Abstract The circumstances surrounding the inception of Dubuffet’s 1946–47 portrait series are well documented. Following an introduction by Jean Paulhan, Dubuffet became a regular at the weekly lunches held by the American socialite and arts patron, Florence Gould. Prompted by Gould’s suggestion that he paint some of her ‘amis’, Dubuffet began work on an expanded, year-long project resulting in a series of over one hundred and eighty works, which included portraits of several of Gould’s guests (Paulhan, Paul Léautaud, Marcel Arland, Marcel Jouhandeau, Ėdith Boissonnas, Henri Michaux, René Bertelé), but also of friends and acquaintances from his own social circle with no connection to the Thursday salon (e.g. Francis Ponge, Georges Limbour, Jean Fautrier, Antonin Artaud, Pierre Matisse, Charles Ratton, René Drouin, Michel Tapié). Inevitably, since Gould’s guests included both collaborators (and, during the Occupation, German officers) and at least one resistant, the series has been interpreted as a commentary on the period’s moral contradictions and tensions. This article has a rather different focus, arguing that these images are to be read primarily as a sustained meditation on the nature of portraiture, in which the pursuit of a good likeness of an individual has been displaced, as a core objective, by the exploration of a more fundamental likeness among human beings; in particular, the portrait serves as a means of celebrating the common embodiment that is the foundation of our connectedness with our world and each other. The coterie in which the series originated is eclipsed by more general perceptual/representational concerns, the sitters visually and—through the titling—verbally recontextualized within very different networks of association.

中文翻译：

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让·杜布菲（Jean Dubuffet）的美女

摘要杜布菲（Dubuffet）1946-47年肖像系列创作开始时的情况已得到充分记录。在让·保尔汉（Jean Paulhan）的介绍之后，杜布菲（Dubuffet）成为美国社交名流和艺术赞助人佛罗伦萨古尔德（Florence Gould）每周午餐的常客。在古尔德的建议下，杜布菲（Dubuffet）提出了他的一些“阿米斯”绘画的建议，开始进行一项为期一年的扩展项目，最终创作了一系列一百八十多幅作品，其中包括几位古尔德客人的肖像（Paulhan，PaulLéautaud ，Marcel Arland，Marcel Jouhandeau，ĖdithBoissonnas，Henri Michaux，RenéBertelé），还有他自己社交圈中与周四沙龙没有联系的朋友和熟人（例如Francis Ponge，Georges Limbour，Jean Fautrier，Antonin Artaud，Pierre Matisse，Charles Ratton，RenéDrouin，MichelTapié）。不可避免地，由于古尔德的嘉宾包括合作者（以及在占领期间的德国军官）和至少一名抵抗军，因此该系列被解释为对该时期道德矛盾和紧张局势的评论。这篇文章的重点完全不同，他们认为这些图像主要是作为对肖像画本质的持续沉思来阅读的，在这种肖像画中，追求个人好的肖像已被探索作为一项核心目标。人类之间更基本的相似之处；特别是，肖像是庆祝共同体现的手段，这是我们与世界以及彼此之间相互联系的基础。该系列的起源地被更为普遍的感性/代表性问题所掩盖，