In 1948, Jean Dubuffet wrote a thirty-one-page pamphlet entitled Peinturez hardi (Paint boldly!) for his unrealized Almanach de l'art brut . Divided into twelve monthly installments, this “treatise on the techniques of painting” reads like a how-to manual, presenting concise, straightforward guidelines for what materials to use and how to use them. As a practical guide for the amateur, it inventories and evaluates products on the market (much like an issue of Consumer Reports ) and then offers more economical, do-it-yourself recipes for the “common man.” Drawing largely from the techniques and materials of house painting, Dubuffet aligns himself with the worker as opposed to the professional artist and insists upon art as labor. As yet unpublished, Peinturez hardi underscores materiality as absolutely central to Dubuffet's understanding of what art brut is and how it differentiates itself from arts culturels .
There is in the words “a beautiful Jewess” a very special sexual signification, one quite different from that contained in the words “beautiful Rumanian,” “beautiful Greek,” or “beautiful American,” for example. This phrase carries an aura of rape and massacre with it. The “beautiful Jewess” is she whom the cossacks under the czars dragged by her hair through the streets of her burning village. And the special works which are given over to accounts of flagellation reserve a place of honor for the Jewess. But it is not necessary to look into esoteric literature. From the Rebecca of Ivanhoe up to the Jewess of “Gilles” … the Jewess has a well-defined function in even the most serious novels. Frequently violated or beaten, she sometimes succeeds in escaping dishonor by means of death, but that is a form of justice; and those who keep their virtue are docile servants or humiliated women in love with indifferent Christians who marry Aryan women. I think nothing more is needed to indicate the place the Jewess holds as a sexual symbol in folklore.