Freefrom: Jean Dubuffet, Simon Hantaï, Charlotte Perriand 2 February 29 March 2018

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1 Freefrom: Jean Dubuffet, Simon Hantaï, Charlotte Perriand 2 February 29 March Carlos Place, London W1K 2EX T mail@timothytaylor.com timothytaylor.com

2 Jean Dubuffet Arbre Le Circonvole, 1970 Paint on polyester 25 1/4 19 3/4 16 1/8 in cm T Exhibitions Jean Dubuffet: Paintings, Gouaches, Assemblages, Sculpture, Monuments Practicables, Works on Paper, Waddington Galleries, London, UK 1972 Polychromie à travers les Ages et les Civilisations, Musée Bourdelle, Paris, France 1971

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4 Jean Dubuffet Amoncellement à la Corne, 1968 Vinyl paint on epoxy resin /2 18 3/4 in cm T Exhibitions Jean Dubuffet: Peintures Monumentées, Galerie Jeanne Bucher, Paris, France 12 December February 1969

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6 Jean Dubuffet Arbre Le Circonvole, 1970 Paint on polyester 25 1/4 19 3/4 16 1/8 in cm T Provenance David Rockefeller (a gift from the artist) Exhibitions Jean Dubuffet , Schirn Kunstalle, Frankfurt, Germany December 1990 March 1991 Jean Dubuffet: A Retrospective, Solomon R. Guggenheim Museum, New York, USA 1973

7 David Rockefeller with architectural model of the facade of 1 Chase Manhattan Plaza, New York showing the work.

8 Jean Dubuffet Elément bleu III, 1967 Transfer on polyester /8 4 in cm T Exhibitions Jean Dubuffet: a Fine Line, Sotheby s S 2, New York, USA May June 2014 Jean Dubuffet, Waddington Galleries, London, UK 1972 (cat. p.23) L oeil écoute : exposition international d art contemporain, Palais des Papes, Avignon, France June September 1969 Jean Dubuffet, Peintures Monumentèes, Galerie Jeanne Bucher, Paris, France

9 Jean Dubuffet Paysage logologique, 1968 Transfer on polyester 19 1/4 33 1/8 35 3/8 in cm T Exhibitions Dubuffet, Galerie K, Paris, France 17 May 20 May 1990 Twentieth century works, Waddington Galleries, London, UK 26 April 20 May 1989 Jean Dubuffet: selection of works from , Galerie Baudouin Lebon, Paris, France 20 September 12 November 1983 Jean Dubuffet: Paintings, Drawings and Sculpture from 30 years, Kunsthaus, Zug, Switzerland 30 January 13 March 1983 Dubuffet, Delaware Art Museum, Wilmington, USA 14 March 28 April 1974 Fundacion Mendoza, Caracas; Museo de Arte Moderno, Bogota, November December 1972 Phyllis Kind Gallery, Chicago, USA 15 April 15 May 1970

10 Jean Dubuffet Paysage au drapeau, 1968 Epoxy paint on polyurethane 42 1/2 66 1/8 58 1/4 in cm T Exhibitions Dubuffet, Galerie K, Paris, France 17 May 20 May 1990 Twentieth century works, Waddington Galleries, London, UK 26 April 20 May 1989 Jean Dubuffet: selection of works from , Galerie Baudouin Lebon, Paris, France 20 September 12 November 1983 Jean Dubuffet: Paintings, Drawings and Sculpture from 30 years, Kunsthaus, Zug, Switzerland 30 January 13 March 1983 Dubuffet, Delaware Art Museum, Wilmington, USA 14 March 28 April 1974 Fundacion Mendoza, Caracas; Museo de Arte Moderno, Bogota, November December 1972 Phyllis Kind Gallery, Chicago, USA 15 April 15 May 1970

11 Simon Hantaï Meun GB647, 1967 Oil on canvas 84 1/2 85 3/8 in cm T On loan from the Hantaï family, please contact the gallery for available works. Exhibitions Simon Hantaï, Meuns, Guttklein Fine Art, Paris, France 13 May 09 July 2015 (Cat. p. 33)

12 Simon Hantaï Meun GB1228,, 1968 Oil on canvas 87 1/8 88 1/4 in cm T On loan from the Hantaï family, please contact the gallery for available works. Exhibitions Simon Hantaï : , Centre d Arts Plastiques Contemporains de Bordeaux, Bordeaux (CAPC), France 15 May 29 August 1981 (Cat p. 37) Hantaï, Rétrospective, Musée national d art moderne - Centre George Pompidou, Paris, France 26 May 13 septembre 1976

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14 Simon Hantaï Meun GB25, 1968 Oil on canvas 87 7/8 90 1/2 in cm T On loan from the Hantaï family, please contact the gallery for available works. Exhibitions Daniel Buren: a tiger cannot change its stripes: een Triptiek, Museumcultuur Strombeek/Gent, Strombeek, Belgium 26 February 20 March 2016 Simon Hantaï, Meuns, Guttklein Fine Art, Paris, France 13 May 09 July (Cat p. 45) La Peinture après l'abstraction : , Musée d'art moderne de la Ville de Paris, Paris, France 20 May 19 September 1999

15 Simon Hantaï Meun, 1968 Oil on canvas /8 in cm T On loan from a private collection please contact the gallery for available works. Exhibitions Simon Hantaï, Timothy Taylor, London, UK, 22 January 5 March 2016

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17 Charlotte Perriand Dining table, c Rectangular top made of mahogany with two gutters, bevelled edges, apparent dowels, resting on 4 ellipitc legs 28 1/8 89 1/2 34 1/8 in cm T

18 Charlotte Perriand and Pierre Jeanneret Équipement de la maison table, c Rectangular ash top with slightly curved edges resting on 4 tapered legs linked by a central crosspiece 28 3/8 58 7/8 32 1/8 in cm T

19 Charlotte Perriand Six-sided table, c Pinewood table with six-sided thick top resting on 3 cylindrical legs /8 50 3/8 in cm T

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21 Charlotte Perriand Dining table with extension, c Pinewood dining table, rectangular top features sloping edge resting on 4 ovoid shaped legs 28 1/8 77 3/4 33 1/4 in cm Pinewood extension, square top resting on 4 cylindrical legs 28 1/ /4 in cm T

22 Charlotte Perriand Rectangular table, c Table made of wooden rectangular top with rounded corners resting on four black lacquered tapered metal legs /8 33 1/8 in cm T

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24 Charlotte Perriand Maison du Brésil table, c Black metal structure, grey formica top, 4 plastic drawers 27 5/8 33 3/4 33 3/4 in cm T

25 Freefrom: Jean Dubuffet, Simon Hantaï, Charlotte Perriand 2 February 29 March 2018 Driven by egalitarian and populist ideals, Charlotte Perriand believed that considered design could have a positive impact on everyday life and, in turn, on society at large. Having rejected the established Beaux-Arts style as a student, Perriand joined Le Corbusier s studio at the age of 24, which allowed her to pursue an approach to Modernism that brought together both intellectual and material values. It was following her work with Le Corbusier that Perriand started to develop her Free-Form furniture, which harnessed a powerful new approach to design. Taking forms inspired by objects in nature, Perriand generated furniture that was functional, true to raw materials, and responsive to human gestures and interactions. The wooden tables from this period were defined by organic contours, or geometric shapes softened with rounded corners, which avoided collisions in small spaces. The positioning of the legs closer to the centre also took into consideration the ergonomics of people s knees when sat at the table. The first Free-Form table emerged in 1954, shaped in response to Perriand s small Montparnasse studio. As Perriand s biographer Jacques Barsac explains, the Free- Forms themselves demonstrated a poetic functionalism on the human scale in which each form was rigorously tailored to its use and its production method, while retaining a freedom of composition. Whilst Perriand was compelled by conscious design and an awareness of surroundings, Jean Dubuffet s output was largely driven by a productive unconscious. Each of the sculptures exhibited is connected to Hourloupe, Dubuffet s longest cycle, which first appeared in 1962 and continued through to Initially executed on paper, Dubuffet s adventures in automatism resulted in drawings and paintings made up of multiple cells, where each space comes to life both as an individual element, and as a component within a larger structure. As the Hourloupe series progressed, the images became more corporeal and quickly developed into vast polystyrene sculptures, a material which Dubuffet favoured as it allowed the light to emanate from the strata. Though denying an apparent thought process in the initial design, Dubuffet explained how he wanted to give monumental dimensions to these unrestricted graphics, these graphics that escape from the paper s surface which usually serves as a support. In this translation of works on paper into three-dimensional space, Dubuffet wanted to activate a cerebral response where the viewer was not only in front of but inside the image; being integrated in, and directly confronted by, the forces of fantasy and reality. The resulting sculptures engage with notions of nature and artifice. The clean colours and linear outlines retain a connection to graphic drawing, whilst the physical presence engages a hybrid aesthetic that sits between landscape and architecture. A defining characteristic of the Hourloupe cycle was the manifestation of a belief that there is continuity between objects, places and figures, much like Simon Hantaï s Meun paintings which were developed through his pliage technique and resulted in bold, amorphous, images of chance. In 1960, Hantaï first developed pliage, a technique where the canvas is crumpled and folded, then doused in colourful paint. Later, as the canvas is unfolded, the work is revealed for the first time, with areas of positive and negative space having been determined by the element of chance inherent to this technique. Hantaï explained how he tied the canvas in the four corners, big knots, and in the middle of the crude bag a string which strangles it. Unlike the initial pliage works, there is no centre or axis in the Meuns; the form is liberated and left open to interpretation with the bold resulting images hinting at a figure, whilst also carrying the spontaneity of their conception. The Meun paintings followed a year long silence during which Hantaï retreated from the Parisian art world, and abstained from painting. In 1966, a move to Meun - a small village in the Fontainbleau Forest - broke this hiatus through the regenerative impact of a new environment, an unfamiliar studio and excellent light, allowing for a surge in energy to develop pliage. As Hantaï explained, folding came out of nothing. You simply had to put yourself in the place of those who had never seen anything; put yourself in the canvas. You could fill a folded canvas without knowing where the edge was. You have no idea where it will stop.

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