Second paragraph of third chapter (which is presented bilingually in the original text):

Hoe bijzonder het precies is dat Jardin d’émail als monumentale tuin gerealiseerd is, is moeilijk te bevatten. Natuurlijk, het was Dubuffet die het kunstwerk schiep, eerst als een Édifice van twee bij drie meter met de titel Jardin d’émail. Maar het is museumdirecteur Oxenaar die zorgt voor de ‘vergroting’ van het idee, zoals Dubuffet dat in een brief verwoordt. Binnen het oeuvre van Dubuffet wordt Jardin d’émail gerekend tot de belangrijkste voorbeelden van zijn L’Hourloupe-architectuur samen met Closerie Falbala en de Groupe de quatres arbres, een groep van vier bomen voor een bankgebouw in New York en gemaakt in opdracht van de Amerikaanse bankier Rockefeller. (afb. pp. 38-39)

It is difficult to comprehend how amazing it is that Jardin d’émail has been realized as a monumental garden. Of course, it was Dubuffet who created the artwork, initially as an Édifice measuring two by three metres and with the title Jardin d’émail. But it is the museum director Oxenaar who enables the ‘enlargement’ of the idea, as Dubuffet puts it in a letter. Within Dubuffet’s oeuvre, Jardin d’émail is considered one of the most important examples of his L’Hourloupe architecture, together with Closerie Falbala and the Groupe de quatres arbres, a group of four trees for a bank building in New York, commissioned by the American banker Rockefeller. (image pp. 38-39)

The Jardin d’émail (Enamel Garden) is one of the most striking sculptures in the Kröller-Müller Museum near Otterlo, in the Netherlands. It’s twenty metres by thirty, a stylised garden made not of enamel but of concrete, epoxy resin, polyurethane and paint. It’s probably the biggest single artwork in the whole museum.

We went to see it in 2005 and again in 2022. Here’s my attempt to recreate the same scene twice.

And here’s me beside the central butterfly:

This short book about it by art historian Roos van der Lint describes it as “deeply embedded” in the Dutch national consciousness, and goes into the story of Jean Dubuffet’s career (originally in the family wine shipping trade, but became an artist during the second world war) and how museum director Rudi Oxenaar was impressed by a smaller version, two metres by three, and commissioned the larger one for the Kröller-Müller Museum, built between 1968 and 1973. It also explains the extensive process of restoration in 2020 – it certainly seemed in much better shape the second time we went.

It’s possibly the single most interesting object in the entire Dutch province of Gelderland, and if you ever have a chance to see it, you should take it. Otherwise you can get this little book here, for only €12,50 plus postage, which I think is a real snip.