Asger Jorn, along with Guy Debord (1931–1994) and Michèle Bernstein (b. 1932), was a co-founder of the revolutionary avant-garde Situationist International movement. Jorn painted Il Delinquente (1956) while he was experimenting with surface textures in an attempt to both destabilize the purity of painting and corrupt the transcendent gesture of much postwar abstraction. Working with various ceramic glazes and a technique of smudging and scratching the painted surfaces, he emphasized the grotesque and the uncertain over the more calligraphic and expressive tendencies of his peers. The figure in Il Delinquente – emerging from (or existing within) a field of smudged colors that recall blood, mud, or excrement – evoke wretchedness and atrophy in its treatment and title. The figure was created with a dripping and scratching technique that suggests the work of Jackson Pollock (1912–1956) or Jean Dubuffet (1901–1985), but without the graphic rhythm of the former or the defined shapes of the latter. Jorn’s tongue-in-cheek nature reveals itself in the wryly humorous title of his work, which confronts the pretentious, hyperbolic rhetoric surrounding abstract expressionism and art informel.