Strict naïvety is unlikely to be found in contemporary artists, given the expansion of Autodidactism as a form of education in modern times. Whereas naïve art ideally describes the work of an artist who did not receive formal education in an art school or academy, for example Henri Rousseau or Alfred Wallis, 'pseudo naïve' or 'faux naïve' art describes the work of an artist working in a more imitative or self-conscious mode and whose work can be seen as more imitative than original. It has, however, become such a popular and recognizable style that many examples could be called pseudo-naïve. Simplicity rather than subtlety are all supposed markers of naïve art. An equal accuracy brought to details, including those of the background which should be shaded off.Strong use of pattern, unrefined color on all the plans of the composition, without enfeeblement in the background,.Effects of perspective geometrically erroneous (awkward aspect of the works, children's drawings look, or medieval painting look, but the comparison stops there).Decrease of the precision of details with distance,.Decrease of the size of objects proportionally with distance,.The characteristics of naïve art have an awkward relationship to the formal qualities of painting, especially not respecting the three rules of the perspective (such as defined by the Progressive Painters of the Renaissance): Naïve art is now a fully recognized art genre, represented in art galleries worldwide. While this was true before the twentieth century, there are now academies for naïve art. Naïve art is often seen as outsider art that is by someone without formal (or little) training or degree. Another term that may be used, especially of paintings and architecture, is "provincial", essentially used for work by artists who had received some conventional training, but whose work unintentionally falls short of metropolitan or court standards. Naïve art is a term usually used for the forms of fine art, such as paintings and sculptures, but made by a self-taught artist, while objects with a practical use come under folk art. The definition of the term, and its "borders" with neighbouring terms such as folk art and outsider art, has been a matter of some controversy. One particularly influential painter of "naïve art" was Henri Rousseau (1844–1910), a French Post-Impressionist who was discovered by Pablo Picasso. Paintings of this kind typically have a flat rendering style with a rudimentary expression of perspective.
Naïve art is recognized, and often imitated, for its childlike simplicity and frankness. By contrast, outsider art ( art brut) denotes works from a similar context but which have only minimal contact with the mainstream art world. Naïve artists are aware of "fine art" conventions such as graphical perspective and compositional conventions, but are unable to fully use them, or choose not to. Unlike folk art, naïve art does not necessarily derive from a distinct popular cultural context or tradition indeed, at least in the advanced economies and since the Printing Revolution, awareness of the local fine art tradition has been inescapable, as it diffused through popular prints and other media. When this aesthetic is emulated by a trained artist, the result is sometimes called primitivism, pseudo-naïve art, or faux naïve art.
NAVI ARTCLIP PROFESSIONAL
Naïve art is usually defined as visual art that is created by a person who lacks the formal education and training that a professional artist undergoes (in anatomy, art history, technique, perspective, ways of seeing). Henri Rousseau's The Repast of the Lion (circa 1907), is an example of naïve art.
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