naive art

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naive art

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Naive art is characterized by a simple approach that uses non-scientific perspective, bright colors, and often, a very literal depiction of imaginary scenes. Although not following any particular movement or aesthetic, naive painters have been a continuing international phenomenon and influence since the beginning ot the twentieth century. The term usually refers to works produced by artists (also called naifs or naïfs) who had no formal training. Some trained artists, however, have deliberately affected a naive style. Among the the most famous artists whose work may be called naive are Henri Rousseau (1844-1910) and Grandma Moses (1860-1961). The art of naive artists is sometimes referred to as primitive, and is considered to be in the school of folk art.

Last updated: August 24, 2004.

naive art

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Work of artists in sophisticated societies who lack or reject formal training. Naive artists, not to be confused with hobbyists, create with the same passion as trained artists but without formal knowledge of methods. Naive works are often extremely detailed, with a tendency toward the use of brilliant, saturated colours and a characteristic absence of perspective, which creates the illusion of figures floating in space. Well-known naive artists include Henri Rousseau and Grandma Moses.

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Oxford Grove Art:

Naive Art

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Term applied to the work of non-professional, self-taught artists who, while lacking orthodox skills, apply themselves to their art in a resolute and independent spirit.

The history of naive art is both the history of the complex evolution of the many art forms lying outside the fine arts tradition and of the critical attempts to disentangle a distinct strand from this broader fabric. In the course of the 19th century in Europe, the arts and crafts of rural peoples (normally termed FOLK ART, or sometimes 'peasant art') and the urban traditions of semi-skilled craftsmen gradually faltered in the face of growing industrialization. Factory products enfeebled the individual impulse to fashion handmade artefacts; itinerant portrait painters ('limners') found their trade dwindling after the advent of photography; and in general the rise of an industry-based economy and the growth of cities sapped the vitality of vernacular and communally recognized artwork such as embroidery, toymaking, the carving of ships' figureheads, painted targets and so forth. Similar developments took place in North America, though at a slower pace, partly determined by a wilful defence of inherited models on the part of culture-conscious immigrants.

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