Bertelé bouquet fleuri, Portrait de parade (Bertelé as a Blossoming Bouquet, Sideshow Portrait) 1947

Editor: We’re looking at Jean Dubuffet’s 1947 oil painting, "Bertelé bouquet fleuri, Portrait de parade." The thick impasto and earthy tones give it a very raw, almost primal feel. What do you see in this piece in terms of its formal qualities? Curator: It's striking how Dubuffet prioritizes texture and raw materiality over traditional representation. Notice the heavy application of oil paint; it isn't just descriptive, but sculptural. The figure almost emerges from the ground of the painting itself, wouldn't you agree? Editor: Definitely. It’s like he’s building up this almost grotesque figure from the mud. What about the composition? It seems unbalanced but also deliberately so. Curator: Precisely. The figure dominates the canvas, but the asymmetry creates a dynamic tension. Consider the way the dark pigment clumps together versus the light background; there's a push and pull that energizes the surface. Do you perceive a focal point, or is the emphasis spread evenly across the figure? Editor: I think the face is the focal point because it’s the most densely worked area. Yet the body has the most intriguing shapes and lines, particularly the angular lines making the limbs. Curator: Indeed, the face functions as a visual anchor, but Dubuffet seems intent on dissolving traditional hierarchies within the picture plane. The textural unity works to disrupt such clear delineations, drawing the eye to the materiality of the paint itself. What are your thoughts on the artist’s intent, given these formal choices? Editor: It’s as if he’s rebelling against beauty standards. It's fascinating how the raw, almost crude application of paint creates such a powerful presence. Curator: Yes, through that subversion he allows the artwork to make a strong statement by bringing the physicality of art into the foreground. I believe the painting pushes beyond mere representation, acting as a pure expression through materiality. Editor: Absolutely. It's incredible to consider how a painting’s texture alone can convey such intensity. I’ll never look at thick paint the same way again.