Neorealism is an art movement that was developed in the visual arts in the middle of the 20th century in a number of European countries and in the United States, whose representatives, against the backdrop of modernist art, proclaimed a return to the realistic values of traditional visual forms.
This movement was initiated by the Fronte Nuovo Delle Arti, founded in 1946, which brought together anti-fascist artists from various fields, from realism to abstract art. Their goal was to overcome the pessimism of the post-war world and call for a return to art expressing universal values. In 1950, the association broke up, and the realists created an independent group, which included Renato Guttuso, Gabriele Muki, Ernesto Trekkani, Armando Pizzinato. Continue reading
Primitivism. Naive art (From lat. Primitivus – the first, earliest) is the general name of the work of unprofessional artists of the late XIX-XX centuries, not familiar with literacy and consciously cultivating a certain “incorrectness” of their works. This is not just about unprofessional art, but about artists involved in the general art process of that time, who had some influence on contemporary professional art. Primitive artists include A. Russo, K. Bombois, L. Serafin, N. Pirosmani and others who have gained worldwide fame.
Sometimes primitivism is understood as the conscious use of primitive art forms in the work of professional artists: children’s drawings, folk art, art of other, usually exotic cultures.
Neo-primitivism. Continue reading
The art of action, the abstraction of gestures (from English action painting) is a trend in American painting of the mid-twentieth century, in which paint is spontaneously applied to the canvas. The art of action is similar to abstract expressionism.
In the framework of American abstractionism, the so-called “shapeless painting” of Jackson Polock was developed, which considered the creative process to be self-valuable, and the result was not important, which made sense only as a memory of the creative process left on the canvas. Returning to primitive syncretism, Shelf transformed painting into a sacred dance of the artist. The shelf hung the canvas on the wall or laid it on the floor, “making” a shamanistic ceremony around it, the artist, as he said, “went inside the painting”. He developed a technique called dripping, which consisted of spraying paints from a can (French parallel – “Tashism” – spotting.) Continue reading