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The Art Brut Art Movement |
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Art Brut, also known as raw art or outsider art, is a term coined by French artist Jean Dubuffet in the mid-20th century. It refers to a style of art that is created outside the boundaries of official culture, often by self-taught artists who have little or no contact with the mainstream art world. The movement challenges traditional notions of art and its relationship with society.... |
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The Art Brut Art Movement
Art Brut, also known as raw art or outsider art, is a term coined by French artist Jean Dubuffet in the mid-20th century. It refers to a style of art that is created outside the boundaries of official culture, often by self-taught artists who have little or no contact with the mainstream art world. The movement challenges traditional notions of art and its relationship with society.
Characteristics
Art Brut works are characterized by their raw, unpolished quality, as well as their emotional intensity and personal vision. Artists often use unconventional materials and techniques, such as found objects or mixed media, to create their pieces. The subject matter of Art Brut works can be highly idiosyncratic, ranging from fantastical creatures to deeply personal memories and experiences.
Artists
Notable artists associated with the Art Brut movement include James Castle, a self-taught artist who created intricate drawings and sculptures using found materials, and Mose Tolliver, an African-American folk artist who became disabled as an adult and began painting colorful, whimsical scenes on found objects.
Collections and Museums
Art Brut works can be found in various collections and museums around the world, including the Collection de l'Art Brut in Lausanne, Switzerland, which was founded by Jean Dubuffet himself. The museum houses a vast collection of Art Brut works from around the world, as well as temporary exhibitions and educational programs.
Relationship to Other Art Movements
Art Brut has influenced and been influenced by various other art movements throughout history, including Naïve art, Folk art, and Outsider art. While these movements share some similarities with Art Brut, they each have their own distinct characteristics and histories.
Conclusion
Art Brut is a unique and powerful art movement that challenges traditional notions of art and its relationship with society. Through the raw, unpolished works of self-taught artists, Art Brut offers a fresh perspective on the world and invites viewers to see things in a new light.
The Art Brut art movement is an umbrella term for any art made by self-taught individuals who are untrained and untutored in the traditional arts with typically little or no contact with the conventions of the art worlds. Most are poor. The term outsider art was coined in 1972 as the title of a book by art critic Roger Cardinal. It is an English equivalent for art brut (French: [aʁ bʁyt], "raw art" or "rough art"), a label created in the 1940s by French artist Jean Dubuffet to describe art created outside the boundaries of official culture. Dubuffet focused particularly on art by those on the outside of the established art scene, using as examples psychiatric hospital patients, hermits, and spiritualists.
Outsider art has emerged as a successful art marketing category; an annual Outsider Art Fair has taken place in New York since 1993, and there are at least two regularly published journals dedicated to the subject. The term is sometimes misapplied as a catch-all marketing label for art created by people who are outside the mainstream "art world" or "art gallery system", regardless of their circumstances or the content of their work. A more specific term, "outsider music", was later adapted for musicians.
Interest in the art of the mentally ill, along with that of children and the makers of "peasant art", was first demonstrated by "Der Blaue Reiter" group: Wassily Kandinsky, August Macke, Franz Marc, Alexej von Jawlensky, and others. What the artists perceived in the work of these groups was an expressive power born of their perceived lack of sophistication. Examples of this were reproduced in 1912 in the first and only issue of their publication, Der Blaue Reiter Almanac. During World War I, Macke was killed at Champagne in 1914 and Marc was killed at Verdun in 1916; the gap left by these deaths was to some extent filled by Paul Klee, who continued to draw inspiration from these 'primitives'.
Interest in the art of insane asylum inmates continued to grow in the 1920s. In 1921, Dr. Walter Morgenthaler published his book Ein Geisteskranker als Künstler (A Psychiatric Patient as Artist) about Adolf Wölfli, a psychotic mental patient in his care. Wölfli had spontaneously taken up drawing, and this activity seemed to calm him. His most outstanding work was an illustrated epic of 45 volumes in which he narrated his own imaginary life story. With 25,000 pages, 1,600 illustrations, and 1,500 collages, it is a monumental work. Wölfli also produced a large number of smaller works, some of which were sold or given as gifts. His work is on display at the Adolf Wölfli Foundation in the Museum of Fine Art, Bern.
A defining moment was the publication of Bildnerei der Geisteskranken (Artistry of the M
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