In 1962 Dubuffet is on the phone. He allows his pen to wander on the paper of the notebook. He hangs up and looks at his scribble, a new avatar of automatic writing that he completes with hatching. The non-figurative result looks like the unlimited urban patterns in his Paris Circus cycle. He will now explore his new language made of sinuous lines generating a multitude of small closed areas that can be filled with pure colors as in a Mondrian and reveal anthropomorphic figures.
He coins the name Hourloupe to describe his new style while providing varied explanations on the etymology of this word whose sound pleases him. The closeness with Entourloupe is especially noteworthy : the artist is necessarily a subjective interpreter, so he is a liar and a cheater. Dubuffet is undoubtedly the first to redefine the artist in a way totally opposed to the well-to-do traditions.
Dubuffet sets the example. For 22 years he was to replay his Hourloupe until giving to this wacky style a place in real life with theater costumes, monumental sculptures and interior fittings untouchable by their irregular paving.
On March 7 in London, Christie's sells Etre et paraître, oil on canvas 150 x 195 cm painted in 1963, lot 8 estimated £ 7M. The non-nonsense title is a profession of faith on the impossible duality between reality and the impression it brings to the viewer. Human profiles are buried within this huge scribble scattered with pure colors.
SOLD for £ 10M including premium