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| - JEAN DUBUFFET IS IN OUR OPINION ONE OF THE GREATEST ARTIST OF THE TWENTIETH CENTURY. HE WAS BORN IN 1901 AND DIED IN 1985, AND ONLY BEGAN HIS CAREER AS A PAINTER LATE IN LIFE, JUST LIKE THE UNSOPHISCATED ARTISTS (OF THE \"ART BRUT\") HE HIMSELF DISCOVERED AND MADE KNOWN, WHO WERE ALL OVER 40 YEARS OLD. BUT AS AN ARTIST HE WAS SO PROLIFIC THAT HE IS TO BE COMPARED WITH PICASSO, WITH RESPECT NOT ONLY TO THE GREAT NUMBER OF WORKS PRODUCED BUT ALSO TO THE MANY DIFFERENT MOVEMENTS WITHIN HIS WORK WICH LEND A SERIAL QUALITY IT AS WHOLE. EVEN MORE SURPRISING AND ORIGINAL IS THE ABUNDANCE OF WRITTEN MATERIAL. THE WRITINGS ARE RICH WITH LITERARY VARIANTS, AND WITH PROFOUND PHILOSOPHICAL, EASTHETIC AND POETIC IDEAS. WE HAVE EVEN FOUND IT IMPOSSIBLE TO DISSOCIATE HIS PICTORIAL DEVELOPMENT FROM THE LITERARY ONE; FOR THE FORMER EXPLAINS, GUIDES, COMMENTS ON, ANALYSES AND TRANSGRESSES THE LATTER. IN THE FIRST PART OF THE THESIS WE GIVE A PANORAMIC VIEW OF HIS WRITTEN WORK FROM BOTH A LITERARY AND CRITICAL ANGLE. IN THIS INTRODUCTION THERE ARE A FEW BIOGRAPHICAL DETAILS, AND A QUICK LOOK AT VARIOUS POINTS OF VIEW HELD BY HISTORIANS AND CRITICS WITH REGARD TO THE ARTIST, IN ORDER TO HELP THE READER. THE SECOND PART IS MORE LOSELY CONCERNED WITH THE PURELY LITERARY DIMENSION OF THE PAINTERS WRITING: WITH HIS POETRY. HIS MINOR WORKS AND HIS POETIC PIECES ARE, IN FACT THE ONLY ONES TO TREAT THE LANGAGE OF WORDS AS A LANGUAGE WICH RESSEMBLES THAT OF PAINTING, A FORM OF WRITING WICH NEITHER LIMITS ITSELF. HAVING EXPLOITED THIS PARTICULAR AREA WE HAVE TRIED TO SET OUT AND ANALYSE, AS CLEARLY AS POSSIBLE WHAT SEEM TO BE THE KEY IDEAS BEHIND DUFUFFET'S THINKING. THIS IN-DEPTH STUDY FORMS THE THIRD PART OF THE THESIS, ENTITLED \"FROM THE SINGLE INSTANT TO A STATE OF PERPETUAL CHAOS : THE SOURCE OF THE IMAGINABLE\". WE AIM TO SHOW HOW VERY IMPORTANT IT IS TO UNDERSTAND THE THEORICAL WRITINGS OF THE ARTIST IN ORDER TO SHED AS MUCH LIGHT AS POSSIBLE ON HIS PAINTING. OUR CONCLUSION OFFERS NOT ONLY A SIMPLE APPRAISAL OF THE WORK, BUT AN ACCURATE GLIMPSE AT THE VERY SPIRIT OF THE WORK. THIS NATURALLY OBLIGES US TO TAKE A RISK AND TO SEAT THE WRITTEN AND PAINTED WORKS OF J.DUBUFFET WITHIN THE MOVEMENT OF CONTEMPORARY THOUGHT AND ART.
- JEAN DUBUFFET EST A NOTRE SENS L'UN DES ARTISTES MAJEURS DE NOTRE VINGTIEME SIECLE. NE EN 1901, MORT EN 1985, IL N'A DEBUTE SA CARRIERE DE PEINTRE QUE TARDIVEMENT, UN PEU A L'IMAGE DES ARTISTES BRUTS QU'IL A REVELE, A PLUS DE QUARANTE ANS. MAIS LE RYTHME INTENSE DE SA CREATIVITE PERMET DE COMPARER SA \"PRODUCTIVITE\" A CELLE D'UN PICASSO, TANT PAR LE NOMBRE DE SES OEUVRES QUE PAR LA MULTITUDE DES COURANTS QUI ANIMENT L'ASPECT SERIEL DE L'OEUVRE TOTAL. L'OEUVRE ECRIT EST RICHE DE VARIANTES LITTERAIRES, DE PROFONDEURS PHILOSOPHIQUES, ESTHETIQUES ET POETIQUES. IL EST MEME, SELON NOUS, IMPOSSIBLE DE DISSOCIER LE CHEMINEMENT PICTURAL DU JALONNEMENT LITTERAIRE; CELUI-CI EXPLIQUE, GUIDE, COMMENTE, ANALYSE ET TRANSGRESSE CELUI-LA. DANS LA PREMIERE PARTIE DE NOTRE THESE, NOUS PRESENTONS UN PANORAMA DE LA PRODUCTION ECRITE, A DOUBLE VERSANT, LITTERAIRE ET CRITIQUE; EN INTRODUCTION A CE PANORAMA QUELQUES REPERES BIOGRAPHIQUES ET UN EXAMEN RAPIDE DU REGARD PORTE SUR L'ARTISTE PAR LES CRITIQUES ET LES HISTORIENS. LA SECONDE PARTIE EST PLUS ETROITEMENT CONSACREE A LA DIMENSION PUREMENT LITTERAIRE DES ECRITS DU PEINTRE, A L'UNIVERS DE SA PRODUCTION POETIQUE. LES OPUSCULES ET LES OUVRAGES POETICO-LITTERAIRES SONT EN EFFET LES SEULS A TRAITER LE LANGAGE DES MOTS COMME UN LANGAGE SIMILAIRE A CELUI DE LA PEINTURE, COMME UNE ECRITURE QUI NE SE LIMITE PAS A UNE FONCTION ILLUSTRATIVE OU SIMPLEMENT REFERENTIELLE. UNE FOIS EXPLOITE CE REGISTRE, NOUS AVONS TENTE D'ENONCER ET D'ANALYSER LE PLUS CLAIREMENT POSSIBLE CE QUE NOUS SEMBLENT ETRE LES CLES DE LA PENSEE DUBUFFETIENNE. CET APPROFONDISSEMENT CONSTITUE L'OBJET DE NOTRE TROISIEME PARTIE INTITULEE DE L'INSTANT AU CHAOS PERPETUEL: A LA SOURCE DE L'IMAGINABLE. NOUS PROPOSONS D'Y MONTRER COMBIEN IL EST INDISPENSABLE DE COMPRENDRE LES ECRITS \"THEORIQUES\" DE L'ARTISTE POUR ACCEDER A UNE REVELATION PLUS JUSTE DE L'OEUVRE PEINT LUI-MEME. NOUS AVONS ESSAYE LA DE DEGAGER LA COMPLEXITE DU DISPOSITIF REFLEXIL, D'ANALYSER SON FONCTIONNEMENT ET D'EN SUIVRE LA PROGRESSION. NOTRE CONCLUSION TENTE D'OFFRIR, NON UN SIMPLE BILAN DE L'OEUVRE, MAIS UN REGARD FIDELE A L'ESPRIT D'UN PARCOURS; CE QUI NOUS AMENE FORCEMENT A PRENDRE LE RISQUE DE RESITUER LA CREATION ECRITE ET PEINTE DE JEAN DUBUFFET DANS LE MOUVEMENT DE LA PENSEE ET DE L'ART CONTEMPORAIN.
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