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Jean Dubuffet

Encounter with a Major XXth century Artist

October 26, 2005 - January 8, 2006

Imprinting fascinated Jean Dubuffet for over forty years and is an integral part of his creative oeuvre. Throughout his life, in certain intense and active phases, he would not cease to explore the range of different techniques that could be utilized in printing and most of all those of lithography, interpreting and inventing new methods, as to better meet his needs. According to a set of associations and logic distinctive to this artist, each discovery led him directly to a rich field of developments into which he was to rush with perpetual sense of wonder, ignoring the limits of these new fields of investigation.

Created between 1944 – 1984 a selection of the artist’s works were exhibited for the first time at Pera Museum.

Curator: Meira Perry-Lehmann

Exhibition Catalogue

Jean Dubuffet

Jean Dubuffet

Imprinting fascinated Jean Dubuffet for forty years and it is indissolubly a part of his creative oeuvre. Throughout his life, in certain intense and active phases, he would not cease to explore...

Midnight Horror Stories: The Landlord <br> Hakan Bıçakcı

Midnight Horror Stories: The Landlord
Hakan Bıçakcı

Three people sleeping side by side. On the uncomfortable seats of the stuffy airplane in the air. Three friends. I’m the friend in the window seat. The other two are a couple, Emre and Melisa. I’m alone, they are together. And another difference. I’ve only closed my eyes. They are asleep.

Portrait of a Bullfighter (1797)

Portrait of a Bullfighter (1797)

The man is depicted in three-quarters view, turning straight to the viewers with a penetrating glance. The background is grey, while the clothes, the hair, and cap are black. 

The First Nudes

The First Nudes

Men were the first nudes in Turkish painting. The majority of these paintings were academic studies executed in oil paint; they were part of the education of artists that had finally attained the opportunity to work from the live model. The gender of the models constituted an obstacle in the way of characterizing these paintings as ‘nudes’.