Pouls fievreux de l'ombre 1959

Editor: We’re looking at Jean Dubuffet's "Pouls fievreux de l'ombre," or "Feverish Pulse of the Shadow," from 1959. It appears to be a print, and it has this almost muddy, textural quality to it. It feels dense, almost claustrophobic. What do you see in this piece? Curator: It's interesting that you call it claustrophobic. Dubuffet’s work here speaks to a larger post-war anxiety and the rejection of traditional artistic values. Notice how he uses unconventional materials. Do you think that the “matter painting” aspect has something to do with this interpretation? Editor: Definitely. The way the medium is applied creates a sense of rawness and unease. Was this a common approach for artists during this time? Curator: Yes, precisely! The use of such materials and techniques reflected a desire to break away from established artistic norms. Dubuffet challenged the academy, choosing instead to depict the world as raw and unfiltered, even ugly. The "shadow" in the title also makes me think about this deliberate opposition to "high art" and the traditional. What does this make you think of? Editor: I suppose it's as if he wanted to bring forward that which is hidden, unseen. Perhaps the subconscious of a society still dealing with post-war traumas. Curator: Precisely. By engaging with these kinds of materials, Dubuffet forces us to confront uncomfortable realities and consider the role of art in social and political commentary. Editor: So, beyond its immediate visual impact, the work’s materials and techniques are connected with its critical commentary on the art establishment of that time? Curator: Precisely, and even its comment on post-war social realities. Editor: That's a really insightful way of understanding it. I hadn't considered the social commentary so directly. Thanks for pointing that out! Curator: My pleasure. It's fascinating to consider how art can act as a mirror to society.