[Fr.: ‘raw art’]. Term used from the mid-1940s to designate a type of art outside the fine art tradition. The commonest English-language equivalent for art brut is ‘Outsider art’. In North America, the same phenomenon tends to attract the label ‘Grass-roots art’. The French term was coined by Jean Dubuffet, who posited an inventive, non-conformist art that should be perfectly brut, unprocessed and spontaneous, and emphatically distinct from what he saw as the derivative stereotypes of official culture. In July 1945 Dubuffet initiated his searches for art brut, attracted particularly by the drawings of mental patients that he saw in Switzerland. In 1948 the non-profit-making Compagnie de l’Art Brut was founded, among whose partners were André Breton and the art critic Michel Tapié. The Collection de l’Art Brut was supported for a while by the company but was essentially a personal hobby horse of Dubuffet and remained for three decades an almost entirely private concern, inviting public attention only at exhibitions in 1949 (Paris, Gal. René Drouin) and 1967 (Paris, Mus. A. Déc.). In 1971 Dubuffet bequeathed the whole collection to the City of Lausanne, where it was put on permanent display to the public at the Château de Beaulieu. At the time of opening (1976), the collection comprised 5000 works by c. 200 artists, but it grew thereafter.

• Art brut
  • France, §III, 6(iv): Painting & graphic arts, after c 1914: World War II and after
  • Paris, §III, 7: Art life and organization, 1915–68
  • Psychotic art
  • works
    • Brutalism
    • Naive art, §2: Characteristics and examples
    • Naive art, §3: Distribution and impact
    • Objet trouvé