naive art

also called outsider art

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.

* * *

also spelled  naïf art 

      work of artists in sophisticated societies who lack or reject conventional expertise in the representation or depiction of real objects. Naïve artists are not to be confused with hobbyists, or “Sunday painters,” who paint (painting) for fun. The naïve creates with the same passion as the trained artist but without the latter's formal knowledge of methods.

      Naïve works are often extremely detailed, and there is a tendency toward the use of brilliant, saturated colours rather than more subtle mixtures and tones. There is also a characteristic absence of perspective, which creates the illusion that figures are anchored in the space, with the result that figures in naïve paintings are often “floating.”

 The most frequently reproduced examples of naïve art are the works of the French artist Henri Rousseau (Rousseau, Henri), whose portraits, jungle scenes, and exotic vegetation are widely admired. Rousseau's paintings, like many others of this genre, convey a sense of frozen motion and deep, still space, and the figures are always shown either full face or in fairly strict profile (the naïve painter rarely conceals much of a face and almost never portrays a figure completely from the back). Like many naïve painters and sculptors, Rousseau projects his intensity and passion through his figures—especially the staring eyes—and the precision of his line and colour.

      The appreciation of naïve art has been a fairly recent phenomenon: many of the artists still living never expected their work to be so eagerly collected. By the mid-20th century most developed nations had naïve artists who had risen to some prominence. While some naïve painters consider themselves professional artists and seek public recognition of their work, others refuse to exhibit for profit and paint only for their families or for religious institutions.

* * *