Jean Dubuffet Corps de dame, la rose incarnate signed and dated "J. Dubuffet Juin 50" lower left oil on canvas 46 x 35 1/2 in. (116.8 x 90.2 cm.) Painted in 1950.
Provenance Pierre Matisse Gallery, New York Alfonso Ossorio, New York Robert Elkon Gallery, New York Mr. and Mrs. Harry W. Anderson, Atherton Galerie Beyeler, Basel Phyllis Hattis Fine Arts, New York Caral Gimbel Lebworth Collection, New York (acquired from the above in 1997) Sold: Christie's, New York, May 13, 2009, lot 36 Acquired at the above sale by the present owner Exhibited New York, Pierre Matisse Gallery, Exhibition of Paintings by Jean Dubuffet January 9 - February 3, 1951, no. 10 (illustrated) New York, Pierre Matisse Gallery, Retrospective Dubuffet: 1943-1959, November 10 - December 12, 1959 Paris, Musée des Arts Décoratifs, Jean Dubuffet Retrospective, December 16, 1960 - February 25, 1961, no. 69, pl. 31 (illustrated) New York, The Museum of Modern Art; Art Institute of Chicago; Los Angeles County Museum of Art, The Work of Jean Dubuffet February 19 - August 12, 1962, p. 47 (illustrated) London, Tate Gallery, Jean Dubuffet Paintings, April 23 - May 30, 1966 no. 37, p. 30 (illustrated) Amsterdam, Stedelijk Museum, Jean Dubuffet June 11 - August 28, 1966, no. 29 (illustrated) New York, Robert Elkon Gallery, New Acquisitions, September 27 - October 29, 1969, no. 6 (illustrated) Washington, D.C., Hirshhorn Museum and Sculpture Garden, Jean Dubuffet 1943-1963: Paintings, Sculptures, Assemblages, June 16 - September 12, 1993, no. 31, p. 75 (illustrated) Basel, Galerie Beyeler, Surrealismus: Traum des Jahrhunderts, October, 1995 - March, 1996, no. 27 Riehen/Basel, Fondation Beyeler, L'autre Collection: Hommage à Ernst et Hildy Beyeler, August 19, 2007 - January 6, 2008 Riehen/Basel, Fondation Beyeler, Jean Dubuffet Métamorphoses du Paysage, January 31 - May 8, 2016, p. 57 (illustrated) Literature James Fitzsimmons, "Jean Dubuffet: A Short Introduction to His Work", in Quadrum, no. 4, Brussels, 1957, p. 35 (illustrated) Jean Dubuffet "My Bewitched Hand", in WFMT Perspective, Chicago, April 1962, p. 46 (illustrated) Lorenza Trucchi, Jean Dubuffet Rome, 1965, no. 95, p. 134 (illustrated) Marta Traba, Los cuatros monstrous cardinales, Mexico, 1965, n.p. (illustrated) Max Loreau, ed., Catalogue des travaux de Jean Dubuffet Corps de dames, fascicule VI, Paris, 1965, no. 100, p. 74 (illustrated) Aleksa Celebonovic, "L'oeuvre de Jean Dubuffet et l'art brut comme aspects de separation complete entre l'expression artistique et la tradition", in Umetnost, no. 8, Belgrade, October-December, 1966, p. 18 (illustrated) Asger Jorn "Nogle iagttagelser angaende faenomenet Jean Dubuffet", in Konstrevy, no. 1, Stockholm, 1967, p. 26 (illustrated) François Gagnon, "Symboliques des Corps de dame de Jean Dubuffet", in Problèmes d'analyses symbolique, Montreal, 1972 Catalogue Essay "[The] female body, of all the objects in the world, is the one that has long been associated (for Occidentals) with a very specious notion of beauty (inherited from the Greeks and cultivated by the magazine covers); now it pleases me to protest against this aesthetic, which I find miserable and most depressing. Surely I aim for a beauty, but not that one. The idea that there are beautiful objects and ugly objects, people endowed with beauty and others who cannot claim it, has surely no other foundation than convention - old poppycock - and I declare that convention unhealthy." Jean Dubuffet Of all the series of Jean Dubuffet’s works, the Corps de dames have attracted the most attention and acclaim. Painted in 1950, Corps de dame, La rose incarnate is one of the early pictures from this series of thirty-three, over half of which are now in museum collections—and over half of those still privately owned are in the United States. La rose incarnate perfectly demonstrates the energy, wit and iconoclasm that led to the success of this series—and to its special success in America. This picture forms a part of the narrative of the development of art in the post-war era, having been owned by the artist and collector Alfonso Ossorio, one of Dubuffet’s friends. On t
Jean Dubuffet Corps de dame, la rose incarnate signed and dated "J. Dubuffet Juin 50" lower left oil on canvas 46 x 35 1/2 in. (116.8 x 90.2 cm.) Painted in 1950.
Provenance Pierre Matisse Gallery, New York Alfonso Ossorio, New York Robert Elkon Gallery, New York Mr. and Mrs. Harry W. Anderson, Atherton Galerie Beyeler, Basel Phyllis Hattis Fine Arts, New York Caral Gimbel Lebworth Collection, New York (acquired from the above in 1997) Sold: Christie's, New York, May 13, 2009, lot 36 Acquired at the above sale by the present owner Exhibited New York, Pierre Matisse Gallery, Exhibition of Paintings by Jean Dubuffet January 9 - February 3, 1951, no. 10 (illustrated) New York, Pierre Matisse Gallery, Retrospective Dubuffet: 1943-1959, November 10 - December 12, 1959 Paris, Musée des Arts Décoratifs, Jean Dubuffet Retrospective, December 16, 1960 - February 25, 1961, no. 69, pl. 31 (illustrated) New York, The Museum of Modern Art; Art Institute of Chicago; Los Angeles County Museum of Art, The Work of Jean Dubuffet February 19 - August 12, 1962, p. 47 (illustrated) London, Tate Gallery, Jean Dubuffet Paintings, April 23 - May 30, 1966 no. 37, p. 30 (illustrated) Amsterdam, Stedelijk Museum, Jean Dubuffet June 11 - August 28, 1966, no. 29 (illustrated) New York, Robert Elkon Gallery, New Acquisitions, September 27 - October 29, 1969, no. 6 (illustrated) Washington, D.C., Hirshhorn Museum and Sculpture Garden, Jean Dubuffet 1943-1963: Paintings, Sculptures, Assemblages, June 16 - September 12, 1993, no. 31, p. 75 (illustrated) Basel, Galerie Beyeler, Surrealismus: Traum des Jahrhunderts, October, 1995 - March, 1996, no. 27 Riehen/Basel, Fondation Beyeler, L'autre Collection: Hommage à Ernst et Hildy Beyeler, August 19, 2007 - January 6, 2008 Riehen/Basel, Fondation Beyeler, Jean Dubuffet Métamorphoses du Paysage, January 31 - May 8, 2016, p. 57 (illustrated) Literature James Fitzsimmons, "Jean Dubuffet: A Short Introduction to His Work", in Quadrum, no. 4, Brussels, 1957, p. 35 (illustrated) Jean Dubuffet "My Bewitched Hand", in WFMT Perspective, Chicago, April 1962, p. 46 (illustrated) Lorenza Trucchi, Jean Dubuffet Rome, 1965, no. 95, p. 134 (illustrated) Marta Traba, Los cuatros monstrous cardinales, Mexico, 1965, n.p. (illustrated) Max Loreau, ed., Catalogue des travaux de Jean Dubuffet Corps de dames, fascicule VI, Paris, 1965, no. 100, p. 74 (illustrated) Aleksa Celebonovic, "L'oeuvre de Jean Dubuffet et l'art brut comme aspects de separation complete entre l'expression artistique et la tradition", in Umetnost, no. 8, Belgrade, October-December, 1966, p. 18 (illustrated) Asger Jorn "Nogle iagttagelser angaende faenomenet Jean Dubuffet", in Konstrevy, no. 1, Stockholm, 1967, p. 26 (illustrated) François Gagnon, "Symboliques des Corps de dame de Jean Dubuffet", in Problèmes d'analyses symbolique, Montreal, 1972 Catalogue Essay "[The] female body, of all the objects in the world, is the one that has long been associated (for Occidentals) with a very specious notion of beauty (inherited from the Greeks and cultivated by the magazine covers); now it pleases me to protest against this aesthetic, which I find miserable and most depressing. Surely I aim for a beauty, but not that one. The idea that there are beautiful objects and ugly objects, people endowed with beauty and others who cannot claim it, has surely no other foundation than convention - old poppycock - and I declare that convention unhealthy." Jean Dubuffet Of all the series of Jean Dubuffet’s works, the Corps de dames have attracted the most attention and acclaim. Painted in 1950, Corps de dame, La rose incarnate is one of the early pictures from this series of thirty-three, over half of which are now in museum collections—and over half of those still privately owned are in the United States. La rose incarnate perfectly demonstrates the energy, wit and iconoclasm that led to the success of this series—and to its special success in America. This picture forms a part of the narrative of the development of art in the post-war era, having been owned by the artist and collector Alfonso Ossorio, one of Dubuffet’s friends. On t
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