Naive Art

Оглавление

Nathalia Brodskaya. Naive Art

I. Birth of Naive Art

When Was Naive Art Born?

Modern Art in Quest of New Material

Discovery – the Banquet in Rousseau’s Honour

II. Back to the Sources: From the Primitives to Modern Art

Primitive Art and Modern Art: Miró’s Case

From Medieval to Naive Artists: A Similar Approach?

Naive Art Sources: From Popular Tradition to Photography

Naive Artists and Folk Art

Naive Artists and Photography

III. Discoveries in the East

Pirosmani’s Case

Naive Painting in Romania

Conclusion: Is Naive Art Really Naive?

Major Artists

France Henri Rousseau, also called the Douanier Rousseau (Laval, 1844 – Paris, 1910)

Louis Vivin (Hadol, 1861 – Paris, 1936)

Jean Eve (Somain, 1900 – Louveciennes, 1968)

Séraphine Louis, also called Séraphine de Senlis (Arsy, 1864 – Clermont, 1942)

Dominique Peyronnet (1872–1943)

André Bauchant (Château-Renault, 1873 – Montoire, 1958)

René Martin Rimbert (1896–1991)

Camille Bombois (Vénaray-lès-Laumes, 1883 – Paris, 1970)

Aristide Caillaud (Moulins, 1902 – Jaunay-Clan, 1990)

Spain Joan Miró (Joan Miró i Ferra) (Barcelona, 1893 – Palma de Mallorca, 1983)

Miguel Garcia Vivancos (Mazarrón, 1895 – Cordova, 1972)

Italy Orneore Metelli (Terni, 1872 – Terni, 1938)

Guido Vedovato (Vicenza, 1961 —)

United States Edward Hicks (Langhorne, 1780 – Newtown, 1849)

Morris Hirshfield (1872–1946)

Anna Mary Robertson, also called Grandma Moses (Greenwich, 1860 – Hoosick Falls, 1961)

Georgia Niko Pirosmani (Pirosmanashvili) (Kakheti, 1862 – Tiflis (today Tbilisi), 1918)

Poland Nikifor Krylov (Krynica Wiés, 1895–1968)

Croatia Ivan Generalic (Hlebine, 1914 – Koprivnica, 1992)

Serbia Milan Rašic (Donje Stiplje, 1931 —)

Israel Shalom Moscovitz, also called Shalom of Safed (Safed, 1887–1980)

Отрывок из книги

Henri Rousseau, also called the Douanier Rousseau, The Charm, 1909.

Oil on canvas, 45.5 × 37.5 cm.

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The problems begin even in finding a proper name for this kind of art. No single term is descriptive enough. It is all very well consulting dictionaries – they are not much use in this situation. A dictionary definition of a ‘primitive’ in relation to art, for example, might be “An artist or sculptor of the period before the Renaissance”. This definition is actually not unusual in dictionaries today – but it was first written in the nineteenth century and is now badly out of date because the concept of ‘primitive’ art has expanded to include the art of non-European cultures in addition to the art of naive artists worldwide. In incorporating such a massive diversity of elements, the term has thus taken on a broadness that renders it, as a definition, all too indefinite. The description ‘primitive’ is simply no longer precise enough to apply to the works of untaught artists.

The word ‘naive’, which implies naturalness, innocence, unaffectedness, inexperience, trustfulness, artlessness and ingenuousness, has the kind of descriptively emotive ring to it that clearly reflects the spirit of such artists. But as a technical term it is open to confusion. Like Louis Aragon, we could say that “It is naive to consider this painting naive.”[1]

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