Art Brut: Jean Dubuffets revolutie in de Kunst / Jean Dubuffet's Revolution in Art.

Amsterdam, Netherlands Outsider Art Museum, 2019. Paperback Near Fine in Wraps: shows just a hint of spine lean; else flawless; the binding is secure; the text is clean. Free of creases to the panels. Free of any creases to the backstrip. Free of creased or dog-eared pages in the text. Free of any underlining, hi-lighting or marginalia or marks in the text. Free of ownership names, dates, addresses, notations, inscriptions, stamps, or labels. A handsome copy, structurally sound and tightly bound, showing a single minor, unobtrusive imperfections only. Bright and clean. Corners sharp. Very close to 'As New'. NOT a Remainder, Book-Club, or Ex-Library. 8vo. (9.35 x 6.8 x 0.75 inches). 225 pages. Profusely illustrated mostly in color and a few in black & white. Preface by Hans Looijen. Curated by Astrid Berglund and Pauline Mack. Language: Dutch and English. Weight: 21.5 ounces. Paperback: Gatefold front panel. Immediately after the Second World War Jean Dubuffet, a French painter and sculptor, whose idealistic approach to aesthetics embraced so-called "low art" and eschewed traditional standards of beauty in favor of what he believed to be a more authentic and humanistic approach to image-making, embarked on his search for new, pure and spontaneous works of art, remote from the established order. He is perhaps best known for founding the art movement 'art brut', and for the collection of works—'Collection de l'art brut'—that this movement spawned. In doing so, he visited psychiatric institutions and prisons, and created a networks of intellectuals, poets, painters and collectors. During his various encounters he collected works produced by people with no specific education in art. Established assumptions, academic views and standards, he believed, must be cast aside in favour of pure and spontaneous art. This exhibition provides a reconstruction of the basic ideas of Art Brut, with reference to the works assembled by Dubuffet. Why did he purchase some works but not others? Which criteria did he use when collection work, and what information did he collect? And what became of the artists whose work he collected for his Compagnie de l'Art Brut? Answers to such questions form the substance of this singular contribution to the history of 'Art Brut' and Jean Dubuffet's unique contribution to it.