Academics From France

"I took a great deal of pleasure in it, and I still feel nostalgic about it. However, I felt that it had led me to live in a parallel world of pure invention, shut inside my solitude. Naturally, it was precisely for that purpose that it was made and that was why I took pleasure in it, but I wanted to regain body and roots."

"I have always been haunted by the feeling that the painter has much to gain from making use of the forces that tend to work against his action"

"A work of art is only of interest, in my opinion, when it is an immediate and direct projection of what is happening in the depth of a person's being.. ..It is my belief that only in this Art Brut can we find the natural and normal processes of artistic creation in their pure and elementary state."

"The very troubling intensity of Dubuffet's portraits is not the effect of an exact resemblance, but on the contrary, comes from extreme deformation, from a game of occultations which preserves the effigy on its apparition. The painting agitates like a mechanism of image variation which insidiously deforms physiognomy to the limits of denaturalization.."

"There is no such thing as abstract art, or else all art is abstract, which amounts to the same thing. Abstract art no more exists than does curved art yellow art or green art."

"The technique used heavy, spiky pastes made of nothing other than ordinary oil paint, used thick and mixed with sand and gravel. I some cases – but these were the exception – a few miscellaneous objects were stuck into the wet paint, such as bits of string or little pieces of glass or mirror."

"Fautrier's exhibition [in Paris 1945] made an extremely strong impression on me. Art had never before appeared so fully realised in its pure state. The word 'art' had never before been so loaded with meaning for me."

"I have tried to draw the human effigy (and all the other subjects dealt with in my paintings) in an immediate and effective way without any reference to the aesthetic."

"What interests me about thoughts is not the moment when it crystallizes into formal ideas but its earlier stages."

"The painting will not be looked at passively, not embraced all at once by an observer's immediate gaze. But relived in its elaboration, remade by thought and if I dare say reacted.. .All the gestures made by the painter, he [the observer] feels them reproduced in him."

"What seems interesting to me is to reproduce in the figurative representation of an object the whole complex system of impressions we receive in the normal course of everyday life, the way this affects our feelings and the shape it takes in our memory; and it is to this that I have always applied myself."

"..the wind of 'art brut' blows on writing as well as on other avenues of artistic creation."

"I do not see in what way the face of a man should be a less interesting landscape than any other. A man, the physical person of a man, is a little world, like any other a country, with its towns, and suburbs.. .As a rule what is needed in a portrait is a great deal of the general, and very little of the particular."

"Our culture is like a garment that does not fit us, or in any case no longer fits us. This culture is like a dead language that no longer has anything in common with the language of the street. It is increasingly alien to our lives."

"There are too many cogitations on Theory.. ..it is the malady of the epoch.. .Into the fire with Levi-Strauss and Michel Foucault!"

"From the point of view of technique, I liked there to be internal lines in objects, I mean that instead of circumscribing forms, they animate the insides of things—the inside of formless and non-delimited areas. They function as internal textures and not primarily as contours."

"In all my works.. .. I have always had recourse to one never-varying method. It consists in making the delineation of the objects represented heavily dependent on a system of necessities which itself looks strange. These necessities are sometimes due to the inappropriate and awkward character of the material used, sometimes to some strange obsessive notion [frequently changed for another]. In a word, it is always a matter of giving the person who is looking at the picture a startling impression that a weird logic has directed the painting of it, a logic to which the delineation of every object is subjected, is even sacrificed, in such a peremptory way that, curiously enough, it forces the most unexpected solutions, and, in spite of the obstacles it creates, brings out the desired figuration."

"In portraits you need a lot of general, very little of specific. Usually there is too much specificity, always too much.. .For a portrait to really work well for me, I need for it to be hardly a portrait. Almost for it to no longer be a portrait. It is then that it begins working at full capacity. I like things carried to the extreme limits of what is possible."

"Our point of view on this question of the function of art is the same in all cases: there's no more an art of the insane than there is an art of dyspeptic people or the art of people with knee problems."

"The Occidental man is not so bad.. .Not bad at all, the brave Aryan [inhabitant of the Saraha].. .I'm not unhappy to be living with him again.. ..one need not go outside of Europe in order to find truly "savage" individuals.. .These savage values to which I attribute more value than all others, appear to show themselves, in our worlds of Europe and America, more forcefully and tempestuously than in all other worlds.."

"For three years I studied very assiduously an Arabic dialect spoken by the Bedouins of the Sahara, and I began by writing this language phonetically in Latin characters; the very strange appearance of the grammatical forms which resulted from it caused me to see that our spoken language is as remote from written language as this Saharan dialect can be from literary Arabic, and that our language written phonetically by a foreigner in the same way as I wrote the spoken language in El Golea, presented grammatical forms as strange (and as fascinating) as my Arabic jargon. It is then that the idea came to me to try to draft a small text written phonetically. I had the feeling that by becoming accustomed to writing (and thinking) in this way, one would be compelled to discover a very interesting species of art, and I am completely passionate about this undertaking."

"This character of depersonalization is certainly a constant of all my personages.. ..The charm of my Portraits enterprise consisted exactly in undergoing a treatment of depersonalization of the effigies of the persons designated. This persistent drive to depersonalize the persons seems to me to precede the paintings (and is more or less conscious in my mind throughout their execution).. ..[this depersonalisation requires] imagination from the viewer to recognize and complete the portrait."

"I have always directed my attempts at the figurative representation of objects by way of summary and not very descriptive brushstrokes, diverging greatly from the real objective measurements of things, and this has led many people to talk about childish drawing.. ..this position of seeing them [the objects] without looking at them too much, without focusing more attention on them than any ordinary man would in normal everyday life.."

"The eye perceives what is hard and what is soft, what is porous and what is impervious, what is warm to the touch and what is cold."

"..the sort of white crepe dough with which the person is thickly buttered [in the 'Haute Pâtes' series, Dubuffet made in 1946] was, by its proximity to the tar, dyed the color of burnt bread like a used Meerschaum pipe."

"[Dubuffet marvels at the desert as a chaotic palimpsest, filled with marks and signs] ..like an immense notebook of disorganization, a notebook of improvisation.. ..an elementary school blackboard full of scribbles.."

"Man Writes on Sand."

"People Are Much More Beautiful Than They Think: Long Live Their True Face."

"Portrait likenesses cooked and preserved in memory, likenesses burst in the memory of Mr. Jean Dubuffet, painter."

"What an adventure you have thrown me into! Nothing was farther from my thoughts than doing portraits! Now it's all I think about.. ..and i's all your handiwork"

"I want my street to be crazy, I want my avenues, shops and buildings, to enter into a crazy dance, and this is why I deform and distort their outlines and colours. However I always come up against the same difficulty, that if all the elements were one by one deformed and distorted excessively, if in the end nothing remained of their real outlines, I would have totally effaced the location that I intended to suggest, that I wished to transform."

"Man's need for art is absolutely primordial, as strong as, and perhaps stronger than, our need for bread. Without bread, we die of hunger, but without art we die of boredom."

"Every piece of information about these statues is totally useless.. .What . import is it to us if their author was a bureaucrat or a cowherd, an old man or a young person? It is very unfounded to pay attention to these meager ircumstances. There is no difference between an old and young man. Not the least in any domain. Or if he was from Burgundy or Auvergne it's the same. And if he is alive or dead for who knows how long it is the same to us. Between a contemporary and someone from the last century, or a companion of Clovis or the big prehistoric reptiles? No difference whatsoever. We are completely wrong to take interest in these details."

"With respect to the use of this sparkling coloured material [butterfly wings, around 1955] – the constituent parts of which remain indistinguishable – with the aim of producing a very vivid effect of scintillation, I realised that, for me, this responds to needs of the same order as those that formerly led me, in many drawings and paintings, to organize my lines and patches of colour so that the objects represented would meld into everything around them, so that the result would be a sort of continuous, universal soup with an intensive flavour of life."

"Starting from a drawing, a pure creation of the mind, I expand it in space by giving it three dimensions, by giving it a material body [in polystyrene] and then enlarge it to the proportions of a site where it can evolve. In this way, instead of having only the drawing before you while remaining anchored in the everyday world, you can finally leave the world and penetrate into drawing, and thus inhabit the creation of the mind instead of merely looking at it prudently in a frame on the wall. The experience consists, therefore, in abstracting yourself totally from the natural everyday world in order to feed your eyes solely on your own mental elaborations."

"I associated it [the word 'Hourloupe', as title of his longest series of work he made exclusively from 1962 to 1974] by assonance with 'hurler' (to shout), hululer (to howl), loup, (wolf), 'Riquet à la Houppe' and the title of Maupassant's book ‘Le Horla’, inspired by mental distraction."

"It pleased me (and I think this predilection is more or less constant in all my paintings) to juxtapose brutally, in these feminine bodies, the extremely general and the extremely particular, the metaphysical and the grotesque trivial. In my view, the one is considerably reinforced by the presence of the other. [on his series 'Corps de Dame']"

"Art does not lie down on the bed that is made for it; it runs away as soon as one says its name; it loves to go incognito. Its best moments are when it forgets what it is called."

"..to challenge the objective nature of being. The notion of being is presented here as relative rather than irrefutable: it is merely a projection of our minds, a whim of our thinking. The mind has the right to establish being wherever it cares to and for as long as it likes. There is no intrinsic difference between being and fantasy."

"[children's art] is completely opposed to what interests me, because it's an effort to assimilate culture.."

"I had given up [around 1950] any ambition of making a career as an artist.. .I had lost all interest in the art shown in galleries and museums, and I no longer aspired to fit in that world. I loved the paintings done by children, and my only desire was to do the same for my own pleasure."

"..I have never managed to grasp what exactly 'pataphysics' consisted of; but in short what I have always seen in it is a desire to disconnect philosophy from the discipline of logic, and to admit incoherence as a legitimate component of it. [comment on visiting frequently the Collège de 'Pataphysique']"

"It was around 1935 or 1936 that I first had the idea of compiling a history of art – not in the usual way, but considering only the fads that have succeeded one another down through the ages. For example, the infatuation in Roman times with broken pleats and heads turned in profile.. ..or during the epoch of Pérugin and Raphael, a certain blue that appears everywhere. I wanted to draw up an inventory of these vogues. To this end I visited museums, took notes in little notebooks, and made demonstrative sketches of paintings. For this purpose I preferred bad paintings, by which I mean those held to be mediocre by aesthetes, but in which these fads that interested me were clearly in evidence."

"Cet enseignement, c'est qu'il faut vivre comme on pense, sinon, tôt ou tard, on finit par penser comme on a vécu. (This teaching is to live as we think, otherwise, sooner or later, we end up thinking as we lived.)"

"In fiction, Bourget carries realistic observation beyond the externals (which fixed the attention of Zola and Maupassant) to states of the mind: he unites the method of Stendhal to that of Balzac. He is always interesting and amusing. He takes himself seriously and persists in regarding the art of writing fiction as a science. He has wit, humor, charm, and lightness of touch, and ardently strives after philosophy and intellectuality — qualities that are rarely found in fiction. It may well be said of M. Bourget that he is innocent of the creation of a single stupid character. The men and women we read of in Bourget's novels are so intellectual that their wills never interfere with their hearts."

"I bore with the ill-humor of my chief. What would he have said if he had known that I had in my pocket an interview and in my head an anecdote which were material for a most successful story? And he has never had either the interview or the story. Since then I have made my way in the line where he said I should fail. I have lost my innocent look and I earn my thirty thousand francs a year, and more. I have never had the same pleasure in the printing of the most profitable, the most brilliant article that I had in consigning to oblivion the sheets relating my visit to Nemours. I often think that I have not served the cause of letters as I wanted to, since, with all my laborious work I have never written a book. And yet when I recall the irresistible impulse of respect which prevented me from committing toward a dearly loved master a most profitable but infamous indiscretion, I say to myself, "If you have not served the cause of letters, you have not betrayed it." And this is the reason, now that Fauchery is no longer of this world, that it seems to me that the time has come for me to relate my first interview. There is none of which I am more proud."

"A few hours after this conversation, I found myself once more in the office of the Boulevard, seated in Pascal's den, and he was saying, "Already? Have you accomplished your interview with Pierre Fauchery?" "He would not even receive me," I replied, boldly. "What did I tell you?" he sneered, shrugging his big shoulders. "We'll get even with him on his next volume. But you know, Labarthe, as long as you continue to have that innocent look about you, you can't expect to succeed in newspaper work.""

"I am delighted beyond expression by Bourget's book: he has phrases which affect me almost like Montaigne; I had read ere this a masterly essay of his on Pascal; this book does it; I write for all his essays by this mail, and shall try to meet him when I come to Europe. ... I have just been breakfasting at Baiae and Brindisi, and the charm of Bourget hag-rides me. I wonder if this exquisite fellow, all made of fiddle-strings and scent and intelligence, could bear any of my bald prose. If you think he could, ask Colvin to send him a copy of these last essays of mine when they appear; and tell Bourget they go to him from a South Sea Island as literal homage. I have read no new book for years that gave me the same literary thrill as his Sensations d'Italie. If (as I imagine) my cut-and-dry literature would be death to him, and worse than death — journalism — be silent on the point. For I have a great curiosity to know him, and if he doesn't know my work, I shall have the better chance of making his acquaintance."

"I remember, the reasoning of a man determined to arrive that I tried to lull to sleep the inward voice that cried, "You have no right to put on paper, to give to the public what this noble writer said to you, supposing that he was receiving a poet, not a reporter." But I heard also the voice of my chief saying, "You will never succeed.""

"The contrast between the world of ideas in which he moved and the atmosphere of the literary shop in which for the last few months I had been stifling was too strong. The dreams of my youth were realized in this man whose gifts remained unimpaired after the production of thirty volumes and whose face, growing old, was a living illustration of the beautiful saying: "Since we must wear out, let us wear out nobly." His slender figure bespoke the austerity of long hours of work; his firm mouth showed his decision of character; his brow, with its deep furrows, had the paleness of the paper over which he so often bent; and yet, the refinement of his hands, so well cared for, the sober elegance of his dress and an aristocratic air that was natural to him showed that the finer professional virtues had been cultivated in the midst of a life of frivolous temptations. These temptations had been no more of a disturbance to his ethical and spiritual nature than the academic honors, the financial successes, the numerous editions that had been his."