Lillian Clark [2]
The main source for this provenance is the letter from Sue Graze of the Dallas Museum of Art to Lillian Clark of Dallas, dated June 15, 1987, copy in Dallas Museum of Art Collections Records object file.
[1] See the letter from Merrill C. Rueppel of the Dallas Museum of Fine Arts to Mr. Ernst Beyeler of Galerie Beyeler, dated April 4, 1966, copy in Dallas Museum of Art Collections Records object file.
[2] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
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VIDEO ASSETS
rules
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Objects
number
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1966.14
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object_notes_1_a-0307.xml.nores