I will be discussing the Novorealism movement. The idea to return to the sublime, beauty, and the humanistic ideal of honesty and seriousness in Art is what Novorealism entails. The notion of Novorealism is to get ride of irony in contemporary Art practices, and other negative and sarcastic effects that belittle Art. The founders of Novorealism have developed a manifesto, which I will be examining.
Post-Modernist philosophies, as well as art theory and practices based on them, have lost their significance. In their most revolting examples, became an instrument of financial fraud and “official doctrine” of protecting the existing power structure inhibiting the creative development of Art. Realism has emerged as one of the important modes of contemporary artistic expression.
Novorealism is a movement of Contemporary Humanistic Realism. It is not encouraging any single particular style or “look”, it is promoting a system of knowledge and practice within a particular set of “human capabilities” as opposite to those that are technologically driven like photorealism, itself a standard part of official “post-modernism.” Novorealism advocates freedom of artistic expression and true diversity within aesthetically pluralist world of contemporary Art affirming the existence and importance of different, even mutually exclusive aesthetic systems.
SESSION I: “WHAT”
Evolutionary Beauty and Revolutionary Sublime, The Content and Purpose of The Image
Novorealism is a “Beauty-Centric” system affirming a concept of Beauty as an integral part of Evolutionary Aesthetics and a key building block in a “source code” of humanity, and thus one of the defining characteristics of us as form. Novorealism affirms, studies, and celebrates the sensu...
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...being able to record through the eye, which then becomes an image that is evident of that recording. This differs specifically from photorealism because the camera does not record our perception but records its perception of reality. Novorealism is belief that our perception is the most accurate recording device, because as humanistic individuals, our perception is most important (Lipking 16).
Further Examination of Novorealism
Novorealism is about developing most current human perception system marked by advanced capabilities in visual evaluation of form, tone and color based on our most current stage in our constantly evolving visual perception.
Novorealism is aimed at finding an area of interaction and correlation between both scotopic and photopic systems in a form of mesopic vision, bringing both to a new level of unity and sensory development (Steele 10).
Modernism indicates a branch of movements in art (Impressionism, Post-Impressionism, Fauvism; Cubism; Expressionism; Dada, Surrealism, Pop Art. Etc.) with distinct characteristics, it firmly rejects its classical precedent and classical style, what Walter Benjamin would refer to as “destructive liquidation of the traditional value of the cultural heritage”; and it explores the etiology of a present historical situation and of its attendant forms of self-consciousness in the West. Whereas Modernity is often used as ...
Another speaker, Margaret Livingstone delves into the visual aspect of our senses. Livingstone mentions how artists recognize things about vision that neuroscientists are not privy to until years later. Livingstone discussed the differentiation between color and lightness, and how the two contribute differently to a work of art. Color is thought of as “comparing activity” whereas light is thought of as “summing them.” Livingstone indicates that the visual system is subdivided into a ventral system and a dorsal system.
After Jean-Michel Basquiat received acclimation from the public over his unique art, many young, creative and enthusiastic artists emerged beginning Neo-Expressionism, which means the new wild ones. Neo-expressionists would create pieces that incorporated objects we recognize and see on a daily basis such as people and animals in an abstract, yet stirring way. Neo-Expressionists would create with great emotion which could sometimes be in a turbulent manner which is what gives this type of art such meaning and why it caused such a great
Before Impressionism came to be a major movement (around 1870-1800s), Neoclassical and Romanticism were still making their impacts. Remembering last week’s lesson, we know that both those styles were different in the fact that one was based on emotion, while the other was practical and serious. However, one thing they both shared was the fact that the artists were trying to get a message across; mostly having to do with the effects of the French Revolution, and/or being ordered to do so. With Impressionism, there is a clear difference from its predecessors.
The Art Nouveau style and movement, at its height between 1890 and 1910, enabled a sense of freedom for both its artists and the public as a whole. It offered strikingly original ideologies and transformed both the artistic and the mundane world alike with common characteristics like curvilinear shapes and a sense of the return to the natural and to nature as well as being at the crux of a fundamental change in how artworks were mass produced. The Art Nouveau style seemed to walk between the two worlds: it was simultaneously fantastical and grounded in reality and there was no artist in the period that was better equipped to “know and see the dance of the seven veils,” (Zatlin) than Aubrey Beardsley. It is impossible to fully discuss the value
The neorealist style was developed by a circle of film critics that revolved around the magazine Cinema, despite a severe lack of funds and equipment the Neorealist film makers sought to reveal truth of the everyday life. Filming outdoors in natural light and starring nonprofessional actors, it was a return to the Lumiere ethic of framed reality. NeoRealism became a style of film which was characterised by stories that were set amongst the poor and working class people. Realism would always be emphasized, and performances were mostly constructed from scenes of ordinary people performing fairly uninteresting and everyday tasks, completely derived of the self-consciousness that a trained actor would usually produce. The films would generally feature children as the major role but they were usually more observational rather than engaging.
Abstract Expressionism is making its comeback within the art world. Coined as an artist movement in the 1940’s and 1950’s, at the New York School, American Abstract Expressionist began to express many ideas relevant to humanity and the world around human civilization. However, the subject matters, contributing to artists, were not meant to represent the ever-changing world around them. Rather, how the world around them affected the artist themselves. The works swayed by such worldly influences, become an important article within the artists’ pieces. Subjectively, looking inward to express the artist psyche, artists within the Abstract Expressionism movement became a part of their paintings. Making the paintings more of a representation of one’s self.
From the creation of art to its modern understanding, artists have strived to perform and perfect a photo realistic painting with the use of complex lines, blend of colors, and captivating subjects. This is not the case anymore due to the invention of the camera in 1827, since it will always be the ultimate form of realism. Due to this, artists had the opportunities to branch away from the classical formation of realism, and venture into new forms such as what is known today as modern art. In the examination of two well known artists, Pablo Picasso and Jackson Pollock, we can see that the artist doesn’t only intend for the painting to be just a painting, but more of a form of telling a scene through challenging thoughts, and expressing of the artists emotion in their creation.
The aesthetic movement was an artistic and literary movement that was centered on the saying “art for art’s sake” and arguing that art was not to be utilitarian or practical. The movement wanted art to exist for the sake of its beauty alone, and that it did not need to serve any political or didactic purpose. The pieces of art created by the artists in the movement did not tell stories or sermons; their art was visual, delightful, hinting at sensual desires; their poetry was pure. The proponents of the movement say that the experience of art is the most intense experience available in life and that nothing should be allowed to restrict it. The intensity of the aesthetic experience is the dominant goal in human life. If there are morally unwanted things of art, they do not really matter in contrast to this all-important experience which art can give.
If modernism and postmodernism are arguably two most distinguishing movements that dominated the 20th century Western art, they are certainly most exceptional styles that dominated the global architecture during this period. While modernism sought to capture the images and sensibilities of the age, going beyond simple representation of the present and involving the artist’s critical examination of the principles of art itself, postmodernism developed as a reaction against modernist formalism, seen as elitist. “Far more encompassing and accepting than the more rigid boundaries of modernist practice, postmodernism has offered something for everyone by accommodating wide range of styles, subjects, and formats” (Kleiner 810).
“The camera may be thought of as a comparable to the eye. The difference is
The artists featured in “Nevsky Prospect” and “The Portrait” are described as being disheveled and oblivious, and at times even lose touch with material reality. In this way, Gogol associates artistic passion and integrity with a sort of detachment from that which is physical or superficial. In “The Portrait”, the artist Chartkov exemplifies this trait, “His old overcoat and unstylish clothes showed him to be a man who was selflessly devoted to his work and had no time to concern himself with his attire” (Gogol, “The Portrait” 341). Further, he often loses touch with physical sensations such as hunger or discomfort (Gogol 344, 346). Gogol associates artistic passion with a sort of detachment or asceticism, thus placing the artist’s integrity in opposition to materialistic
Surrealism and the surrealist movement is a ‘cultural’ movement that began around 1920’s, and is best known for its visual art works and writings. According to André Berton, the aim was “to resolve the previously contradictory conditions of dream and reality into an absolute reality, a super-reality” (Breton 1969:14). Surrealists incorporated “elements of surprise, unexpected juxtapositions and ‘non sequitur”. Hence, creating unnerving, illogical paintings with photographic precision, which created strange creatures or settings from everyday real objects and developed advanced painting techniques, which allowed the unconscious to be expressed by the self (Martin 1987:26; Pass 2011:30).
There are many different Visual Perception principles in perception. The main principles are Gestalt. Gestalt is a German word meaning 'form' or 'shape'. Gestalt psychologists formulated a series of principles that describe how t...
Many believed that Modernist works were not “art” because they did not always look like real life. But what is “real life”? A new outlook on reality was taken by Modernists. What is true for one person at one time is not true for another person at a different time. Experimentation with perspective and truth was not confined to the canvas; it influenced literary circles as well.