Art Brut and Outsider Art

Art Brut and Outsider Art Collage
Started: 1923
Ended: Present
These are primitive beginnings in art, such as one usually finds in ethnographic collections, or at home in the nursery. Do not laugh, reader! Children also have artistic ability and there is virtue in their having it! . . . Parallel phenomena are provided by the works of the mentally diseased; neither childish behavior nor madness are insulting words here, as they commonly are. All this is to be taken seriously, more seriously than all the public galleries when it comes to reforming today's art.
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Paul Klee Signature
We will not cease until justice has corrected the blind and intolerant prejudice under which works of art produced in asylums have suffered for so long, and so long as we have not freed them from the aura of worthlessness which has been created around them.
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André Breton Signature
The madman is a reformer, an inventor of new systems, intoxicated with invention. ... This is exactly what is required of the artist, and explains why the creation of art is so worthless when it does not originate in a state of alienation, when it fails to offer a new conception of the world, and new principles for living.
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Jean Dubuffet Signature
Those works created from solitude and from pure and authentic creative impulses - where the worries of competition, acclaim, and social promotion do not interfere - are, because of these very facts, more precious than the productions of professions. After a certain familiarity with these flourishings of an exalted feverishness, lived so fully and so intensely by their authors, we cannot avoid the feeling that... cultural art in its entirety appears to be the game of a futile society, a fallacious parade.
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Jean Dubuffet Signature
Nobody knows why I made them, not even me.
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Fred Smith
Nowadays people are calling me 'artist'. I don't like this word 'artist', only God pushed me to do this work. I never knew people would see it. I just made it for my own pleasure.
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Nek Chand
Totally alien, the new art (an art that has always been) proliferates quietly around the outskirts of the cultural city.
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Roger Cardinal
God wanted me to take this junk and make something out of it and show people who got things that they could do something where they stand. You see, I'm an example from God.
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Howard Finster

Summary of Art Brut and Outsider Art

Driven by an unflinching creative intensity combined with a talent for rousing humanity's deepest desires and fears, Outsider Artists present a visionary interweave of the fabric of life. As a way to categorize the artwork that he loved made by introverted, isolated, and exceptionally imaginative characters, the French artist Jean Dubuffet coined the term Art Brut, or "raw art"; also known as Outsider Art, this latter term provides the most succinct way to reference the artist within the movement. Although Dubuffet's own art sought to imitate freedom from societal constraints - both in subject and in technique - in the same way as the art that he admired and collected - his position and status within the art world makes him far from an Outsider Artist. In many ways, founding a movement in this case is the very antithesis to the art gathered within it. However, the grouping he championed does help to direct attention onto a body of art made by people who have no interest in self-aggrandizement or self-promotion.

Outsider Artists usually experience some sort of revelatory moment, akin to a religious calling when they become "artists". They typically have no formal training within an art institution and exhibit in their work a sense of heightened connectivity within the intricate system of universal balance. Without having necessarily experienced tragedy, these artists hold within an acute awareness of the forces of darkness as well as those of light. The Outsider Artist deals incessantly with a war in mind (which is often mistakenly labeled as mental illness), always navigating emotional conflict in order to create outwards paths to find inner peace. The closest more conventional movement comparable is Surrealism, as the premise of the latter is also based on the power of the human unconscious. Indeed, as well as Dubuffet, other famous artists, including Picasso, heralded this work as inspirational. The Outsider Artist however does not feel the same impetus to share and disseminate ideas, often they only ask, humbly and without expectation, to be left quiet and uninterrupted to make art.

Key Ideas & Accomplishments

Key Artists

Overview of Art Brut and Outsider Art

Art Brut and Outsider Art Image

The first noted case of interest by artists in the art of the mentally ill is traced back to the Der Blaue Reiter (The Blue Rider) group who were active in Germany from 1911 to 1914. Wassily Kandinsky, Franz Marc, August Macke, Alexej von Jawlensky, Marianne von Werefkin, Gabriele Münter, Lyonel Feininger, and Albert Bloch, believed in the expression of spiritual values through color and form. In this quest, these artists were interested in the linkages between music and painting, as well as the concept of synaesthesia, whereby the stimulation of one sense can cause an involuntary reaction in one or more other senses. In 1912, the group published their Almanac, Der Blaue Reiter Almanach, which included theoretical essays by Kandinsky and Marc, as well as over 140 reproductions of artworks, the majority of which were classified as "primitive" art, folk art, children's art, and art of the mentally ill. In this way, they demonstrated their belief that the traditional Western Art Historical canon was suffering a particular lack that could be remedied by turning to sources outside of its purview.

Important Art and Artists of Art Brut and Outsider Art

Adolf Wölfli: Mental Asylum Band-Copse (From the Cradle to the Grave, Book 4, p. 203) (1910)

Mental Asylum Band-Copse (From the Cradle to the Grave, Book 4, p. 203) (1910)

Artist: Adolf Wölfli

After a traumatic childhood, Adolf Wölfli was arrested in 1890 for the attempted sexual assault of two young girls and sentenced to two years in the St. Johannsen prison in Berne. In 1895 he was arrested once again for the attempted molestation of a very young girl. At this point he was committed to the Waldau Mental Asylum for evaluation, and diagnosed as schizophrenic. He would remain a "patient" there until his death in 1930. During his institutionalization, he was reportedly often violent and uncontrollable, and was frequently placed in solitary confinement.

Some years after his admission to the Asylum, in 1908, he began to draw. At first he was allowed only one pencil per week, which he always quickly wore down to a nub. However, staff soon realized that drawing and writing helped to subdue his temper, and so they provided him with more supplies. Wölfli soon began work on his 25,000-page illustrated narrative life story which, upon his death, measured six feet high when stacked up. In this work, he constructed a new history of his childhood and a described a glorious future with its own uniquely personal mythology.

The first book of Wölfli's imaginary autobiography, comprised of 3000 pages, is titled From the Cradle to the Grave (1908-1912). The image pictured here comes from this first book, in which Wölfli re-narrates his tragic childhood into a magnificent travelog, which recounts how a child named Doufi traveled "more or less around the entire world." The narrative is ornately and densely illustrated with intricate drawings of geometric shapes, fictitious maps, portraits, palaces, churches, kings, queens, animals, and speaking plants, and also incorporates text and musical notation. In the second book, titled the Geographic and Algebraic Books (1912-1917), Wölfli describes how to build in the future "Saint Adolf-Giant-Creation", a huge "capital fortune" that will allow for the purchase, renaming and urbanization of the planet, and eventually the entire universe. In this narrative, Wölfli renames himself St. Adolf II. The third and fourth books, Books with Songs and Dances (1917-1922) and Album Books with Dances and Marches (1924-1928), celebrate his "Saint Adolf-Giant-Creation" not only through drawings, but also sound poetry, songs, musical scales, and collages. Finally, from 1928 until his death in 1930, he worked on the fifth and final book, the Funeral March. In this substantial volume, totaling over 8,000 pages, he (as the website writes, with information collated by the Museum of Fine Art in Bern, Switzerland) "recapitulates central motifs of his world system in the reduced form of keywords and collages, weaving them into a infinite tapestry of sounds and pictures", creating "a fascinating requiem."

Ferdinand Cheval: Le Palais Idéal (the "Ideal Palace") (1879-1912)

Le Palais Idéal (the "Ideal Palace") (1879-1912)

Artist: Ferdinand Cheval

This architectural project serves as an example of a "Visionary Environment", in which an Outsider Artist constructs a large-scale architectural or landscape site. Set in a lush garden, Cheval's Palais draws architectural inspiration from an eclectic variety of sources. Architectural authors Ulrich Conrad and Hans Sperlich described the Palais Idéal as "half pagoda, half robber-baron's castle, half nymphaeum, half tomb; not Baroque, not Hellenistic, not Buddhist, not Indian, and yet all of them at once." The Palais also includes grottos, waterfalls, subterranean chambers, and soaring towers. It even bears sculptural elements representing a variety of animals such as octopi, caiman, elephants, bears, and birds, as well as mythological creatures such as giants and fairies. One of the Palais walls bears the inscription "I was not a builder, I had never handled a mason's trowel, I was not a sculptor. The chisel was unknown to me; not to mention architecture, a field of which I remained totally ignorant... Everything you can see, passer-by, is the work of one peasant, who, out of a dream, created the queen of the world..."

Cheval was a French postman with little formal education who set forth on his project in April of 1879 despite having no experience in architecture or engineering. He later recounted how "I was walking very fast when my foot caught on something that sent me stumbling a few meters away, I wanted to know the cause. In a dream I had built a palace, a castle or caves, I cannot express it well... I told no one about it for fear of being ridiculed and I felt ridiculous myself. Then fifteen years later, when I had almost forgotten my dream, when I wasn't thinking of it at all, my foot reminded me of it. My foot tripped on a stone that almost made me fall. I wanted to know what it was... It was a stone of such a strange shape that I put it in my pocket to admire it at my ease. The next day, I went back to the same place. I found more stones, even more beautiful, I gathered them together on the spot and was overcome with delight... It's a sandstone shaped by water and hardened by the power of time. It becomes as hard as pebbles. It represents a sculpture so strange that it is impossible for man to imitate; it represents any kind of animal, any kind of caricature. I said to myself: since Nature is willing to do the sculpture, I will do the masonry and the architecture".

For the next thirty-three years he collected stones that he found on his daily 18-mile mail route and took them home to add to the project, often working at night with the light of an oil lamp. At first he put the stones in his pockets, but he later began using a basket and eventually a wheelbarrow. It took him twenty years just to complete the outer walls. He carried out the entire project without any assistance. Cheval wished to be buried in his Palais, but French law forbade it. He thus spent the final eight years of his life constructing his own mausoleum at the Hauterives cemetery. The mausoleum was constructed using similar materials and style to the Palais Idéal.

Toward the end of Cheval's life, artists such as André Breton, Pablo Picasso, and Max Ernst developed an interest in his Palais. Ernst even created a collage titled The Postman Cheval in 1932. In 1969, Minister of Culture, André Malraux, declared the Palais a cultural landmark and granted it official protection. In 1986 Cheval and his magical ingenuity was commemorated on a French postage stamp.

Séraphine Louis: The Tree of Life (1928)

The Tree of Life (1928)

Artist: Séraphine Louis

Séraphine Louis, born in 1864, and also known as Séraphine de Senlis (the French town where she lived and worked) was a prolific painter of large and luscious floral arrangements. Sometimes she painted what appears to be a conventional bouquet or a typical still-life, but more often than not her images are surreal hybrids between trees and flowering bushes. Séraphine added ripe fruits to her dreamlike foliage, and created heavily patterned, sometimes even dotted leaves that begin to look more like feathers. There is no botanical accuracy to the project; it is a frenzied attempt to show something of life's beauty.

Indeed, as a visionary, Séraphine suffered from mental health instability and took solace in her religious faith saying that it was often stained glass windows that had inspired her paintings. Interestingly, although the artist used oil paints, her pictures are unusually waxy in appearance and experts cannot be sure what other ingredients she added to the mix. Her work was discovered by a German art collector called Wilhelm Uhde, who whilst visiting the small town of Senlis saw one of Séraphine's paintings hanging in his friend's home; his friend told him that the picture had been painted by his cleaner. Uhde immediately befriended Séraphine, encouraged her to work large-scale, and quickly included her work in a selection of group exhibitions. Sadly, the artist did not get a chance to experience her success as she was permanently institutionalized from 1932 onwards. In this particular asylum Séraphine had no access to art materials or any outlet for her creativity.

Useful Resources on Art Brut and Outsider Art


Content compiled and written by Alexandra Duncan

Edited and revised, with Summary and Accomplishments added by Rebecca Baillie

"Art Brut and Outsider Art Movement Overview and Analysis". [Internet]. .
Content compiled and written by Alexandra Duncan
Edited and revised, with Summary and Accomplishments Ideas added by Rebecca Baillie
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First published on 22 Nov 2018. Updated and modified regularly
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