Dubuffet, current developments-in trompe-l'œil

The commemorative signs of the centenary of Jean Dubuffet's birth are somewhat surprising. An impressive and eagerly awaited retrospective was put on at the Georges Pompidou Centre, an event whose scope was the dominant point of a series of exhibitions held, in particular, in the city of Le Havre, where Dubuffet was born, and at the Dubuffet Foundation. It would nevertheless seem that the current state of museography is in contrast with publishing production, hallmarked, for its part, by a raft of new editions, be these writings by Dubuffet or by some of his loyal commentators. First and foremost, let's take a look at the catalogue of the exhibition curated by Daniel Abadie at the National Museum of Modern Art. The choice of essays is based on the one hand on a chronological route, and on the other on a route bound up with the painter's personality. For example, Thomas M. Messer reckons that it is a good idea to deal with the period of artistic initiation-made up of portraits, landscapes, still lifes and subjects described altogether

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