I am sitting in a cafe. An aged woman sits down at my table - it is clear that the wealth is not at all great. He takes out sheets of A3, coal. "Do you want me to draw you?" I do not agree, but I do not refuse - interesting. Muttering something under her breath, the woman literally draws my portrait in 5 minutes and offers me to pick it up - of course, not for free. A couple of minutes later I'm already walking to the subway, holding a sheet with a very primitive image of me in my hands. I paid fifty rubles for it.

This woman made me think of naive art. The Encyclopedia of Art gives this definition of this genre: "traditional art of folk craftsmen, as well as self-taught artists, preserving the childish freshness and immediacy of vision of the world". Maybe you have come across these pictures - simple, sincere, it seems that they were painted by a child, but in fact the authorship belongs to an adult. Most of the time, these are older people. They have their own profession - working, as a rule. They live in villages and go to work every day. naive art- the direction is quite old. Back in the 17th century, non-professional artists created their “mercilessly truthful” portraits, and in the 20th century, naive emerged as a separate direction, free from academic rules and norms.

Icon painting is considered to be the progenitor of naive. Seeing such icons, you will surely easily distinguish them from traditional ones. They are disproportionate, primitive, as if even sloppy. All these characteristics can be applied to any painting of naive art, not only to icons.

One of the brightest representatives of naive -. He is also considered the founder of naive art. Rousseau wrote his first work at the age of 42 - he worked as a customs officer, and began to write only when he retired. These artists don't have time to be creative professionally, and they don't want to. It's just that sometimes in their free time they draw what they see. “Picking apples”, “Threshing”, “Stormy river”, “White canvases” - these are the names of paintings by naive artists.

Rousseau's work was often ridiculed and heavily criticized, especially at first. And the artist gained wide popularity after Camille Pissarro was brought to one of his paintings - they wanted to amuse, and the master began to admire the artist’s style and praise the picture. It was Carnival Evening, 1886.

The details of the landscape are too carefully written out, and the construction of plans amused the audience, but this is precisely what Pissarro admired.

Another, no less famous naive artist is the Georgian Niko Pirosmani. At the beginning of the 20th century, when Pirosmani began to actively engage in art, he painted with homemade paints on oilcloths - white or black. Where it was necessary to depict these colors, the artist simply left the oilcloths unpainted - and so he developed one of his main techniques.

Pirosmani loved to depict animals, and his friends said that in these animals he rather draws himself. And in fact, Pirosmani’s “faces” of all animals bear little resemblance to real animal muzzles, and they all have the same look: sad and defenseless, whether it’s “Giraffe” (1905) or “Bear in moonlit night» (1905).

Niko Pirosmani died in homeless poverty from hunger and deprivation. And this despite the fact that from time to time he had work on the design of signs for public catering.

Most of the representatives of naive artistic creativity and do not earn at all, leaving him in best case a couple of hours a day as a hobby. Professions cannot be made by this - this is what distinguishes naive artists into a separate caste. This is a very honest art, with all my heart - there is neither oppression of orders over the artist, nor material dependence on creativity. He just draws because he loves it - and the harvest, and the rites of matchmaking, and his native river in the forest. He loves and sings the way he can.

The Romanian naive artist is able to do this in a very special way. His works are similar to illustrations of children's books - they are colorful, kind and fabulous. Daskaloo differs from many artists of naive art in that he depicts fantasy plots, rather than everyday life situations. There is a shoe house, midgets with giants, and flying unicorns. At the same time, his paintings do not cease to be simple - both in form and in content. Looking at them, I want to reread my favorite fairy tales and dream a little.

Naive includes the creativity of self-taught and amateur art. "Naive" does not mean "stupid" or "smart". It is, rather, the opposition to professional art. Artists of naive art do not have professional artistic skills. This is their difference from the artists of primitivism: those, being professionals, stylized their work as “inept” and simple. And most importantly, naive artists do not strive to draw according to the canons, professionally. They do not want to develop their art and make it their profession. Naive artists paint the world not the way they teach, but the way they feel it.

At first it seemed to me that naive art was like ditties. I was so happy with this comparison - it turned out very colorful and bright. But when I figured it out, I realized that I was wrong. Naive art is very bright, but "cast iron serious." In it, unlike caustic ditties, there is no humor, grotesque, caricature - although at first glance it seems quite different. In the naive, the author always has an enthusiastic perception of what he depicts. And where there is no enthusiasm, there is no naive art - they simply do not show these areas of life. Naive is sincere admiration.

There is a Museum of Naive Art in Moscow - its employees are doing a serious job of collecting exhibits, communicating with the authors. Now there are about 1,500 works in the museum, but there are few places for demonstration, so the expositions change almost every month.

This text will not tell everything about the artists of naive art, but let it at least interest and inspire you to reach the museum or look through these naive pictures in a search engine. These adult dreamer artists deserve simple attention - albeit without admiration and world recognition, but let's try to at least know them.

Museums section publications

Naive Art Guide

Naive art or the art of non-professional artists does not often come to the attention of gallery owners and art critics. However, the works of naivists, simple and open, can be no less dramatic and even artistically significant than the canvases of recognized masters. About what naive art is and why it is interesting to follow it - in the material of the portal "Culture.RF".

Naive means simple

Alexander Emelyanov. Self-portrait. 2000s Private collection

Vladimir Melikhov. Bifurcation. 1989. Private collection

Naive art is the work of artists without professional education, who, at the same time, systematically and constantly engage in painting. In naive itself, separate areas can be distinguished, for example, art brut or outsider art - the art of artists with a psychiatric diagnosis.

A very important question for art historians is how to distinguish a naive from an amateur. The criteria for evaluating the work of such artists are usually the originality and quality of their work. The personality of the author himself also plays an important role: whether he devoted his life to art, whether he tried to say something in his works (paintings, graphics, sculptures).

First naive

Naive art has always existed. Rock painting, Paleolithic sculpture, and even ancient kouros and caryatids - all this is done in a primitivist manner. The separation of naïve as an independent trend of fine art did not happen overnight: this process took more than a century and ended at the end of the 19th century. The pioneer of this innovative trend was Henri Rousseau, a self-taught French artist.

Rousseau served in the customs for a long time, already at a mature age he left the profession and seriously took up painting. He first tried to exhibit some of his work in 1886 at the Paris Exhibition of the Independents, but was ridiculed. And later, at the beginning of the 20th century, he met famous avant-garde artists, including Robert Delaunay, who appreciated the bold style of Rousseau. Avant-gardists often "pulled out" such original painters as Rousseau, helped them develop and even drew inspiration from their works, from their vision for their own artistic search. Soon Rousseau's work began to be in demand, the public appreciated the originality of his subjects and especially his work with color.

In Russia, naive art appeared before the mass audience at the 1913 Target exhibition organized by the artist Mikhail Larionov. It was there that the works of Niko Pirosmani were exhibited for the first time, which were brought from Georgia by the brothers Kirill and Ilya Zdanevich, artists and art historians. Before this exhibition, the public had no idea that amateur art could be more than popular signs and folklore paintings.

Naive Traits

Niko Pirosmani. Portrait of Sozashvili. 1910s Moscow Museum of Modern Art

Niko Pirosmani. Woman with easter eggs. 1910s Moscow Museum of Modern Art

The works of naive masters often combine an atmosphere of joy and an enthusiastic look at everyday life, bright colors and attention to detail, a combination of fiction and reality.

Many classics of domestic naive art, except, perhaps, Niko Pirosmani and Soslanbek Edziev, went through the school of ZNUA - Correspondence People's University of Arts. It was founded in 1960 on the basis of art courses named after Nadezhda Krupskaya; Robert Falk, Ilya Mashkov, Kuzma Petrov-Vodkin and other venerable authors taught there. It was the training at ZNUI that gave the naivetists the opportunity to gain technical skills, as well as a professional opinion about their work.

Each naivist is formed as an artist in a certain isolation, forever remains closed within the framework of his own ideas and own style and can work all his life with a circle eternal themes. Thus, Pavel Leonov's works of the 1980s and the late 1990s differ little: similar compositions, similar characters, the same perception of reality, close to a child's. Unless the paints are getting better, and the canvases are getting bigger. The same can be said about the vast majority of naivets. They react especially to significant social events: they do not change style depending on the time, but only add new material signs of the era to their works. Like, for example, the naive classic Vladimir Melikhov. His work "The Bifurcation" is an excellent illustration of the female lot in the Soviet Union. It depicts a woman who is literally in two places at the same time: she works in a factory with one hand, and with the other she nurses a child.

Naive themes

Pavel Leonov. Self-portrait. 1960. Moscow Museum of Modern Art

Pavel Leonov. Harvest. 1991. Moscow Museum of Modern Art

Naivists turn to universal themes that are close to everyone: birth and death, love and home. Their work is always understandable, as artists try to express their exciting ideas in the most simple way, without delving into symbolism and hidden meanings.

One of the first strong impressions of a naive artist is his entry into the city, into the social environment. Naivists, who, as a rule, live in the countryside, tend to idealize the city, they paint the streets and squares light, airy and bizarre. Especially artists, such as Elfrida Milts, are inspired by technological innovations - in particular, the Moscow metro.

Another common theme for naive art can be considered the image of a person - portraits and especially self-portraits. Naivists have a way of exploring the world through the prism of their personality, their own appearance and the appearance of the people around them. And they are also interested in a way of reflecting the inner world of a person in his appearance. Therefore, works of the portrait genre give the viewer the opportunity to get to know the naivists almost personally, to know them the way the artists perceive themselves. The isolation of the naive in their own inner world illustrates, for example, a self-portrait contemporary artist Alexandra Emelyanova. He portrays himself as a collection of images and topics to which he refers.

Almost all the classics of naive art interpret the theme of childhood in one way or another. Naivists always remain children, so the works connected with this idea - touching and spontaneous - become a kind of point of contact between the child of the past and the child of the present, still living in the soul of the artist. It is noteworthy that naivets almost never write themselves in the image of a child. They concentrate on the world around them, on the portraits of other children, on the image of animals - on what can be seen in the alphabet.

Svetlana Nikolskaya. Stalin is dead. 1997. Moscow Museum of Modern Art

Alexander Lobanov. Self-portrait in an oval frame under the coat of arms of the USSR. 1980. Moscow Museum of Modern Art

The next important theme in naive art is the theme of the feast. Artists are very fond of painting still lifes, feasts, weddings and festivities - they can be seen especially often in the paintings of Niko Pirosmani, Pavel Leonov and Vasily Grigoriev, for whom the feast acquires a sacral, Eucharistic meaning. A feast of love, a feast of fun, a feast of the family circle - every artist finds something very personal and valuable in this theme. As in the theme of the house, the family hearth, which symbolizes peace, comfort and security. In the works of Pavel Leonov, Soviet reality is always associated with joy, holidays and parades. Even the work of Leonov portrays joyful and bright.

However, naive art is not always idyllic. For example, outsider art or art brut often leave the viewer with a vague, unsettling feeling. In these works there is no harmonious and complete world - the artists most often concentrate on one motif or subject and reproduce it in each work. For the classic outsider art Alexander Lobanov, the Mosin rifle became such an object. Lobanov himself never fired a rifle, and in his works there is neither war, nor cruelty, nor pain. This object is like an artifact, the embodiment of power, just like the active Soviet symbols that are present in the vast majority of his works.

Key philosophical themes for artists - birth and death. Naivists deify the birth of a person, both physical and personal, compare it with the divine birth of life in general. And they perceive the departure of a person from the point of view of the memory and pain remaining about him. So, for example, in the picture of Svetlana Nikolskaya, people dressed in gray contrast with a rich red background, it is impossible to read their thoughts or feelings - they seem to be petrified.

The era of classical naive is gradually disappearing. Today, such a closed and isolated existence of naivets, as it used to be, is impossible. Artists should be actively involved in the art process, understand what is happening in the art market. This is neither good nor bad - just a sign of time. And the more valuable will be each viewer's appeal to naive art, until it finally disappears.

Portal "Culture.RF" thanks for the help in preparing the material of the senior researcher MMOMA, a member of the curatorial group of the exhibition "NAIV ... BUT" Nina Lavrishcheva and an employee Museum of Russian Lubok and Naive Art Maria Artamonov.

naive art

In the 20th century more and more attention began to attract one phenomenon that was not previously considered art at all. This is the work of amateur artists, or the so-called. weekend artists. Their work is called naivism or primitivism. The first naivet taken seriously was a French customs official Henri Rousseau(1844 - 1910), who devoted himself to painting in retirement. His paintings depicted the events Everyday life, then full of fantasy images of distant lands, deserts and tropical forests. Unlike many later naivists, Rousseau was unfeignedly naive, he believed in his vocation and painted his paintings with clumsy, helplessly drawn and funny human and animal figures without any doubts.

He didn't care about the future either. But the color combinations in his paintings are beautiful, and simplicity and immediacy give them great charm. This was noticed already at the beginning of the century by the cubists, led by Picasso, they were the first to support naivism.

Another prominent naivist who never received recognition during his lifetime was a Georgian Niko Pirosmanashvili (1862 – 1918).

In the paintings of this self-taught we see animals, landscapes, life ordinary people: work, festive feasts, fair scenes, etc. The strong side of Pirosmanashvili's creations is a magnificent colorful range and a pronounced Georgian national identity.

Museum of Naive Art in Paris

Most of the naivists are people who live in remote corners, in small towns or villages and are deprived of the opportunity to study painting, but full of desire to create. Even in the technically helpless works of naivists, that freshness of feelings is preserved, to which high art, therefore, naivism also attracted professional artists.

The fate of naivism in America is noteworthy. Already there in the 19th century. he was taken seriously and the works of the naivists were collected for museum collections. There were few art schools in America, large art centers Europe was far away, but people did not weaken the desire for beauty and the desire to capture their life environment in art. The output was the art of amateurs.

“The desire to paint was born in me oil paints. I have never painted them before: and then I decided to make an experiment and copied a portrait from myself on canvas, ”wrote the Tula nobleman Andrei Bolotov in his diary in the fall of 1763. More than two and a half centuries have passed, and the “hunt for painting with paints” continues to overcome our contemporaries. People who have never taken a pencil and a brush in their hands are suddenly seized by an irresistible passion for fine arts.

The emergence of a new direction

Naive Art XX - early XXI century differs markedly from the primitive of previous centuries. The reasons for this, oddly enough, lie in the development of "scientific" art. At the end of the 19th century, leading European masters were acutely aware of the "fatigue" of their contemporary culture. They sought to draw vitality from the savage, primitive world that existed in the past or still preserved in the remote corners of the planet. Paul Gauguin was one of the first to follow this path. Renouncing the benefits of decrepit European civilization, the artist tried to equate "primitive" life and "primitive" creativity, he wanted to feel like a man with the blood of a savage in his veins. “Here, near my hut, in complete silence, I dream of violent harmonies among the smells of nature that intoxicate me,” Gauguin wrote about his stay in Tahiti.

Many masters of the beginning of the last century went through a passion for the primitive: Henri Matisse collected African sculpture, Pablo Picasso acquired and hung in a conspicuous place in his studio a portrait of Henri Rousseau, Mikhail Larionov at the Target exhibition showed the public handicraft signs, works by Niko Pirosmanashvili and children's drawings.

Since the 1910s, primitive artists have had the opportunity to exhibit their works alongside the work of professional masters. As a result, a striking change occurred with the primitive: he became aware of his own artistic value ceased to be a phenomenon of peripheral culture. The simplicity of the primitive becomes more and more imaginary. Rousseau admitted shortly before his death: "I retained my naivety ... Now I could no longer change my manner of writing, acquired by hard work."

At this moment, naive art arises as a special artistic phenomenon, different from the primitive. Often, the work of naive artists is defined as non-professional art, highlighting the lack of artistic training of the academic model. But this is clearly not enough to understand its difference from dilettantism and craftsmanship. "Naive" shifts the focus from the result to the internal causes. This is not only "unlearned", but also "simple-hearted", "sophisticated" - a direct, undifferentiated, not knowing reflections sense of reality.

Distinctive features

Self-taught in search of self-expression unconsciously turns to forms children's creativity- to contouring, flattened space, decorativeness as to the primary elements of the new world he created. An adult cannot draw like a child, but he can directly perceive the environment in a childish way. A distinctive feature of naive art lies not in the creations of the artist, but in his mind. The picture and the world depicted on it are felt by the author as a reality in which he himself exists. But no less real for the artist and his vision: “What I want to write is always with me. I can see all this on the canvas at once. Items immediately ask for the canvas, ready-made both in color and in shape. When I work, I finish all objects until I feel under the brush that they are alive and moving: animals, figures, water, plants, fruits and all nature ”(E. A. Volkova).

The prototypes of the depicted objects exist in the author's imagination in the form of materialized, but inanimate phantoms. And only in the process of completing the picture do they animate. This life created on the canvas is the birth of a new myth.

// pichugin2

A naive artist depicts not so much what he sees as what he knows. The desire to convey his ideas about things, people, the world, to reflect the most important moments in the flow of life involuntarily leads the master to schematization and clarity - a state when the simpler things become, the more significant they are.

A lake with ducks, work in the field and in the garden, washing clothes, a political demonstration, a wedding feast. At first glance, the world is ordinary, ordinary, even a little boring. But let's take a closer look at these simple scenes. In them, the story is not so much about everyday life as about being: about life and death, good and evil, love and hate, labor and celebration. The image of a particular episode is perceived here not as a fixation of the moment, but as an edifying story for all time. The artist awkwardly writes out the details, cannot separate the main from the secondary, but behind this ineptitude there is a system of worldview that completely sweeps aside the random, the momentary. Inexperience turns into insight: wanting to tell about the particular, the naive artist talks about the unchanging, eternally existing, unshakable.

Naive art paradoxically connects the unexpected artistic solutions and attraction to a limited range of topics and plots, quoting once found techniques. This art is based on recurring elements that correspond to universal human ideas, typical formulas, archetypes: space, beginning and end, homeland (lost paradise), abundance, holiday, hero, love, godfather.

Mythological basis

In mythological thinking, the essence and origin of the phenomenon are identical to each other. In his journey into the depths of myth, the naive artist arrives at the archetype of the beginning. He feels close to the first person who rediscovers the world. Things, animals and people appear on his canvases in a new, unrecognizable form. Like Adam, who gives names to everything that exists, the naive artist gives new meaning to the ordinary. The theme of heavenly bliss is close and understandable to him. The idyll is understood by the artist as the original state, given to man from birth. Naive art seems to return us to the childhood of mankind, to blissful ignorance.

But no less common is the theme of the fall. The popularity of the “expulsion from paradise” plot testifies to the existence of a kind of family connection between the myth of the first people and the fate of the naive artist, his attitude, his spiritual history. Outcasts, lumpens of paradise - Adam and Eve - acutely feel the loss of bliss and their discord with reality. They are close to the naive artist. After all, he knows both childish serenity, and the euphoria of creation, and the bitterness of exile. Naive art sharply reveals the contradiction between the artist's desire to know and explain the world and the desire to bring harmony into it, to resurrect the lost integrity.

The feeling of "paradise lost", which is often very strong in naive art, exacerbates the artist's sense of personal insecurity. As a result, the figure of a defending hero often appears on the canvases. In the traditional myth, the image of the hero personifies the victory of the harmonic principle over chaos.

In the works of naive artists, the image of the winner, well known from popular prints - Ilya Muromets and Anika the warrior, Suvorov and the conqueror of the Caucasus, General Yermolov - acquires the features of a hero civil war Chapaev and Marshal Zhukov. All of them are an interpretation of the image of the serpent fighter, stored in the depths of the genetic memory, and go back to the iconography of St. George slaying the dragon.

The opposite of the warrior-defender is the cultural hero-demiurge. Moreover, in this case, the emphasis is transferred from the external action to the internal tension of the will and spirit. The role of the demiurge can be played by a mythological character, for example, Bacchus, who taught people how to make wine, or a well-known historical figure - Ivan the Terrible, Peter I or Lenin, personifying the idea of ​​an autocrat, the founder of a state, or, referring to the mythological overtones, a progenitor.

But the image of the poet is especially popular in naive art. Most often, the same compositional technique is used: a seated figure is depicted with a piece of paper and a pen or a book of poetry in his hands. This universal scheme serves as a formula for poetic inspiration, and the frock coat, lionfish, hussar mentic or kosovorotka act as "historical" details, confirming the deep authenticity of what is happening. The poet is surrounded by the characters of his poems, the space of the world he created. This image is especially close to the naive artist, because he always sees himself in the picture universe next to his heroes, again and again experiencing the inspiration of the creator.

Soviet ideology had a great influence on the work of many naive artists. Built according to mythological models, it formed the images of the “beginning of a new era” and “leaders of the peoples”, replaced a live folk holiday with Soviet rituals: official demonstrations, solemn meetings and ceremonies, awards to leading workers and the like.

But under the brush of a naive artist, the depicted scenes turn into something more than illustrations of the "Soviet way of life." A portrait of a “collective” person is built from a multitude of paintings, in which the personal is blurred, pushed into the background. The scale of the figures and the stiffness of the poses emphasize the distance between the leaders and the crowd. As a result, a feeling of lack of freedom and artificiality of what is happening clearly emerges through the external canvas. Coming into contact with the sincerity of naive art, ideological phantoms, against the will of the authors, turn into characters in the theater of the absurd.

// pichugin

The essence of naivety

In naive art, there is always a phase of copying the model. Copying can be a stage in the process of becoming an artist's individual style or a conscious independent technique. For example, this often happens when creating a portrait from a photograph. A naive artist has no timidity in front of a "high" standard. Looking at the work, he is captured by the experience, and this feeling transforms the copy.

Not at all embarrassed by the complexity of the task, Alexei Pichugin performs "The Last Day of Pompeii" and "Morning of the Streltsy Execution" in a painted wooden relief. Quite accurately following the general outlines of the composition, Pichugin fantasizes in detail. In The Last Day of Pompeii, the peaked Roman helmet on the head of a warrior carrying an old man turns into a round brim hat. In “The Morning of the Streltsy Execution”, the board for decrees near the execution begins to resemble a school one - with white text on a black background (Surikov has it the color of unpainted wood, and there is no text at all). But most importantly, the overall color of the works is changing decisively. This is no longer a gloomy autumn morning on Red Square and not a southern night, illuminated by flashes of flowing lava. The colors become so bright and elegant that they come into conflict with the drama of the plots and change the inner meaning of the works. Folk tragedies in Aleksey Pichugin's translation are rather reminiscent of fairground festivities.

The "creative inferiority complex" of the master, which was one of the attractive aspects of the "old" primitive, is short-lived these days. Artists quickly discover that their not-so-skillful creations have their own charm. The unwitting culprits for this are art historians, collectors, and the media. In this sense, paradoxically, exhibitions of naive art play a destructive role. Few manage, like Rousseau, to "preserve their naivety." Sometimes yesterday's naivetes - consciously or unconsciously - embark on the path of cultivating their own method, begin to stylize for themselves, but more often, drawn into the inexorable elements of the art market, they fall into the arms of mass culture, wide as gates.

naive art - the definition refers to painting (and to a lesser extent to sculpture) created in more or less civilized societies, but not having a generally recognized assessment of fine art.
It is characterized by bright, unnatural colors, the absence of the laws of perspective, and a childishly naive or literally vision. Sometimes the term is used as a synonym for this definition. primitive art, but it can be misleading, since the definition of "primitive" is also widely applicable to the art of the proto-Renaissance era (stage in the history of Italian culture, preceding the Renaissance, attributable to the ducento(1200s) itchrento (1300s). Considered transitional from the Middle Agesto the renaissance. The term was first introduced by the Swiss historian Burkhard)and the creativity of "uncivilized" societies. Other names that are sometimes used in a similar sense - "folk art", "folk" art or "Sunday artists" - can also be challenged. For example, "Sunday artist" - after all, many amateurs do not write in a naive style, and for naive artists (at least the most successful ones), painting often turns out to be a full-time job. Professional Artists may consciously cultivate a naive style, but such "false naivety" cannot be confused with the immediacy of the works of real naive artists, just as, say, the works of Klee or Picasso made deliberately in a childish way, with sincere drawings of children.
Naive art has its own quality, which is easy to recognize but difficult to define. It's summarized Scotty Wilson (1889-1972) saying, "You can't describe the feeling. You're born with it and it just shows up."
Henri Rousseau (1844-1910) was the first naive artist to win serious recognition from art criticism. He remains the only one who is considered a great master, although many others have earned their rightful place in modern art.

The main critic in charge of promoting naïve artists in the years after World War I was Wilhelm Ude. At first, the freshness and directness of the vision of the naive artists attracted mainly their comrades, but a number of important exhibitions in the 1920s and 1930s contributed to the development of public interest in them.
The exhibition was of particular importance. "Masters of folk painting: contemporary primitivists of Europe and America" at the Museum of Modern Art in New York in 1938.
Most of the early naïve artists who came to prominence were French (largely due to Houdet's activities in France). Among them:
André Beauchamp (1873-1958)

Camille Bombois (1883-1970)

Louise Serafin (1864-1934)

Beryl Cook (1926--2008)

Also often ranked among the naive artists Lawrence Stephen Lowry (1887-1976)

But some critics exclude him from their number, because. Lauri studied at an art school for a long time.

In the US, among the leading figures were John Kane (1860-1934)

and Anna Mary Robertson Moseson (1860-1961)

A large number of naive artists gave Croatia, where the most famous was Ivan Generalich (1914-1992)