Compare and contrast Monsieur Plume with Creases in his Trousers (Portrait of Henri Michaux) by Jean Dubuffet to Mental Asylum Band-Corpse (from the cradle to the grave, Book 4, p. 203) by Adolf Wolfli – An ‘Isms’ Overview

This paper aims to analyze and compare two distinct paintings, Jean Dubuffet’s “Monsieur Plume with Creases in his Trousers (Portrait of Henri Michaux)” and Adolf Wölfli’s “Art Artwork: Mental Asylum Band-Corpse (from the cradle to the grave, Book 4, p. 203).” Despite being created in different historical periods, these artworks share common themes related to the portrayal of human psyche and the influence of mental states on artistic expression. Through an examination of their formal qualities, subject matter, and artistic contexts, this paper will explore the artists’ approaches and highlight the unique perspectives they bring to the representation of the human condition.

Both Jean Dubuffet and Adolf Wölfli were renowned artists who challenged conventional artistic norms and explored the boundaries of human creativity. “Monsieur Plume with Creases in his Trousers” is a 1947 painting by Dubuffet, while “Art Artwork: Mental Asylum Band-Corpse” was created by Wölfli in 1910. Despite their differences in style and technique, these works convey a profound understanding of human psychology and the impact of mental states on artistic expression.

Dubuffet’s painting exhibits bold and gestural brushstrokes, emphasizing the rough texture of the surface. The use of vibrant colours and thick layers of paint contributes to the expressive and raw quality of the artwork. In contrast, Wölfli’s piece is meticulously detailed, comprising intricate patterns and precise lines. The composition is densely populated, creating a sense of chaos and intensity. While Dubuffet’s work reflects a spontaneous and impulsive style, Wölfli’s composition displays meticulous control and attention to detail.

Dubuffet’s portrait captures the essence of the sitter, Henri Michaux, through distorted facial features and exaggerated expressions. The painting conveys a sense of psychological turmoil and existential angst. In contrast, Wölfli’s artwork presents a hallucinatory world that reflects his experiences as a patient in a mental institution. It combines fantastical elements, such as hybrid creatures and symbolic motifs, to explore the complexities of the human mind and its inner struggles.

Dubuffet was a prominent figure in the Art Brut movement, advocating for the inclusion of “outsider” art forms in the canon of fine art. His work aimed to challenge conventional aesthetics and embrace the raw and authentic expressions of individuals on the fringes of society. Wölfli, on the other hand, was an outsider artist himself, creating his intricate compositions while confined to a mental institution. His work can be seen as a reflection of his personal experiences and a testament to the therapeutic power of art.

Both artworks delve into the realm of the subconscious and explore the depths of the human psyche. While Dubuffet’s painting focuses on the individual’s psychological struggles within the confines of society, Wölfli’s piece delves into the complexities of mental illness and the blurred boundaries between reality and fantasy. Both artists employ unconventional techniques and styles to challenge traditional notions of artistry and highlight the raw and unfiltered expressions of their subjects.