Freefrom: Jean Dubuffet, Simon Hantaï, Charlotte Perriand 2 February – 29 March 2018 15 Carlos Place, London W1K 2EX T +44 20 7409 3344 [email protected] 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: Driven by egalitarian and populist ideals, Charlotte dimensions to these unrestricted graphics, these graphics Jean Dubuffet, Simon Hantaï, Perriand believed that considered design could have a that escape from the paper’s surface which usually serves Charlotte Perriand positive impact on everyday life and, in turn, on society at as a support”. In this translation of works on paper into 2 February – 29 March 2018 large. Having rejected the established Beaux-Arts style as a three-dimensional space, Dubuffet wanted to activate a student, Perriand joined Le Corbusier’s studio at the age of cerebral response where the viewer was not only in front 24, which allowed her to pursue an approach to Modernism of but inside the image; being integrated in, and directly that brought together both intellectual and material values. confronted by, the forces of fantasy and reality. The resulting sculptures engage with notions of nature and It was following her work with Le Corbusier that Perriand artifice. The clean colours and linear outlines retain a started to develop her ‘Free-Form’ furniture, which connection to graphic drawing, whilst the physical presence harnessed a powerful new approach to design. Taking forms engages a hybrid aesthetic that sits between landscape and inspired by objects in nature, Perriand generated furniture architecture. that was functional, true to raw materials, and responsive to human gestures and interactions. The wooden tables from A defining characteristic of the Hourloupe cycle was the this period were defined by organic contours, or geometric manifestation of a belief that there is continuity between shapes softened with rounded corners, which avoided objects, places and figures, much like Simon Hantaï ’s collisions in small spaces. The positioning of the legs closer Meun paintings which were developed through his ‘pliage’ to the centre also took into consideration the ergonomics technique and resulted in bold, amorphous, images of of people’s knees when sat at the table. chance. The first ‘Free-Form’ table emerged in 1954, shaped in In 1960, Hantaï first developed ‘pliage’, a technique where response to Perriand’s small Montparnasse studio. As the canvas is crumpled and folded, then doused in colourful Perriand’s biographer Jacques Barsac explains, “the Free- paint. Later, as the canvas is unfolded, the work is revealed Forms themselves demonstrated a poetic functionalism on for the first time, with areas of positive and negative space the human scale in which each form was rigorously tailored having been determined by the element of chance inherent to its use and its production method, while retaining a to this technique. Hantaï explained how he tied the canvas freedom of composition.” “in the four corners, big knots, and in the middle of the crude bag a string which strangles it”. Unlike the initial Whilst Perriand was compelled by conscious design and ‘pliage’ works, there is no centre or axis in the Meuns; an awareness of surroundings, Jean Dubuffet’s output the form is liberated and left open to interpretation with was largely driven by a productive unconscious. Each the bold resulting images hinting at a figure, whilst also of the sculptures exhibited is connected to Hourloupe, carrying the spontaneity of their conception. Dubuffet’s longest cycle, which first appeared in 1962 and continued through to 1974. Initially executed on paper, The Meun paintings followed a year long ‘silence’ during Dubuffet’s adventures in automatism resulted in drawings which Hantaï retreated from the Parisian art world, and and paintings made up of multiple cells, where each space abstained from painting. In 1966, a move to Meun - a comes to life both as an individual element, and as a small village in the Fontainbleau Forest - broke this hiatus component within a larger structure.