{"id":37624,"title":"L'art brut préféré aux arts culturels","dimensions":"","date_begin":"1949-01-01","material":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"archival presentation publication","publishing_process_id":1,"annotation":"\u003cp style=\"margin-left:0px;\"\u003eParis, René Drouin, 1949\u003c/p\u003e\u003cp style=\"margin-left:0px;\"\u003e52 pages, Ill. B\u0026amp;W\u003c/p\u003e\u003cp style=\"margin-left:0px;\"\u003e\u003ca href=\"https://www.fondationdubuffet.com/bibliographie/ecrits-de-jean-dubuffet/192\"\u003ehttps://www.fondationdubuffet.com/bibliographie/ecrits-de-jean-dubuffet/192\u003c/a\u003e\u003c/p\u003e\u003cp style=\"margin-left:0px;\"\u003e\u003ca href=\"https://www.mahmah.ch/collection/oeuvres/lart-brut-prefere-aux-arts-culturels/gevbaaa200473717\"\u003ehttps://www.mahmah.ch/collection/oeuvres/lart-brut-prefere-aux-arts-culturels/gevbaaa200473717\u003c/a\u003e\u003c/p\u003e\u003cp style=\"margin-left:0px;\"\u003e\u0026nbsp;\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":10,"permalink":"l-art-brut-prefere-aux-arts-culturels","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/096/144/medium_500/F006.jpg?1783431794","cached_actor_names":"Jean Dubuffet","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"category":{"en":"Book","nl":"Boek","fr":"Livre"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/096/144/large/F006.jpg?1783431794","poster_credits":"(c)Jean Dubuffet - photo: M HKA, 2026","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eFor Guiette, the avant-garde had actually never stopped. Unlike Seuphor or Peeters, he was also not intent on exaggerating or modifying his role in the Antwerp avant-garde. He had always been an outsider and, in any case, preferred to take example from his peers in Paris. In the 1920s, he had absorbed the influence of the various movements like a sponge. During those years, he displayed an enormous sensitivity to everything new and hip, as evidenced by the fact that in 1925, he had his home in Antwerp designed by Le Corbusier. After flirtations with fauvism and cubism, after WWII, he joined Jean Dubuffet’s art brut.\u0026nbsp;\u003cbr\u003eRead further \u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/096/462/original/AP_Avant-Garde_brochure_EN.pdf?1788350825\"\u003ehere\u003c/a\u003e!\u003c/p\u003e"},{"locale":"nl","short_description":"","description":"\u003cp\u003eVoor Guiette was de avant-garde eigenlijk nooit gestopt. Anders dan Seuphor of Peeters was hij er ook niet op uit zijn rol in de Antwerpse avant-garde uit te vergroten of aan te passen.\u0026nbsp;\u003cbr\u003eHij was altijd al een buitenbeentje geweest en hij spiegelde zich sowieso liever aan zijn evenknieën in Parijs. In de jaren twintig had hij de invloed van de verschillende stromingen als een spons in zich opgenomen. Hij toonde in die jaren een enorme gevoeligheid voor alles wat nieuw en hip was, getuige ook het feit dat hij in 1925 zijn woonhuis in Antwerpen liet tekenen door Le Corbusier. Na flirts met het fauvisme en kubisme sloot hij zich na de Tweede Wereldoorlog aan bij de Art Brut van Jean Dubuffet.\u003c/p\u003e\u003cp\u003eLees verder \u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/096/463/original/AP_Avant-Garde_brochure_NL.pdf?1788351283\"\u003ehier\u003c/a\u003e!\u003c/p\u003e"},{"locale":"fr","short_description":"","description":"\u003cp\u003ePour Guiette, l’avant-garde n’a jamais cessé d’exister en réalité. Contrairement à Seuphor ou à Peeters, il ne cherche pas non plus à élargir ou à adapter son rôle au sein de l’avant-garde anversoise. Cet éternel électron libre a de toute façon toujours plutôt suivi la voie tracée par ses homologues parisiens. Dans les années 1920, il absorbe, telle une éponge, l’influence des différents courants et fait preuve d’une sensibilité profonde pour tout ce qui est nouveau et dans le vent, comme en témoigne d’ailleurs sa maison anversoise, qu’il ne fait concevoir par nul autre que Le Corbusier en 1925. Après la Seconde Guerre mondiale, et après s'être essayé au fauvisme et au cubisme, il rejoint le mouvement de l’art brut de Jean Dubuffet.\u003c/p\u003e\u003cp\u003eLire la suite \u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/096/464/original/AP_Avant-Garde_brochure_FR.pdf?1788351401\"\u003eici\u003c/a\u003e!\u003c/p\u003e"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[]}