naive art (naive art) - one of the areas of primitivism, which is characterized by a naive simplicity of technique, an anti-academic approach to painting, a fresh look and an original manner of drawing. Unrecognized and initially persecuted for its "barbarian" attitude towards the canons of painting, art naive eventually survived and took its rightful place in the history of world culture. In the works of artists working in this genre, everyday scenes related to food are often present, which, of course, could not help but interest our thematic site.

It should be said that the roots of the genre " naive art go far back into the mists of time. The first examples of naive fine art can be considered rock paintings found in the caves of South Africa. (We are sure that the drawings of the ancient hunter were more likely to be perceived by others as a menu, and not as a painting 🙂).

Much later, the Greeks, having discovered Scythian statues of “stone women” north of the Black Sea, also considered them primitive “barbarism” due to the violation of body proportions, which in ancient Greek culture characterized harmony and beauty. Remember at least the "golden section" of Polikleitos.
However, the "correctness" of classical art constantly continued to be subjected to partisan attacks. folk art. And so, after the overthrow of the rule of Rome in most European countries, the fine arts, having made a tack, changed course from perfection towards the search for expressiveness. In the role of a means to achieve this goal, the originality and originality of the former outcast and outsider, who were considered naive art, were very suitable.
At the same time, one cannot ignore the fact that the outstanding artists of “art naive” would never have received world recognition if European artists such as Pablo Picasso, Henri Matisse, Joan Miro, Max Ernst and others were not interested in their ideas and style. They supported this revolt against the romanticism of classicism».
In search of the “fifth element” of art, they, like medieval alchemists, tried to irrationally operate with miracle and mystery, mixing avant-garde and wild natural primordialness in their paintings, which grew from the bowels of the lost “primitive” world of Africa, as well as Central and South America.
It is well known that Pablo Picasso studied the African style of “primitive art” in detail, studied authentic masks and sculptures brought from there in order to comprehend the creative subconscious principle of the “black continent” and embody it in his works. Which largely determined his signature asymmetrical style. Even on, he uses disproportion techniques.
The portrait of this pioneering Spanish painter was uniquely done by a Colombian artist who was himself dubbed " Picasso of South America«.

Former illustrator Fernando Botero Angulo (born 1932) rose to prominence after winning first prize at the "Exhibition of Colombian Artists" in 1959. This opened the doors to Europe for him, where the steep career of this original artist and sculptor began, whose work later influenced many apologists for naive art. To see this, one can compare his paintings with those of some of his contemporary art naïve colleagues. In order not to be distracted from the "grocery" theme, let's take one of Botero's favorite topics - picnics.

One of the oldest primitive artists, the leader of Croatian naive art is Ivan Generalic (1914-1992). The lack of professional training, peasant origin and the rural theme of the paintings did not prevent him from gaining recognition throughout Europe since 1953. Peasant life appears in his works as if seen from the inside, which gives them amazing expression, freshness and immediacy.

The picture, where a Croatian grandfather tends cows under the Eiffel Tower, can be considered a secret grin addressed to the Parisian beau monde, one has only to look at the author’s photo: a modest snack of sausage, bread and onions laid out on a stool; a purse on a plank floor, dressed in a shabby sheepskin coat ... The generalich is unpretentious and wise in life. The French novelist Marcel Arlin wrote about him: “He is born of the earth. He has wisdom and charm. He doesn't need teachers."

Many artists of modern "naive art" seem to have not escaped the charm of the works of their predecessors. But, at the same time, in the immediacy of artistic expression inherent in art naive, they introduce elements of “social culture” unknown to Western Europeans. As an example, here are some decorative genre scenes by the Belarusian artist Elena Narkevich who emigrated to Spain many years ago. Her paintings are an ironic reconstruction of an idealized world, a memorable common past, well known to all residents of the former CIS. They are overflowing with nostalgic vibes of the disappearing era of socialist realism with the smells of the kitchen, where Russian salad is prepared and housewives are bustling in anticipation of guests, where dachas replace country houses, and picnics are called outings into nature.

And although Elena Narkevich’s works contain most of the formal features of the “naive art” genre, such as distortions in geometric aspects, unrefined colors on compositional planes, exaggerated proportions of figures and other markers of naive art, but experts attribute such works to pseudo-naive art or " artificially naive, - when the artist works in an imitative manner. (Another feature of naive art - the deliberate "childhood" of the image - was brought to commercial perfection by the artist Evgenia Gapchinskaya ).

In a manner similar to the manner of Elena Narkevich, an artist from Donetsk paints her paintings - Angela Jerich . We have already talked about her work in.

The inner world of Angela Jericho's drawings is sometimes compared to the magic of portraying characters in Fellini's films. The artist succeeds in ironic and, at the same time, very loving, “illustrations of a bygone era” of socialist realism. In addition to this, Angela has an elegant imagination and can capture the “beautiful moments” of life in a Pushkin way.

About her colleague in the "art-naive workshop", a Moscow artist Vladimir Lyubarov, we also talked. A series of his works entitled " eaters”, although it pleases the eye with edible still lifes, but he does not single out this “gastronomic reality” by itself. It is only an excuse to demonstrate the life of its characters, their characters and feelings. . You can also see his funny and sincere paintings there. (Or on his personal website www.lubarov.ru).

If Lyubarov fled from civilization to the village in order to paint his paintings there and engage in subsistence farming, then the “naive artist” Valentin Gubarev from Nizhny Novgorod moved to Minsk. (As if in order to make up for the loss from the emigration of Elena Narkevich 🙂).

Paintings by Valentin Gubarev, about which they have incredible attractive power and charm. Even people who are far from art react emotionally and positively to them. In his works lies a certain simplicity and irony, mischief and sadness, deep philosophy and humor. In his paintings there are many actors, details and objects, as on the balcony of a five-story panel building, littered with things of several generations of residents. But, as connoisseurs of his paintings accurately notice: “a lot of things, but nothing superfluous.” For his passion for fine detailing of paintings, he is called " Belarusian Brueghel". Compare for yourself - on the left is Brueghel in the original, and on the right is one of hundreds of similar paintings by Gubarev. (By the way, using miniatures in jewelry, Brueghel depicted 118 proverbs from Scandinavian folklore in his painting).

In general, the emergence of primitivism was caused, on the one hand, by the rejection of modern urban life and the rise of mass culture, and on the other hand, by a challenge to sophisticated elite art. The primitivists strove to approach the purity, emotionality and uncomplicated clarity of the people's or children's consciousness. These trends touched many artists of Europe, America and Russia.

It is impossible not to mention the bright representative of the art of naive and primitivism at the turn of the 19th-20th centuries, the French artist Henri Rousseau . His paintings are generally difficult to describe in words because of the riot of fantasy and incomparable manner of drawing. He began to engage in painting already in adulthood, without having the appropriate education. He often painted exotic jungles that he had never seen in his life. Ignoring the numerous reproaches that "even a child can draw like that," Rousseau followed the path of his vocation. As a result, his perseverance turned out to be the Archimedean lever that turned the world of fine art upside down: the genius of Henri Rousseau was recognized, and a new generation of artists intercepted the baton from him.

Features of primitivism were also inherent in the work of the great French painters, Paul Gauguin And Henri Matisse. Just look at Gauguin's "Tahitian women with mango" or at the stormy "Joy of Life" by Matisse: a foray into nature is in full swing. (No wonder Matisse was a Fauvist).

Russia had its own groups of adherents of the style of naive art. Among them are members of the creative communities "Jack of Diamonds" (P. P. Konchalovsky, I. I. Mashkov), "Donkey Tail" (M. F. Larionov, N. S. Goncharova, M. Z. Shagal) and others.

One of the geniuses of primitivism is rightfully Niko Pirosmani . This self-taught artist from a small Georgian village lived on a beggarly income selling milk. He often gave his paintings to buyers or gave them to resellers in the hope of making some money. Merry feasts, scenes peasant life, nature - these are the topics that inspired Pirosmani. All picnics and holidays in his paintings have characteristic national characteristics. The loneliness and confusion of a nugget artist in the hustle and bustle of urban philistinism turns into philosophical reflections on his canvases about the place of a person (and a living creature in general) in the world, and his feasts and feasts speak of moments of joy in earthly existence.

We can continue to give examples, but even from a small digression, the multicultural phenomenon of naive art becomes obvious. This can be confirmed by hundreds of museums and galleries, where paintings of "naive artists" are kept. Or the amount of sales of naive art, calculated in hundreds of millions of dollars.

The genre of primitivism turned out to be tenacious and adaptable, like all the simplest in nature. Naive art developed not thanks to academic “artificial” sciences (art naive artists often had no education), but rather in spite of, because the environment for the birth and habitat of naive art is deeply natural, inaccessible to scientists and critics, phenomena where the almighty genius of Man reigns.

In the case of works of the genre naive art, we fully agree with the expression of Louis Aragon: “ It is naive to consider these pictures naive.»

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Naive Art Guide

Naive art or art not professional artists rarely gets 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 critics 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, the works of the portrait genre give the viewer the opportunity to get to know the naive 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, therefore 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 painting by 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.

27.09.2011 22:00

More and more often there are announcements about upcoming exhibitions of the artist of naive art. Today we will try to figure out what it is naive art.

First, I dare to suggest that all fine art originates from naive. After all, when there was no classical school, the laws of painting were not derived. There were plots and there were people who wanted to capture these moments on canvas or any other material. If you think about it, the first cave paintings primitive man This is also naive art.

Secondly, any artist, picking up pencils and brushes for the first time, simply begins to depict on the sheet what he sees around him. Not obeying the laws of logic and painting, the hand itself leads the line where it needs to be. And so painting is born. It is then that experience and knowledge come, but one way or another, everyone passes through this stage. But why then do some stay at this stage?

Let's try to turn to the definition and history of naive art. Naive art (from English naive art) is a style of creativity of amateur artists who have not received professional education. Often this concept is used as a synonym for primitivism, but in the latter it is more about professional imitation of the unprofessional. The historical roots of naive art originate in folk art.

But at present, many artists who have received a very good art education are working in this direction. But they continue to write childishly simple plots. At the same time, a "naive" artist differs from a "non-naive" one, just as a healer differs from a doctor of medical sciences: both are specialists, each in his own way.

For the first time, naive art made itself known in 1885, when the paintings of Henri Rousseau, nicknamed the Customs Officer, as he was a customs officer by profession, were shown at the Salon of Independent Artists in Paris. Subsequently, at the beginning of the 20th century, Morshans - first Alfred Jarry, then Guillaume Apollinaire, and soon Bernheim, Wilhelm Uhde, Ambroise Vollard and Paul Guillaume began to attract public attention not only to the works of Rousseau the Customsman, but also to the works of other primitivists and self-taught. The first exhibition of naive art was held in 1937 in Paris - it was called "People's Masters of Reality". Along with the works of Rousseau the Customsman, works by workers and artisans Louis Viven, Camille Bombois, André Beauchamp, Dominique-Paul Peyronet, Serafin Louis, nicknamed Serafin of Senlis, Jean Eve, René Rambert, Adolphe Dietrich, and Maurice Utrillo, son of Suzanne, were exhibited here Valadon.

With all this, it should be noted that many avant-garde artists, such as Pablo Picasso, Robert Delaunay, Kandinsky and Brancusi, paid special attention to the art of children and the insane. Chagall showed interest in the work of the self-taught, Malevich turned to the Russian popular print, and naive occupied a special place in the work of Larionov and Goncharova. Largely due to the techniques and images of naive art, success was accompanied by displays of works by Kabakov, Bruskin, Komar and Melamid.

The work of naive artists, as one of the layers of modern art, requires serious and thoughtful study, in which there can be no place for superficial and extreme judgments that are often found in everyday life. It is either idealized and extolled, or viewed with a touch of disdain. And this is due primarily to the fact that in Russian (as well as in some others) the term "naive, primitive" has as one of the main evaluative (and precisely negative) meanings.

The fundamental difference between this direction of fine art and children's art lies in its deep sacredness, traditionalism and canonicity. Childish naivete and immediacy of world perception seemed to be frozen forever in this art, its expressive forms and elements of artistic language were filled with sacred magical significance and cult symbolism, which has a fairly stable field of irrational meanings. In children's art, they are very mobile and do not carry a cult load. Naive art, as a rule, is optimistic in spirit, life-affirming, multifaceted and diverse, and most often has a fairly high aesthetic significance. In contrast, the art of the mentally ill, often close to it in form, is characterized by a painful obsession with the same motives, a pessimistic-depressive mood, and a low level of artistry. Works of naive art are extremely diverse in form and individual style, but many of them are characterized by the absence of a linear perspective (many primitivists seek to convey depth with the help of figures of different scales, a special organization of shapes and color masses), flatness, simplified rhythm and symmetry, and the active use of local colors. , generalization of forms, emphasizing the functionality of an object due to certain deformations, increased importance of the contour, simplicity of technical methods. Primitive artists of the 20th century, who are familiar with classical and contemporary professional art, often come up with interesting and original ideas. artistic solutions when trying to imitate certain techniques of professional art in the absence of appropriate technical knowledge and skills.

Nadezhda Podshivalova. Dancing under the first light bulb in the village. 2006 Canvas. Fiberboard. Butter.

Representatives of naive art most often take their subjects from the life around them, folklore, religious mythology or their own fantasy. It is easier for them than for many professional artists to manage spontaneous, intuitive creativity, not hampered by cultural and social rules and prohibitions. As a result, original, surprisingly pure, poetic and sublime artistic worlds in which some ideal naive harmony prevails between nature and man.

They understand life as a "golden age", because the world for them is harmony and perfection. For them, there is no history as a constantly created process, and time in it is turned into an endless circle, where the coming tomorrow will be as radiant as the past yesterday. And it does not matter that the life lived was hopelessly difficult, dramatic, and sometimes tragic. This is not difficult to understand if you look at the biographies of naives. They seem to store in their genetic memory the integrity of perception and consciousness inherent in their ancestors. Constancy, stability and peace of mind - these are the conditions for a normal life.

And here everything becomes clear, peering more closely, that the naive mind is the mind of a special warehouse. He's not good or bad, he just is. It includes a holistic worldview, in which a person is unthinkable outside of nature and space, he is mentally free and can enjoy the creative process, remaining indifferent to its result. It, this mind, allows us to imagine that a person can and does stay in two dreams.

At the same time, the potential that the naive has can be claimed in our turbulent 21st century, when we “record not the history of evolution, but the history of catastrophes.” He will not push or push anyone aside, and he can hardly become the master of thoughts, he will only be able to present his most valuable quality - a holistic uncomplicated consciousness, “that type of attitude that can only be called truly moral, since it does not divide the world, but feels it with the body” (V. Patsyukov). This is the moral, ethical and cultural strength of naive art.

At present, a huge number of museums of naive art have been created in the world. In France, they are in Laval and Nice. Such a museum was also created in Russia. The Moscow Museum of Naive Art was founded in 1998 and is a state cultural institution.

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 can consciously cultivate naive style, but such "false naivety" cannot be confused with the immediacy of the works of real naive artists, just like, say, the works 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)

“Paintings Naive art. Style Naive Art»

naive art(English naive art) - one of the directions of primitivism of the XVIII-XXI centuries, including both amateur art (painting, graphics, decorative art, sculpture, architecture), and fine art of self-taught artists.

Paintings in the style of Naive art. Naive art has its fans and connoisseurs. Many collectors collect collections of paintings that belong to naive art.
Artists of naive art. Naive art artists include self-taught artists and professional artists imitating the style of naive art.

Naive art is our common cultural phenomenon and heritage. To preserve works of naive art, special museums of naive art are created.
Naive art. Naive art in Russia. Museum of Naive Art in Moscow. The Moscow Museum of Naive Art was established on June 23, 1998 and is a state cultural institution. The Moscow Museum of Naive Art is administered by the Committee for Culture of the City of Moscow of the Government of Moscow. There are other museums of naive art in Russia.
In Russian museums, including museums of naive art, there are a lot of paintings by artists of naive art.

Russian naive art. The work of naive artists, as one of the layers of contemporary Russian art, requires serious and thoughtful study, in which there can be no place for superficial and extreme judgments, often found in everyday life.
Naive art in Russia. In Russian artistic practice, naive art has always been present, but only in recent decades Russian naive art Russian artists received aesthetic recognition.

Naive art in Russia. For a long time, Russia was dominated by the opinion that it was somehow “secondary”. At the same time, they forgot that the early avant-gardists, postmodernists and conceptual artists, in search of new pictorial forms, turned to the immediacy and simplicity of the naive. Chagall showed interest in the work of the self-taught, Malevich turned to the Russian popular print, and naive occupied a special place in the work of Larionov and Goncharova. Largely due to the techniques and images of naive art, success was accompanied by displays of works by Kabakov, Bruskin, Komar and Melamid.

Naive art in Russia. The Russian Russian naive artist, unlike his foreign counterpart, has not yet received mass recognition. He lives in his own separate world, little connected with real artistic life. He does not always find understanding and is extremely rarely burdened with orders. He is not sure of his inclusion in the general artistic flow, since he does not have a "school" and technological equipment. He independently seeks and finds new means of expression, new forms and techniques, without claiming to be a leader or pioneer.
The potential of Russian naive art. Russian naive art is constantly replenished with new amateur artists. It is quite possible that in the turbulent 21st century, new bright talented original artists will appear and bring world fame to Russian naive art.

Naive art has its admirers and lovers. Naive art will surely find its talented authors. Naive art has a future.

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