Between 1945 and 1947, Dubuffet took three separate trips to Algeria—a French colony at the time—in order to find further artistic inspiration. In this sense, Dubuffet is very similar to other artists such as Delacroix, Matisse, and Fromentin.[5] However, the art that Dubuffet produced while he was there was very specific insofar as it recalled Post-War French ethnography in light of decolonization. Dubuffet was fascinated by the nomadic nature of the tribes in Algeria—he admired the ephemeral quality of their existence, in that they did not stay in any one particular area for long, and were constantly shifting. The impermanence of this kind of movement attracted Dubuffet and became a facet of Art Brut.[5] In June 1948, Dubuffet, along with Jean Paulhan, Andre Breton, Charles Ratton, Michel Tapie, and Henri-Pierre Roche, officially established La Compagnie de l'art brut in Paris.[6] This association was dedicated to the discovery, documentation and exhibition of art brut. Dubuffet later amassed his own collection of such art, including artists such as Aloïse Corbaz and Adolf Wölfli. This collection is now housed at the Collection de l'art brut in Lausanne, Switzerland. His Art Brut collection is often referred to as a 'museum without walls,' as it transcended national and ethnic boundaries, and effectively broke down barriers between nationalities and cultures.[5]
Influenced by Hans Prinzhorn's book Artistry of the Mentally Ill, Dubuffet coined the term art brut (meaning "raw art," often referred to as 'outsider art') for art produced by non-professionals working outside aesthetic norms, such as art by psychiatric patients, prisoners, and children. Dubuffet felt that the simple life of the everyday human being contained more art and poetry than did academic art, or great painting. He found the latter to be isolating, mundane, and pretentious, and wrote in his Prospectus aux amateurs de tout genre that his aim was 'not the mere gratification of a handful of specialists, but rather the man in the street when he comes home from work....it is the man in the street whom I feel closest to, with whom I want to make friends and enter into confidence, and he is the one I want to please and enchant by means of my work.' To that end, Dubuffet began to search for an art form in which everyone could participate and by which everyone could be entertained. He sought to create an art as free from intellectual concerns as Art Brut, and as a result, his work often appears primitive and childlike. His form is often compared to wall scratchings and children's art.[7] Nonetheless, Dubuffet appeared to be quite erudite when it came to writing about his own work. According to prominent art critic Hilton Kramer, "There is only one thing wrong with the essays Dubuffet has written on his own work: their dazzling intellectual finesse makes nonsense of his claim to a free and untutored primitivism. They show us a mandarin literary personality, full of chic phrases and up-to-date ideas, that is quite the opposite of the naive visionary."[8]
ระหว่าง 1945 และ 1947, Dubuffet เอาทริสามแยกสู่แอลจีเรีย – อาณานิคมฝรั่งเศสในเวลา — เพื่อค้นหาแรงบันดาลใจศิลปะเพิ่มเติม ในนี้รู้สึก Dubuffet จะคล้ายกับศิลปินอื่น ๆ เช่นไมเคิล Matisse ฟรอเมนทิน [5] อย่างไรก็ตาม ศิลปะที่ Dubuffet ผลิตในขณะที่เขามีถูกมากเฉพาะ insofar จะยกเลิกหลังสงครามชาติพันธุ์วรรณนาฝรั่งเศสเมื่อการให้เอกราช Dubuffet ที่หลงใหลธรรมชาติ nomadic ของชนเผ่าในประเทศแอลจีเรียซึ่งเขาชื่นชมคุณภาพข้อมูลแบบชั่วคราวของการดำรงอยู่ของพวกเขา ที่พวกเขาได้ไม่อยู่ในพื้นที่ใดที่หนึ่งยาว และขยับอยู่ตลอดเวลา อนิจจังของชนิดนี้เคลื่อนไหวดึงดูด Dubuffet และกลายเป็น พได้ของ Art Brut [5] ในเดือนมิถุนายนค.ศ. 1948, Dubuffet, Paulhan จีน Andre เบรตอน ชาร์ลส์ Ratton, Michel Tapie และ Henri Pierre Roche ก่อตั้ง l'art de La Compagnie brut ในปารีสอย่างเป็นทาง [6] สมาคมนี้ได้ทุ่มเทในการค้นหา เอกสาร และนิทรรศการศิลปะ brut Dubuffet ไว้ด้วยคอลเลกชันของเขาเองเช่นศิลปะ รวมศิลปินเช่น Aloïse Corbaz และ Adolf Wölfli ในภายหลัง คอลเลกชันนี้คือตอนนี้ห้องพักที่ l'art de คอลเลกชันมี brut ในโลซาน สวิตเซอร์แลนด์ เก็บ Art Brut เป็นขอบเขตการอ้างอิงเพื่อเป็น 'พิพิธภัณฑ์ โดยผนัง ที่ transcended ชาติ และชาติพันธุ์ และยากจนลงอุปสรรคระหว่างเชื้อชาติและวัฒนธรรมได้อย่างมีประสิทธิภาพ [5]Influenced by Hans Prinzhorn's book Artistry of the Mentally Ill, Dubuffet coined the term art brut (meaning "raw art," often referred to as 'outsider art') for art produced by non-professionals working outside aesthetic norms, such as art by psychiatric patients, prisoners, and children. Dubuffet felt that the simple life of the everyday human being contained more art and poetry than did academic art, or great painting. He found the latter to be isolating, mundane, and pretentious, and wrote in his Prospectus aux amateurs de tout genre that his aim was 'not the mere gratification of a handful of specialists, but rather the man in the street when he comes home from work....it is the man in the street whom I feel closest to, with whom I want to make friends and enter into confidence, and he is the one I want to please and enchant by means of my work.' To that end, Dubuffet began to search for an art form in which everyone could participate and by which everyone could be entertained. He sought to create an art as free from intellectual concerns as Art Brut, and as a result, his work often appears primitive and childlike. His form is often compared to wall scratchings and children's art.[7] Nonetheless, Dubuffet appeared to be quite erudite when it came to writing about his own work. According to prominent art critic Hilton Kramer, "There is only one thing wrong with the essays Dubuffet has written on his own work: their dazzling intellectual finesse makes nonsense of his claim to a free and untutored primitivism. They show us a mandarin literary personality, full of chic phrases and up-to-date ideas, that is quite the opposite of the naive visionary."[8]
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