ORIGINAL OUTSIDER / NAIVE / FOLK / PRIMITIVEART FOR SALE

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Rolph Scarlett

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City of Angels - mix media, 18x24 in., c. 1945

BENTON GALLERY

Rolph Scarlett

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36 x 24 Inches Each (3), 1947

BENTON GALLERY

James March Phillips

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Log Jam in the Rapids, c. 1950

Central Flordia Fine Art LLC

Rolph Scarlett

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Red Drip Painting, c. 1950

BENTON GALLERY

Rolph Scarlett

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Cash In Hand - o/p, 60 x 45 in., c. 1954

BENTON GALLERY

Emil Bisttram

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Canyon Echo, 1939

BENTON GALLERY

Rolph Scarlett

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"Expressions", 1959

BENTON GALLERY

Rolph Scarlett

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Expressionist Figures, c. 1952

BENTON GALLERY

Outsider / Naive / Folk / Primitive

This category covers “folk type” art from the 17th century, colonial and postcolonial periods, through today.

 

Folk art, the “art of the land,” relates to the visual and utilitarian arts created within the framework of a more developed societal structure (as opposed to “primitive” pre-contact civilizations). Cultural, psychological and geographic influences all hold a complex relationship within the development of the visual arts. Separation from “cosmopolitan” influences, the psyche of the masses, lack of access to the wares of the wealthy and geographic isolation often gave rise to an output of uniquely complex, primitive impulses and traditional practices that are manifest in the prodigious scope and distinctive styles of objects created to satisfy the local needs and tastes of people throughout the developing world.

 

The term “folk art,” (as opposed to fine art) first appeared during the late 19th century as a label generally applied to the “utilitarian and decorative rather than purely aesthetic” by traditional Western intellectuals when describing objects created “outside” of that traditional norm by the “common people.”

 

During the early 20th century, artists like Wassily Kandinsky, the widely recognized “father of abstract art” (building upon his love of Russian folk art) became interested in the art of the insane, children and naïve painters, all of which were created by the “untrained.” These influences are overtly echoed in the brilliant colors, darkly outlined forms, flattened effects, altered perspectives, and simplified compositions found in Kandinsky’s mature work - that would influence generations of artists and contemporary avant-garde art movements - such as Fauvism, Abstraction and others.

 

In the 1920s, Swiss psychiatrist Walter Morgenthaler published his “monumental” work, A Mental Patient as Artist which provided the first “illustrated epic” of an outsider artist. Andre Breton, the French writer and artist who helped form Surrealism considered the 45 volume epic one of the “three or four best of the 20th century.” Jean Dubuffet, the French painter, sculptor and assemblage artist who invented the term "Art Brut" (raw art) was particularly struck by the piece and began his own comprehensive collection of artworks "created by people outside the professional art world.”

 

The modern-day term “outsider art” was coined by the English art scholar, Roger Cardinal with a 1972 book of the same to describe art created by self-taught or naïve artists working outside the confines of the fine art world.

 

Today, Outsider art (an often-misapplied label) has emerged as a “breakout” art market category with dedicated journals, auctions, fairs, galleries, dealers and collectors all elevating the genre to ever greater heights.

 

Notable proponents / artists include Ammi Phillips, Edward Hicks, Eunice Pinney, Rufus Hathaway, Henri Rousseau,  Vincent van Gogh, Wassily Kandinsky, Paul Klee, Franz Marc, Auguste Macke, Alexej Jawlensky, Jean Dubuffet, L.S. Lowry, Max Ernst, Frida Kahlo, John Kane, Thorton Dial, Henry Darger, Mose Tolliver Lee Godie, William R. Dawson, Henry J. Darger, Grandma Moses, Bill Traylor, William Edmondson, Aloise Corbaz, Howard Finster and Sam Doyle.

 

Movements and Genres include Art of the land, Outsider, Naïve, Folk, Primitive, Self-taught, Untrained art, Art of the insane, Children’s art, Art Brut, Neuve Invention, Marginal art and Art Singulier.

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