Ugly and absurd paintings?

Dubuffet's elaboration of original expression.

Dubuffet (1901-1985) was a true master of art after World War II.

He did not agree with the art trends in France at that time, and he stubbornly persisted in his own artistic creative personality. With his distinctive painting language characteristics and texture expression, he became unique in the world art world and opened up a painting world that was entirely his own.

Dubuffet emphasized the visual role in painting and denied various rules and precepts in traditional or modern art.

He believes that "the composition principle of color harmony cannot enable them to obtain the true artistic essence."

It is necessarily unrealistic to try to combine all forms of artistic expression in one painting. It is actually "a kind of social fashion to cater to." He advocated, "We can not only see the world with our eyes, but also use our minds."

To feel everything." In this way, "we can at least take off the pretentious appearance and return to the essence of things." Therefore, in order to find his own artistic vocabulary, he systematically studied the artistic works of mentally ill people in the early stage.

He found that the so-called "absurdity" in the patients' works was an expression of people's reasonable and normal emotions and needs, and direct evidence of human nature.

They are unconventional, extraordinary and moving, reproducing the expression mechanism of art - infinity melting into human thinking.

Dubuffet collected a large number of these paintings, which he called Art Brut - meaning a kind of unprocessed, non-academic, unrecognized art, and the most primitive expression.

We can find these traces in a large number of his oil paintings from the early 1950s, especially those quite vivid forms of artistic expression, which inspired "the matrix of my artistic creation".

"Art stimulates our imagination, which makes the value of art precious and eternal." This is why in Dubuffet's works, we can see flattened and dedifferentiated figures.

Some of them look childish and ridiculous, some look simple and exaggerated, and some even make people feel absurd.

When my friend who didn't understand art was looking through his collection of paintings, he exclaimed: "I can draw these ugly little kids, and the kids in the kindergarten can draw them better than Dubuffet."

"Yes, there is always this kind of surprise when laymen who don't know how to appreciate Dubuffet's works look at his works.

Dubuffet explains his works this way: "Removing the personal characteristics of the models makes them more unique with human characteristics." In other words, what he calls "universal" is to make the depictions

The objects have the same characteristics in the ordinary human sense.

It can be based on the characteristics of "people", thereby stimulating the infinite imagination of the viewer; letting "imagination" connect the individual characteristics of each person is the language required by art.

” Dubuffet said.

Dubuffet's early works used simple techniques, original concepts, exaggeration and deliberateness to express his "characters" and "scenes".

Later works showed a new style that was completely different from the previous ones and full of complexity.

Oil paintings at this time paid more attention to the study of texture.

For example, "The Scenery of Soot" is the best proof.

It has a gravelly appearance, and beneath its dark color lies dust and soot.

The paths, fields, houses and people in the paintings are all described lightly.

On the dark background, thin lines outline an incomplete, damaged edge.

The picture is therefore full of visual touch.

Dubuffet's material paintings almost achieve a natural view of things that are concretely understood through the senses.

It illustrates the application of materials to paintings, often producing stunning artistic effects.

From the albums printed on paper, the first time I saw Dubuffet's works always reminded me of the expressive techniques of Yunnan heavy-color painting.

In terms of performance content and subject selection, we must learn from Dubuffet's fearless spirit of innovation and challenge.

People sneered at him, ridiculed his mentally retarded image, and made a boring and funny joke on human dignity. This was a blasphemy against sacred art.

At this time, it takes great courage and confidence for him to stick to his own creative path.

In addition, from the perspective of painting expression techniques, it also provides sufficient nutrients that can be used for reference in modern color and ink paintings.

Dubuffet's unique expression techniques, focusing on the requirements and selection of picture textures, are something we can learn from and carry forward.

Since it is a modern color and ink painting, we should seek the vocabulary of modern art, find our own texture language, and enrich the viewer's enjoyment.

This is also a direction and goal worthy of our study and exploration.

I think the key to Dubuffet's artistic achievements is his open thinking and innovative ideas. He does not stick to the usual and traditional forms of expression, but pays attention to the innovation of forms and techniques. It also provides suggestions for those of us who study modern color and ink paintings.

A key question arises: How will you free your mind and express everything you want to express.