Freefrom: Jean Dubuffet, Simon Hantaï, Charlotte Perriand 2 February 29 March 2018 15 Carlos Place, London W1K 2EX T +44 20 7409 3344 mail@timothytaylor.com timothytaylor.com
Jean Dubuffet Arbre Le Circonvole, 1970 Paint on polyester 25 1/4 19 3/4 16 1/8 in. 64 50 41 cm T0011291 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
Jean Dubuffet Amoncellement à la Corne, 1968 Vinyl paint on epoxy resin 22 23 1/2 18 3/4 in. 55.8 59.6 41 cm T0011291 Exhibitions Jean Dubuffet: Peintures Monumentées, Galerie Jeanne Bucher, Paris, France 12 December 1968 8 February 1969
Jean Dubuffet Arbre Le Circonvole, 1970 Paint on polyester 25 1/4 19 3/4 16 1/8 in. 64 50 41 cm T0011291 Provenance David Rockefeller (a gift from the artist) Exhibitions Jean Dubuffet 1901-1985, Schirn Kunstalle, Frankfurt, Germany December 1990 March 1991 Jean Dubuffet: A Retrospective, Solomon R. Guggenheim Museum, New York, USA 1973
David Rockefeller with architectural model of the facade of 1 Chase Manhattan Plaza, New York showing the work.
Jean Dubuffet Elément bleu III, 1967 Transfer on polyester 39 45 5/8 4 in. 99 116 10 cm T0011287 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 1968-69
Jean Dubuffet Paysage logologique, 1968 Transfer on polyester 19 1/4 33 1/8 35 3/8 in. 48.9 84 90 cm T0011288 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 1942 1981, 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
Jean Dubuffet Paysage au drapeau, 1968 Epoxy paint on polyurethane 42 1/2 66 1/8 58 1/4 in. 108 168 148 cm T0011289 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 1942 1981, 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
Simon Hantaï Meun GB647, 1967 Oil on canvas 84 1/2 85 3/8 in. 214.5 217 cm T0011281 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)
Simon Hantaï Meun GB1228,, 1968 Oil on canvas 87 1/8 88 1/4 in. 221 224 cm T0011280 On loan from the Hantaï family, please contact the gallery for available works. Exhibitions Simon Hantaï : 1960-1976, 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
Simon Hantaï Meun GB25, 1968 Oil on canvas 87 7/8 90 1/2 in. 213 230 cm T0011279 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 2015. (Cat p. 45) La Peinture après l'abstraction : 1955-1975, Musée d'art moderne de la Ville de Paris, Paris, France 20 May 19 September 1999
Simon Hantaï Meun, 1968 Oil on canvas 89 73 5/8 in. 226 187 cm T0010120 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
Charlotte Perriand Dining table, c. 1960 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. 71.5 227.3 86.5 cm T0011295
Charlotte Perriand and Pierre Jeanneret Équipement de la maison table, c. 1947 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. 72 149.6 81.6 cm T0011307
Charlotte Perriand Six-sided table, c. 1949 Pinewood table with six-sided thick top resting on 3 cylindrical legs 28 72 7/8 50 3/8 in. 71 185 128 cm T0011310
Charlotte Perriand Dining table with extension, c. 1950 Pinewood dining table, rectangular top features sloping edge resting on 4 ovoid shaped legs 28 1/8 77 3/4 33 1/4 in. 71.5 198 85 cm Pinewood extension, square top resting on 4 cylindrical legs 28 1/8 39 33 1/4 in. 71.5 99 85 cm T0011297
Charlotte Perriand Rectangular table, c. 1956 Table made of wooden rectangular top with rounded corners resting on four black lacquered tapered metal legs 26 44 1/8 33 1/8 in. 66 111.8 84 cm T0011309
Charlotte Perriand Maison du Brésil table, c. 1959 Black metal structure, grey formica top, 4 plastic drawers 27 5/8 33 3/4 33 3/4 in. 70 86 86 cm T0011308
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 1974. 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.