杜布菲出生在勒阿弗尔一族批发酒商谁是富有的资产阶级的一部分。他移居巴黎，于1918年在学画Académie朱利安，成为亲密的朋友与艺术家胡安·格里斯，安德烈·马森和费尔南·莱热。半年后，在发现学术训练是令人讨厌的，他留下的Académie自主学习。[4]在此期间，杜布菲开发了许多其他的兴趣，包括音乐，诗歌和古代和现代语言的学习。杜布菲还前往意大利和巴西，并在1925年回到勒阿弗尔，他第一次结婚，并继续在巴黎开一家小葡萄酒企业。他拿起在1934年再次绘画时，他做了一个大的系列中，他强调在艺术史上的vogues画像。但他又停了下来，他的发展在葡萄酒业务贝西的期间德国占领法国。多年以后，在一本自传的文字，他吹嘘已经通过向供应葡萄酒取得了实质性的利润国防军。
 

1942年，杜布菲决定再次投身到艺术。他往往选择科目为他的作品从日常生活，如人坐在巴黎地铁或者走在了全国。杜布菲涂上强，色彩完整，回顾调色板野兽派，还有布鲁克画家，用自己的并列和色彩不和谐的补丁。他的许多作品中精选的个人或放置在一个非常狭小的空间个人，这对观众一个独特的心理影响。他的首次个展来到1944年10月，在画廊刘若英德劳因在巴黎。这标志着杜布菲的第三次尝试成为一个既定的艺术家。

1945年，杜布菲出席在巴黎做秀的强烈印象吉恩Fautrier的画作中，他承认这直接和纯粹表达一个人的深度意义的艺术。模拟Fautrier，杜布菲开始使用厚油漆用的材料，如泥土，沙子，煤尘，卵石，玻璃，串，稻草，石膏，石子，水泥和沥青块混合。这使他放弃申请油漆用毛笔以帆布的传统方法; 相反，杜布菲创造了一个贴进他可以创建物理标记，如划痕和斜线标记。混合和涂覆油漆的厚涂颜料技术，杜布菲的系列“比利馅饼'或厚Impastoes，他陈列在他的第二个大型展览，题目是最好的体现Microbolus碎石＆Cie公司/上比利PATES于1946年在勒画廊德劳因。他用粗糙的材料，他注入到他的许多作品具有讽刺意味的煽动评论家，谁指责“无政府状态”和“刮垃圾箱”的杜布菲反弹的显著量。[4]他确实收到了一些积极的反馈，以及- 格林伯格把杜布菲的工作通知，并写道，“[F] ROM的距离，杜布菲似乎是最原始的画家已走出巴黎，因为米罗的学校......” [5]格林伯格接着说，'杜布菲也许是真正的重视，纷纷出现在过去十年在巴黎现场一个新的画家。“ 事实上，杜布菲是美国在今年非常多产，在纽约首次个展（1951）。

1946年后，杜布菲开始了一系列肖像画，用他自己的朋友亨利·米肖，弗朗西斯·蓬热，让•包兰和皮埃尔·马蒂斯作为“模型”。他在同厚的材料，这些画的肖像，并在故意反心理和抗个人的方式，如杜布菲表达自己。几年后，他走近了超现实主义小组在1948年，那么Pataphysique学院在1954年他与法国剧作家，演员和戏剧导演友好安东尼阿尔托，他钦佩和支持作家路易-费迪南·塞利纳和强烈连接围绕着超现实主义艺术圈安德烈·马森。1944年，他开始与一个重要的关系性战斗机和法国作家，出版商，让•包兰谁也强烈对抗“知识恐怖主义”，因为他的说法。
 

杜布菲的艺术特色主要材料非正统的足智多谋的剥削。许多杜布菲的作品在涂油漆使用厚涂由材料如增稠砂，焦油和稻草，给工作的一个不寻常的纹理化表面。杜布菲是使用这种类型的增稠浆料，称为沥青的第一艺术家。此外，在他早期的绘画，杜布菲驳回赞成空间更直接，二维显示的视角的概念。相反，杜布菲由图像平面内粗重叠对象创建立体的错觉。这种方法最直接促成了他的作品的局促效果。

从1962年，他制作了一系列的作品中，他自己有限的颜色有红色，白色，黑色和蓝色的。迈向20世纪60年代末，他日益转向雕塑，生产工程中的聚苯乙烯然后他用涂乙烯基漆。

Du was born in Le Havre, a wholesale wine merchant who is part of the rich bourgeoisie. He moved to Paris in 1918 in the painting Acad Mie Julian, became close friends with artist Hu An Griess, Andre Mason and Fernand Leger. Six months later, in the discovery of academic training is annoying, he left Acad Mie independent learning. In the meantime, dubuffet developed many other interests, including music, poetry and ancient and modern language learning. Dubuffet also went to Italy and Brazil, and returned to Le Havre in 1925, his first marriage, and continue to open a small wine company in Paris. He picked up the painting again in 1934 when he made a large series in which he emphasized the vogues portrait in art history. But he stopped his development during the German occupation of France had Wine business. Years later, in an autobiography of the text, he boasted that he had made a substantial profit through the supply of wine to the defense forces.
In 1942, dubuffet decided to once again plunge into art. He often chooses subjects for his work from everyday life, such as people sitting on the Paris subway or walking across the country. Dubuffet painted with strong, full color, recalling the palette of wild beasts, as well as the painter Brook, with their own juxtaposition and color patches of discord. Many of his works are featured by individuals or individuals placed in a very narrow space, which has a unique psychological impact on the audience. His first exhibition came in October 1944, in the gallery of Rene Liu Drouin in Paris. This marks the third attempt of the artist to become an established artist.
In 1945, dubuffet in Paris to attend a show a strong impression of Jean Fautrier's paintings, he admitted that this direct and pure expression of deep meaning of one's art. The simulation of Fautrier, dubuffet began to use thick paint materials, such as mud, sand, gravel, coal, glass, string, straw, plaster, stone, cement and asphalt mixture block. This made him give up to apply paint with a brush to the traditional methods of the canvas; on the contrary, Dubuffet created a paste he can create physical tokens, such as scratches and slash mark. Mixing and coating paint impasto, dubuffet's series of "Billy 'pie or thick Impastoes, he displayed in his second major exhibitions, is the best embodiment of the Microbolus Cie stone company / Billy PATES on 1946 in Le Drouin gallery. He used the rough material into many of his works, he ironically incited critics, who accused of "a significant amount of anarchy" and "scraping the trash" dubuffet rebound. He did receive some positive feedback, and Greenberg to work notice, dubuffet and wrote, "ROM distance, dubuffet seems to be the most primitive painter has been out of Paris, because the Miro school......" then Greenberg said, 'dubuffet is perhaps the real attention, have emerged in the past ten in Paris the scene of a new artist. "In fact, Dubuffet is the United States this year very prolific, the first solo exhibition in New York (1951).
After 1946, dubuffet began a series of portraits, with his friend Henry Michaud, Francis Ponge, Jean Paulhan and Pierre Mathis as the "model". He is in the same thickness of the material, the portrait, and deliberately anti psychological and anti personal way, such as the dubuffet express. A few years later, he approached the Surrealist group in 1948, then Pataphysique in 1954, he and French playwright, actor and theatre director Anthony Arto friendly, his admiration and support the writer Louis Ferdinand SERINA and strongly connected around the surrealist art circle of Andre Mason. In 1944, he began with an important relationship between the fighter and the French writer Jean Paulhan, publisher, who also strongly against the "knowledge of terrorism", because of his argument.
Unorthodox resourceful the artistic features of Dubuffet's main material exploitation. Many of dubuffet's works painted in thick coating by using materials such as thickening sand, tar and straw, gave an unusual textured surface work. Dubuffet is the first artist to use this type of thickener, known as pitch. In addition, in his early paintings, dubuffet rejected in favour of more direct, from the perspective of the concept of two-dimensional display. On the contrary, by creating the illusion of a solid object in the image plane. This method is the most directly contributed to the effect of his cramped work.
From 1962, he produced a series of works in which his own limited colors were red, white, black and blue. Towards the end of the 1960s, he increasingly turned to sculpture, production engineering of polystyrene and then he used vinyl paint.