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The Genesis of a Term: Art Brut
The concept gained significant traction thanks to the French artist Jean Dubuffet in the mid-1940s. He coined the term Art Brut, meaning ‘raw art’, to describe works he collected that were untouched by artistic culture. He sought creations that were spontaneous, invented, and purely authentic, springing solely from the maker’s own impulses. Dubuffet was fascinated by the art produced in psychiatric hospitals and by other solitary figures, believing it represented a purer form of creative expression, untainted by the desire to imitate or conform. While ‘Art Brut’ has specific connotations tied to Dubuffet’s collection and philosophy, ‘Outsider Art’ emerged later, particularly in the English-speaking world (coined by critic Roger Cardinal in 1972), as a broader umbrella term. It encompasses Art Brut but also includes other forms of self-taught artistry, folk art made by individuals working in relative isolation, and visionary environments created over decades.Jean Dubuffet’s concept of Art Brut specifically focused on art created in isolation from mainstream culture. He believed these works represented a pure, unadulterated form of human creativity. This idea fundamentally shaped the later, broader category known as Outsider Art. It highlights the value placed on authenticity and internal vision over formal training.
Hallmarks of Outsider Creation
What makes Outsider Art distinct? While incredibly diverse, certain characteristics often emerge:- Untrained Technique: Artists typically lack formal art education. Their methods are invented, often unconventional, and driven by intuition rather than established rules of perspective, anatomy, or composition.
- Unconventional Materials: Limited resources or a unique vision can lead artists to use whatever is at hand – house paint on scrap wood, sculptures from cement and broken glass, intricate drawings on wrapping paper, textiles woven from found threads.
- Obsessive Detail and Repetition: Many works exhibit an extraordinary level of detail, with patterns, figures, or text repeated obsessively, filling the entire surface (a tendency sometimes called ‘horror vacui’ – fear of empty space).
- Personal Iconography: The subject matter is deeply rooted in the artist’s personal experiences, dreams, visions, or intricate inner worlds. The symbolism might be obscure to outsiders but holds profound meaning for the creator.
- Compulsive Creation: The act of making art often seems less a choice and more a necessity, a way to process the world, communicate unspoken thoughts, or build a personal cosmology.
- Isolation: While not universally true, many Outsider artists work in relative isolation, either geographically, socially, or mentally, separated from the art world’s discourse.
Notable Figures and Environments
The field is rich with compelling stories and astonishing creations. Think of Henry Darger, a reclusive hospital custodian in Chicago whose massive, illustrated fantasy manuscript, “In the Realms of the Unreal,” was discovered only after his death. His watercolour paintings depict epic battles involving young heroines, the Vivian Girls, in a world filled with strange creatures and turmoil, illustrating a complex personal mythology developed over decades in total secrecy. Or consider Adolf Wölfli, a Swiss artist diagnosed with psychosis who spent much of his life in a mental asylum near Bern. From his small room, he produced thousands of intricate drawings, musical compositions, and writings, constructing a vast, fantastical autobiography and cosmology. His work is dense, layered, and visually overwhelming, a universe unto itself. Visionary environments are another fascinating aspect. These are large-scale constructions, often entire houses or gardens transformed into elaborate artworks. Examples include:- Simon Rodia’s Watts Towers in Los Angeles: Soaring structures built over 33 years from steel, mortar, and embedded found objects like pottery shards, seashells, and tiles.
- Ferdinand Cheval’s Palais Idéal in France: An elaborate palace built stone by stone over decades by a postman, inspired by dreams, postcards, and nature.
Challenges and Recognition
The reception of Outsider Art has evolved. Initially dismissed or pathologized, it gradually gained appreciation for its unique aesthetic power and emotional depth. Galleries specializing in Outsider Art emerged, and major museums began incorporating these works into their collections and exhibitions. However, challenges remain. There’s the ongoing debate about categorization – where does ‘folk art’ end and ‘Outsider Art’ begin? Is the artist’s biography, particularly any history of mental illness or social marginalization, overly emphasized, potentially overshadowing the art itself? There’s also the risk of exploitation as the market for Outsider Art grows. Ensuring ethical representation and fair compensation for artists or their estates is crucial.It is important to approach Outsider Art with respect for the creators. While their life stories can provide context, the focus should remain on the artistic merit and expressive power of the work itself. Avoid romanticizing difficult life circumstances or reducing the art solely to a symptom of a condition. The creativity and vision displayed deserve primary recognition.
