RABELAIS Pantagruel 2 vol.1936 et 1937
RABELAIS Pantagruel 2 vol.1936 et 1937
Second, Third, Fourth and Fifth books of Pantagruel in 2 works.
Dubout vibrates in unison with Rabelais. His illustrations offer a magnificent echo to Rabelais' extrapolations. They were made to work together... four centuries apart. The work of Rabelais, burlesque and grotesque to wish, describing deformed and gigantic bodies seems to be in the vein of that of Dubout; if one makes of Dubout the first cartoonist of the small people. In any case, the scenes of feasts, battles and caricatures of courtly figures in acid colors respond perfectly to Rabelais' ironic and acerbic remarks. And as usual, we find very detailed scenes of crowds, in a medieval setting that reminds us of a certain Jerome Bosch-like imagery". Dubout " Rabelais " and " boschise " the modern times!
Pantagruel, or in full " The horrible and dreadful facts and feats of the very famous Pantagruel King of the Dipsods ", is the first novel of François Rabelais. Published in 1532, it depicts the adventures of the giant Pantagruel, who also appears in Le Tiers Livre (our first book), Le Quart Livre and Le Cinquième Livre (together in our second book).
Like Gargantua, the author presents him under the pseudonym Alcofribas Nasier, an anagram of François Rabelais.
A parody of novels of chivalry, this work highlights the ideals of Renaissance humanism, particularly in education and politics, even if traces of the medieval legacy remain visible, for example through the sometimes cruel pranks of Panurge.
"The fourth and fifth book:
Paris, Gibert Jeune librairie d'amateurs, 1937. In-4, bound, modern vellum, covers and spines preserved, ivory white, author and title on the spine, 66 color illustrations, 279 pages.
"2nd and third book:
Paris, Gibert Jeune librairie d'amateurs, 1936. In-4, bound, modern vellum, covers and spines preserved, ivory white, author and title on spine, 73 color illustrations, 272 pages.
Albert Dubout (1905-1976) was solicited as early as 1929 by Editions Kra, an audacious choice on the part of the latter, which surprisingly entrusted him with the illustration of classical texts. A way that he will force him in these aesthetic choices sometimes forcing him to stick to the text. Dubout will affirm in particular that the work of "mirror of the text" carried out for "Clochemerle" had not pleased him. In contrast to the drawings he did for the newspapers, this editorial formula was close to his heart. "There was a much greater freedom of means than in the tyrannical press cartoon. It is understandable, for example, that the always rushed deadlines of the newspaper editors did not suit this cartoonist who liked to represent a thousand different heads on his paper, to add new accessories, to constantly refine" (in MELOT Michel, "Dubout", Edition Michèle Trinckvel, Montrouge, 1979).
"He is certainly one of the most influential artists of a whole generation of draftsmen and illustrators" (in Dubout.fr) and as such possesses recognizable characteristics such as a line all in roundness, colorful compositions which compliment the funny aspect of the scenes of life that he depicts us. Unwittingly heir to Jerome Bosch, Dubout embellishes his productions with a large number of characters participating in both the microscenes and the main action. These attributes are adorned with a taste for saucy, caricatural and sometimes tumultuous illustrations, making his characters endearing, such as those of the Little Man and the Big Lady. The latter are not without recalling his affection for his native region, the south of France, and particularly Marseille.
Dubout is a "made in France" product par excellence: regionalist, authentic, bon-vivant, educated and talented. He was a student at the Beaux-Arts of Montpellier, then he moved to Paris. He will be passionate about the crowds of department stores and transportation that he likes to sketch and caricature. He published his first drawings in "Pêle-Mêle", then collaborations with various magazines and newspapers such as "Ric et Rac", "Marianne", "La Bataille" and "Ici Paris". Dubout also produces posters for cinema, advertising and theater such as the one of "César" by Marcel Pagnol. His passion for cinema is tenacious, he directed several animated films " Anatole fait du camping " and " Anatole à la tour de Nesle " in 1947 and feature films " La Rue sans loi " in 1950 and " Anatole chéri " in 1954.
Albert Dubout" illustrated more than 80 books, the last of which appeared after his death. He published 27 albums and created 80 cinema and advertising posters. In addition, he created 70 oil paintings including the famous Corridas with their shadows and lights and the Bullfighters " (in Dubout.fr).
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RABELAIS Pantagruel 2 vol.1936 et 1937
Second, Third, Fourth and Fifth books of Pantagruel in 2 works.
Dubout vibrates in unison with Rabelais. His illustrations offer a magnificent echo to Rabelais' extrapolations. They were made to work together... four centuries apart. The work of Rabelais, burlesque and grotesque to wish, describing deformed and gigantic bodies seems to be in the vein of that of Dubout; if one makes of Dubout the first cartoonist of the small people. In any case, the scenes of feasts, battles and caricatures of courtly figures in acid colors respond perfectly to Rabelais' ironic and acerbic remarks. And as usual, we find very detailed scenes of crowds, in a medieval setting that reminds us of a certain Jerome Bosch-like imagery". Dubout " Rabelais " and " boschise " the modern times!
Pantagruel, or in full " The horrible and dreadful facts and feats of the very famous Pantagruel King of the Dipsods ", is the first novel of François Rabelais. Published in 1532, it depicts the adventures of the giant Pantagruel, who also appears in Le Tiers Livre (our first book), Le Quart Livre and Le Cinquième Livre (together in our second book).
Like Gargantua, the author presents him under the pseudonym Alcofribas Nasier, an anagram of François Rabelais.
A parody of novels of chivalry, this work highlights the ideals of Renaissance humanism, particularly in education and politics, even if traces of the medieval legacy remain visible, for example through the sometimes cruel pranks of Panurge.
"The fourth and fifth book:
Paris, Gibert Jeune librairie d'amateurs, 1937. In-4, bound, modern vellum, covers and spines preserved, ivory white, author and title on the spine, 66 color illustrations, 279 pages.
"2nd and third book:
Paris, Gibert Jeune librairie d'amateurs, 1936. In-4, bound, modern vellum, covers and spines preserved, ivory white, author and title on spine, 73 color illustrations, 272 pages.
Albert Dubout (1905-1976) was solicited as early as 1929 by Editions Kra, an audacious choice on the part of the latter, which surprisingly entrusted him with the illustration of classical texts. A way that he will force him in these aesthetic choices sometimes forcing him to stick to the text. Dubout will affirm in particular that the work of "mirror of the text" carried out for "Clochemerle" had not pleased him. In contrast to the drawings he did for the newspapers, this editorial formula was close to his heart. "There was a much greater freedom of means than in the tyrannical press cartoon. It is understandable, for example, that the always rushed deadlines of the newspaper editors did not suit this cartoonist who liked to represent a thousand different heads on his paper, to add new accessories, to constantly refine" (in MELOT Michel, "Dubout", Edition Michèle Trinckvel, Montrouge, 1979).
"He is certainly one of the most influential artists of a whole generation of draftsmen and illustrators" (in Dubout.fr) and as such possesses recognizable characteristics such as a line all in roundness, colorful compositions which compliment the funny aspect of the scenes of life that he depicts us. Unwittingly heir to Jerome Bosch, Dubout embellishes his productions with a large number of characters participating in both the microscenes and the main action. These attributes are adorned with a taste for saucy, caricatural and sometimes tumultuous illustrations, making his characters endearing, such as those of the Little Man and the Big Lady. The latter are not without recalling his affection for his native region, the south of France, and particularly Marseille.
Dubout is a "made in France" product par excellence: regionalist, authentic, bon-vivant, educated and talented. He was a student at the Beaux-Arts of Montpellier, then he moved to Paris. He will be passionate about the crowds of department stores and transportation that he likes to sketch and caricature. He published his first drawings in "Pêle-Mêle", then collaborations with various magazines and newspapers such as "Ric et Rac", "Marianne", "La Bataille" and "Ici Paris". Dubout also produces posters for cinema, advertising and theater such as the one of "César" by Marcel Pagnol. His passion for cinema is tenacious, he directed several animated films " Anatole fait du camping " and " Anatole à la tour de Nesle " in 1947 and feature films " La Rue sans loi " in 1950 and " Anatole chéri " in 1954.
Albert Dubout" illustrated more than 80 books, the last of which appeared after his death. He published 27 albums and created 80 cinema and advertising posters. In addition, he created 70 oil paintings including the famous Corridas with their shadows and lights and the Bullfighters " (in Dubout.fr).
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