- Domeniu: Art history
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The Russian Constructivist painters Wassily Kandinsky and Kasimir Malevich and the sculptor Naum Gabo were pioneers of Non-objective art. It defines a type of abstract art that is usually, but not always, geometric and was inspired by the Greek philosopher Plato who believed that geometry was the highest form of beauty. Non-objective art may attempt to visualise the spiritual, and can be seen as carrying a moral dimension, standing for virtues like purity and simplicity. In the 1960s a group of American artists, including Sol LeWitt and Donald Judd, embraced the philosophy of Non-objective art. By creating highly simplified geometric art out of industrial materials they elevated these to an aesthetic level. Their work became known as Minimal art.
Industry:Art history
This term came into use about 1980 to describe the international phenomenon of a major revival of painting in an Expressionist manner. It was seen as a reaction to the Minimalism and Conceptual art that had dominated the 1970s. In the USA leading figures were Philip Guston and Julian Schnabel, and in Britain Christopher Le Brun and Paula Rego. There was a major development of Neo-Expressionism in Germany, as might be expected with its Expressionist heritage, but also in Italy. In Germany the Neo-Expressionists became known as Neue Wilden (i. E. New Fauves). In Italy, Neo-Expressionist painting appeared under the banner of Transavanguardia (beyond the avant-garde). In France a group called Figuration Libre was formed in 1981 by Robert Combas, Remi Blanchard, Francois Boisrond and Herve de Rosa.
Industry:Art history
Neo-Impressionism is the specific name given to the Post-Impressionist work of Seurat and Signac and their followers. Both Camille and Lucien Pissarro had a Neo-Impressionist phase and their work continued to bear strong traces of the style. Neo-Impressionism is characterised by the use of the Divisionist technique (often popularly but incorrectly called pointillism, a term Signac repudiated). Divisionism attempted to put Impressionist painting of light and colour on a scientific basis by using optical mixture of colours. Instead of mixing colours on the palette, which reduces intensity, the primary-colour components of each colour were placed separately on the canvas in tiny dabs so they would mix in the spectator's eye. Optically mixed colours move towards white so this method gave greater luminosity. This technique was based on the colour theories of M-E Chevreul, whose De la loi du contraste simultanée des couleurs (On the law of the simultaneous contrast of colours) was published in Paris in 1839 and had an increasing impact on French painters from then on, particularly the Impressionists and Post-Impressionists generally, as well as the Neo-Impressionists.
Industry:Art history
Term adopted by the Dutch pioneer of abstract art, Mondrian, for his own type of abstract painting. From Dutch de nieuwe beelding. Basically means new art (painting and sculpture are plastic arts). Also applied to the work of De Stijl circle of artists, at least up to Mondrian's secession from the group in 1923. In first eleven issues of the journal De Stijl Mondrian published his long essay 'Neo-Plasticism in Pictorial Art' in which among much else he wrote: 'As a pure representation of the human mind, art will express itself in an aesthetically purified, that is to say, abstract form 'The new plastic idea cannot therefore, take the form of a natural or concrete representation—this new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary it should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour'. Neo-Plasticism was in fact an ideal art in which the basic elements of painting—colour, line form—were used only in their purest, most fundamental state: only primary colours and non-colours, only squares and rectangles, only straight and horizontal or vertical lines. Mondrian had a profound influence on subsequent art and is now seen as one of the greatest of all modern artists.
Industry:Art history
Term applied to the imaginative and often quite abstract landscape based painting of Paul Nash, Graham Sutherland and others in the late 1930s and 1940s. Their work often included figures, was generally sombre, reflecting the Second World War and its approach and aftermath, but rich, poetic and capable of a visionary intensity. It was partly inspired by the visionary landscapes of Samuel Palmer and the Ancients, partly by a more general emotional response to the British landscape and its history. Other major Neo-Romantics were Michael Ayrton, John Craxton, Ivon Hitchens, John Minton, John Piper, Keith Vaughan. The term sometimes embraces Robert Colquhoun and Robert MacBryde, and the early work of Lucian Freud. Also the graphic work of Henry Moore of the period, especially his drawings of war-time air-raid shelters. In the early 1920s in Paris a group of figurative painters emerged whose brooding often nostalgic work quickly became labelled Neo-Romantic. Chief among them were the Russian-born trio of Eugène Berman and his brother Leonid, and Pavel Tchelitchew.
Industry:Art history
Art made on and for the internet is called Net art. This is a term used to describe a process of making art using a computer in some form or other, whether to download imagery that is then exhibited online or build programs that create the artwork. Net art emerged in the 1990s when artists found that the Internet was a useful tool to promote their art uninhibited by political, social or cultural constraints. For this reason it has been heralded as subversive, deftly transcending geographical and cultural boundaries and defiantly targeting nepotism, materialism and aesthetic conformity. Sites like MySpace and YouTube have become forums for art, enabling artists to exhibit their work without the endorsement of an institution. Pioneers of Net art include Tilman Baumgarten, Jodi and Vuc Cosik.
Industry:Art history
Usually translated as New Objectivity. German modern realist movement of the 1920s, taking its name from the exhibition Neue Sachlichkeit held in Mannheim in 1923. Part of the phenomenon of the return to order following the First World War. Described by the organiser of the exhibition, GF Hartlaub, as 'new realism bearing a socialist flavour'. The two key artists associated with Neue Sachlichkeit are Otto Dix and George Grosz, two of the greatest realist painters of the twentieth century. In their paintings and drawings they vividly depicted and excoriated the corruption, frantic pleasure seeking and general demoralisation of Germany following its defeat in the war and the ineffectual Weimar Republic which governed until the arrival in power of the Nazi Party in 1933. But their work also constitutes a more universal, savage satire on the human condition. Other artists include Christian Schad and Georg Schrimpf.
Industry:Art history
A painting applied directly to a wall in a public space is described as a mural. The popularity of the mural in the Western world began in the nineteenth century, with a new, community-orientated sense of national identity. The advantage of a mural is its accessibility to a large audience, which has endeared it to many political ideologies. In the 1930s there was a worldwide trend towards making art more public in reaction to the introspective development of modern art. In Latin America, USA and Britain, mural painting became popular thanks to governmental sponsorship in the form of organisations like the Artists International Association. In 1933 Mario Sironi published his Manifesto of Mural Painting and commissioned murals by Giorgio De Chirico and Carlo Carrà. In Germany, Italy and the USSR murals reflected the totalitarian propaganda of the State. By the 1970s murals in the Western world were engineered to local politics, often revealing a sense of national, racial or civic pride in the area. (See also Mexican Muralism)
Industry:Art history
The word naïve means simple, unaffected, unsophisticated. As an art term it specifically refers to artists who also have had no formal training in an art school or academy. Naïve art is characterised by childlike simplicity of execution and vision. As such it has been valued by modernists seeking to get away from what they see as the insincere sophistication of art created within the traditional system. The most famous naïve artist of modern times is Henri Rousseau, known as Le Douanier (customs man) from the full-time job he held. Others are Bauchant, and in Britain the St Ives seaman Alfred Wallis, whose work famously influenced Ben Nicholson. Naïve artists are sometimes referred to as modern primitives (see Primitivism). The category also overlaps with what is called outsider art, or in France, Art Brut. This includes artists who are on the margins of society, such as criminals and mentally ill people.
Industry:Art history
A narrative is simply a story. Narrative art is art that tells a story. Much of Western art has been narrative, depicting stories from religion, myth and legend, history and literature (see History painting). Audiences were assumed to be familiar with the stories in question. From about the seventeenth century genre painting showed scenes and narratives of everyday life. In the Victorian age, narrative painting of everyday life subjects became hugely popular and is often considered as a category in itself (i. E. Victorian narrative painting). In modern art, formalist ideas have resulted in narrative being frowned upon. However, coded references to political or social issues, or to events in the artist's life are commonplace. Such works are effectively modern allegories, and generally require information from the artist to be fully understood. The most famous example of this is Picasso's Guernica.
Industry:Art history
