Naïve art
Naïve art is usually defined as 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).[1] When this aesthetic is emulated by a trained artist, the result is sometimes called primitivism, pseudo-naïve art,[2] or faux naïve art.[3]
For the album, see Naïve Art (album).
Unlike folk art, naïve art does not necessarily derive from a distinct popular cultural context or tradition;[1] indeed, at least in the advanced economies and since the Printing Revolution, awareness of the local fine art tradition has been inescapable, as it diffused through popular prints and other media. Naïve artists are aware of "fine art" conventions such as graphical perspective and compositional conventions, but are unable to fully use them, or choose not to. By contrast, outsider art (art brut) denotes works from a similar context but which have only minimal contact with the mainstream art world.
Naïve art is recognized, and often imitated, for its childlike simplicity and frankness.[4] Paintings of this kind typically have a flat rendering style with a rudimentary expression of perspective.[5] One particularly influential painter of "naïve art" was Henri Rousseau (1844–1910), a French Post-Impressionist who was discovered by Pablo Picasso.
The definition of the term, and its "borders" with neighbouring terms such as folk art and outsider art, has been a matter of some controversy. Naïve art is a term usually used for the forms of fine art, such as paintings and sculptures, made by a self-taught artist, while objects with a practical use come under folk art. But this distinction has been disputed.[6] Another term that may be used, especially of paintings and architecture, is "provincial", essentially used for work by artists who had received some conventional training, but whose work unintentionally falls short of metropolitan or court standards.
Term[edit]
In 1870, in his poem Au Cabaret-Vert, 5 heures du soir, Arthur Rimbaud uses the word naïf to designate “clumsy” pictorial representations: “I contemplated the very naive subjects of the tapestry”, which is perhaps the case of the origin of the naïf employment by Guillaume Apollinaire some time later.