What is NAIVE ART? What does NAIVE ART mean? NAIVE ART meaning, definition & explanation

  • Creator: The Audiopedia
  • Year: 2016

What is NAIVE ART? What does NAIVE ART mean? NAIVE ART meaning – NAIVE ART definition – NAIVE ART explanation.

Source: Wikipedia.org article, adapted under https://creativecommons.org/licenses/by-sa/3.0/ license.

Naive art is any form of visual art that is created by a person who lacks the formal education and training that a professional artist undergoes (in anatomy, art history, technique, perspective, ways of seeing). Unlike folk art, naive art does not necessarily evidence a distinct cultural context or tradition.

Naive art is recognized, and often imitated, for its childlike simplicity and frankness.

Paintings of this kind typically have a flat rendering style with a rudimentary expression of perspective. When this aesthetic is emulated by a trained artist, the result is sometimes called primitivism, pseudo-naive art, or faux naive art.

One particularly influential painter of “naive art” was Henri Rousseau (1844–1910), a French Post-Impressionist who was discovered by Pablo Picasso.

Naive art is often seen as outsider art which is without a formal (or little) training or degree. While this was true before the twentieth century, there are now academies for naive art. Naive art is now a fully recognized art genre, represented in art galleries worldwide.

The characteristics of naive art are an awkward relationship to the formal qualities of painting, especially non-respect of the three rules of the perspective (such as defined by the Progressive Painters of the Renaissance):

1. Decrease of the size of objects proportionally with distance,
2. Muting of colors with distance,
3. Decrease of the precision of details with distance,

The results are:

1. Effects of perspective geometrically erroneous (awkward aspect of the works, children’s drawings look, or medieval painting look, but the comparison stops there)
2. Strong use of pattern, unrefined color on all the plans of the composition, without enfeeblement in the background,
3. An equal accuracy brought to details, including those of the background which should be shaded off.

Simplicity rather than subtlety are all supposed markers of naive art. It has, however, become such a popular and recognizable style that many examples could be called pseudo-naive.

Whereas naive art ideally describes the work of an artist who did not receive formal education in an art school or academy, for example Henri Rousseau or Alfred Wallis, ‘pseudo naive’ or ‘faux naive’ art describes the work of an artist working in a more imitative or self-conscious mode and whose work can be seen as more imitative than original.

Strict naivety is unlikely to be found in contemporary artists, given the expansion of Autodidactism as a form of education in modern times. Naive categorizations are not always welcome by living artists, but this is likely to change as dignifying signals are known. Museums devoted to naive art now exist in Kecskemét, Hungary; Riga, Latvia; Jaen, Spain; Rio de Janeiro, Brasil; Vicq France and Paris. Examples of English-speaking living artists who acknowledge their naive style are: Gary Bunt, Lyle Carbajal, Jonathan Kis-Lev, Gabe Langholtz, Gigi Mills, Barbara Olsen, Paine Proffitt, and Alain Thomas.

“Primitive art” is another term often applied to art by those without formal training, but is historically more often applied to work from certain cultures that have been judged socially or technologically “primitive” by Western academia, such as Native American, subsaharan African or Pacific Island art (see Tribal art). This is distinguished from the self-conscious, “primitive” inspired movement primitivism. Another term related to (but not completely synonymous with) naive art is folk art.

There also exist the terms “naivism” and “primitivism” which are usually applied to professional painters working in the style of naive art (like Paul Gauguin, Mikhail Larionov, Paul Klee).

obody knows exactly when the first naive artists appeared on the scene, as from the very first manifestations of art right up to the days of the “Modern Classic”, naive artists quite unconsciously bequeathed us unmistakable signs of their creative activity. At all events, naive art can be regarded as having occupied an “official” position in the annals of twentieth-century art since – at the very latest – the publication of the Der Blaue Reiter, an almanac in 1912. Wassily Kandinsky and Franz Marc, who brought out the almanac, presented 6 reproductions of paintings by le Douanier’ Rousseau (Henri Rousseau), comparing them with other pictorial examples. However, most experts agree that the year that naive art was “discovered” was 1885, when the painter Paul Signac became aware of the talents of Henri Rousseau and set about organizing exhibitions of his work in a number of prestigious galleries.

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