# Primitivism

> Mediated Wiki article. Canonical URL: https://mediated.wiki/source/Primitivism
> Markdown URL: https://mediated.wiki/source/Primitivism.md
> Source: https://en.wikipedia.org/wiki/Primitivism
> Source revision: 1352919608
> License: Creative Commons Attribution-ShareAlike 4.0 International (https://creativecommons.org/licenses/by-sa/4.0/)

Art movement

This article is about primitivism in the visual arts. For the social movement, see [Anarcho-primitivism](/source/Anarcho-primitivism). For the American art style, see [Primitive decorating](/source/Primitive_decorating). For art by self-taught artists, see [Naïve art](/source/Na%C3%AFve_art). For other meanings of "primitivism" or "primitive", see [Primitive](/source/Primitive_(disambiguation)).

*In a Tropical Forest Combat of a Tiger and a Buffalo* (1908–1909), by [Henri Rousseau](/source/Henri_Rousseau)

In the arts of the [Western world](/source/Western_world), **Primitivism** is a mode of [aesthetic idealization](/source/Idealization_and_devaluation) that means to recreate the experience of *the primitive* time, place, and person, either by emulation or by re-creation. In [Western philosophy](/source/Western_philosophy), Primitivism proposes that the people of a [primitive society](/source/Urgesellschaft) possess a [morality](/source/Morality) and an [ethics](/source/Ethics) that are superior to the urban value system of [civilized](/source/Civilized) people.[1]

In European art, the aesthetics of primitivism included techniques, motifs, and styles copied from the arts of Asian, African, and [Australasian](/source/Australasia) peoples perceived as primitive in relation to the urban civilization of [Western Europe](/source/Western_Europe). In that light, the painter [Paul Gauguin](/source/Paul_Gauguin)'s inclusion of [Tahitian](/source/Tahiti) imagery to his oil paintings was a characteristic borrowing of technique, motif, and style that was important for the development of [Modern art](/source/Modern_art) (1860s–1970s) in the late 19th century.[2] As a genre of [Western art](/source/Western_art), Primitivism reproduced and perpetuated [racist stereotypes](/source/Racist_stereotypes), such as the "[noble savage](/source/Noble_savage)", with which colonialists justified [white colonial rule](/source/Colonialism) over the non-white [other](/source/Other_(philosophy)) in Asia, Africa, and Australasia.[3]

Moreover, the term *primitivism* also identifies the techniques, motifs, and styles of painting that predominated [representational painting](/source/Representation_(arts)) before the emergence of the [Avant-garde](/source/Avant-garde); and also identifies the styles of [naïve art](/source/Na%C3%AFve_art) and of [folk art](/source/Folk_art) produced by amateur artists, such as [Henri Rousseau](/source/Henri_Rousseau), who painted for personal pleasure.[4]

## Philosophy

Primitivism is a [utopian](/source/Utopian) style of art that means to represent the physical world of Nature and humanity's original [state of nature](/source/State_of_nature) with two styles: (i) *chronological primitivism* and (ii) *cultural primitivism*.[5] In Europe, chronological primitivism proposes the moral superiority of a primitive way of life represented by the [myth of a golden age](/source/Golden_Age) of pre-societal harmony with Nature, as depicted in the [Pastoral](/source/Pastoral) genres of European representational art and poetry.[6]

Notable examples of European cultural primitivism are the music of [Igor Stravinsky](/source/Igor_Stravinsky), the Tahitian paintings of [Paul Gauguin](/source/Paul_Gauguin), and the [African period artworks](/source/Picasso's_African_Period) of [Pablo Picasso](/source/Pablo_Picasso). Stravinsky's *[The Rite of Spring](/source/The_Rite_of_Spring)* (1913) is primitivist [program music](/source/Program_music) about the subject of [Paganism](/source/Paganism), specifically the rite of [human sacrifice](/source/Human_sacrifice) in pre-Christian Russia. Foregoing the [aesthetic](/source/Aesthetics) and technical restraints of Western musical composition, in *The Rite of Spring* the composer employs harsh [consonance and dissonance](/source/Consonance_and_dissonance) and loud, repetitive rhythms as a mode of [Dionysian](/source/Dionysian) spontaneity in [musical modernism](/source/Musical_modernism). The critic Malcolm Cook said that "with its folk-music motifs and the infamous 1913 Paris riot securing its *[avant-garde](/source/Avant-garde)* credentials, Stravinsky's *The Rite of Spring* engaged in Primitivism in both form and practice" while remaining within the technical praxes of Western [classical music](/source/Classical_music).[7] The primitivism movement is not just limited to Europe. Australia’s [John Antill](/source/John_Antill) is known for his major primitive work *[Corroboree](/source/Corroboree_(ballet))*. According to Campbell, Corroboree holds significance for broader discussions of musical primitivism, as much of the musicological discourse in classical music often assumes certain musical gestures inherently signify primitivism or blends primitivism into the broader concept of musical exoticism. In contrast, Corroboree highlights representational primitivism by linking the ballet's prominent musical elements to historical ideas from the 18th to 20th centuries about the earliest phases of human musical evolution.[8]

**17th century**

During the [Age of Enlightenment](/source/Age_of_Enlightenment), intellectuals rhetorically used the [idealization](/source/Idealization) of indigenous peoples as political criticism of [European culture](/source/European_culture);[9] however, as part of the [Quarrel of the Ancients and the Moderns](/source/Quarrel_of_the_Ancients_and_the_Moderns), the Italian intellectual [Giambattista Vico](/source/Giambattista_Vico) said that the lives of primitive non-Europeans were more attuned to Nature's aesthetic inspirations for [poetry](/source/Poetry) than the arts of civilized, modern man. From that perspective, Vico compared the artistic merits of the [epic poetry](/source/Epic_poetry) of [Homer](/source/Homer) and of the Bible against the modern literature written in vernacular language.[10]

**18th century**

In the *Prolegomena to Homer* (1795), the scholar [Friedrich August Wolf](/source/Friedrich_August_Wolf) identified the language of Homer's poetry and the language of The Bible as examples of folk art communicated and transmitted by [oral tradition](/source/Oral_tradition).[11] Later, the ideas of Vico and Wolf were developed at the beginning of the 19th century by [Johann Gottfried Herder](/source/Johann_Gottfried_Herder);[12] nevertheless, although influential in literature, the ideas of Vico and Wolf slightly influenced the [visual arts](/source/Visual_arts).[13]

**19th century**

The emergence of [historicism](/source/Historicism) — judging and evaluating different eras according to their historical context and criteria — resulted in new schools of visual art dedicated to historical fidelity of setting and costume, such as the art of [Neoclassicism](/source/Neoclassicism) and the Romantic art of the [Nazarene movement](/source/Nazarene_movement) in Germany who were inspired by the primitive school of Italian devotional paintings, i.e. before [Raphael](/source/Raphael) and the discovery of [oil painting](/source/Oil_painting).

Whereas academic painting (after Raphael) used dark glazes, idealized forms, and suppression of detail, the artists of the Nazarene movement used clear outlines, bright colors, and much detail. The artistic styles of the Nazarene movement were similar to the artistic styles of the [Pre-Raphaelites](/source/Pre-Raphaelites), who were inspired by the critical writings of [John Ruskin](/source/John_Ruskin), who admired the painters before Raphael (e.g. [Sandro Botticelli](/source/Sandro_Botticelli)) and recommended that artists paint outdoors.

In the mid-19th century, the [photographic camera](/source/Camera) and [non-Euclidean geometry](/source/Non-Euclidean_geometry) changed the visual arts; photography impelled the development of [artistic Realism](/source/Realism_(arts)) and non-Euclidean geometry voided the mathematic absolutes of [Euclidean geometry](/source/Euclidean_geometry), and so challenged the conventional perspective of [Renaissance](/source/Renaissance) art by suggesting the existence of multiple worlds in which things are different from the human world.[14]

## Modernist Primitivism

The stylistic influences of the African mask of the [Fang people](/source/Fang_people) are noticeable in the painting *[Les Demoiselles d'Avignon](/source/Les_Demoiselles_d'Avignon)* (1907), by Pablo Picasso.

The three-hundred-year [Age of Discovery](/source/Age_of_Discovery) (15th c.–17th c.) exposed western European explorers to the peoples and cultures of Asia and the Americas, of Africa and Australasia, but the explorers' perspective of [cultural difference](/source/Difference_(philosophy)) led to [colonialism](/source/Colonialism).[15] During the [Age of Enlightenment](/source/Age_of_Enlightenment), the explorers' encounters with the [non-European Other](/source/Other_(philosophy)) provoked philosophers to question the Mediaeval assumptions about the fixed nature Man, of society, and of [Nature](/source/Nature), doubted the [social-class](/source/Social_class) organization of society and the mental, moral, and intellectual strictures of Christianity, by comparing the civilization of Europe against the way of life of the uncivilized [natural man](/source/Noble_savage) living in harmony with Nature.[16]

In the 18th century, Western artists and intellectuals participated in "the conscious search in history for a more deeply expressive, permanent human nature and cultural structure in contrast to the nascent modern realities", by studying the cultures of the primitive peoples encountered by explorers.[17] The spoils of European colonialism included the works of art of the colonized natives, which featured primitive styles of expression and execution, especially the absence of linear perspective, a simple outline, the presence of [hieroglyphs](/source/Hieroglyph), distortions of the figure, and the meaning communicated with repeated patterns of ornamentation.[18] The African and Australasian cultures provided artists an answer to their "white, Western, and preponderantly male quest" for the ideal of the primitive, "whose very condition of desirability resides in some form of distance and difference."[19]

## Paul Gauguin

The painter [Paul Gauguin](/source/Paul_Gauguin) departed urban Europe to reside in the French colony of [Tahiti](/source/Tahiti), where he adopted a primitive style of life much unlike the way of life in urban France. Gauguin's search for the primitive was a search for sexual freedom from the Christian constrictions of private life, evident in the paintings *[Spirit of the Dead Watching](/source/Spirit_of_the_Dead_Watching)* (1892), *[Parau na te Varua ino](/source/Parau_na_te_Varua_ino)* (1892), and *Anna the Javanerin* (1893), *[Te Tamari No Atua](/source/Te_Tamari_No_Atua)* (1896) and *Cruel Tales* (1902).

*Spirit of the Dead Watching* (1892), by Paul Gauguin

Gauguin's European perspective of Tahiti as a sexual utopia free of the religious sexual prohibitions is in line with the perspective of [pastoral](/source/Pastoral) art, which idealizes rural life as better than city life. The similarities between Pastoralism and Primitivism are evident in the paintings *Tahitian Pastoral* (1892) and *[Where Do We Come From? What Are We? Where Are We Going?](/source/Where_Do_We_Come_From%3F_What_Are_We%3F_Where_Are_We_Going%3F)* (1897–1898).[20]

The artist Gauguin said that his paintings celebrated Tahitian society, and that he was defending Tahiti against French colonialism; nonetheless, from the [postcolonial](/source/Postcolonial) perspective of the 20th century, feminist art critics said that Gauguin's taking adolescent mistresses voids his claim of being an anti-colonialist.[21] As a European man, his sexual freedom derived from the [male gaze](/source/Male_gaze) of the colonist, because Gauguin's artistic primitivism is part of the "dense interweave of [racial](/source/Racism) and sexual fantasies and [power](/source/Power_(social_and_political)), both colonial and [patriarchal](/source/Patriarchy)", which French colonialists invented about Tahiti and the Tahitians;[22] European fantasies invented in "effort to [essentialize](/source/Essentialism) notions of primitiveness", by [Othering](/source/Other_(philosophy)) non-European peoples into colonial [subordinates](/source/Subaltern_(postcolonialism)).

## Fauves and Pablo Picasso

See also: [Picasso's African Period](/source/Picasso's_African_Period)

In the painting *[Les Demoiselles d'Avignon](/source/Les_Demoiselles_d'Avignon)* (1907) the two figures at the right indicate the stylistic origin of Pablo Picasso's African period

In 1905–1906 period, a group of artists studied the arts from [Sub-Saharan Africa](/source/Sub-Saharan_Africa) and from [Oceania](/source/Oceania), because of the popularity of the Gauguin paintings of Tahiti and the Tahitians. Two posthumous, retrospective exhibitions of Gauguin's works of art in Paris, one at the [Salon d'Automne](/source/Salon_d'Automne) in 1903, and the other in 1906, influenced [fauve movement](/source/Fauvism) artists such as [Maurice de Vlaminck](/source/Maurice_de_Vlaminck), [André Derain](/source/Andr%C3%A9_Derain) and [Henri Matisse](/source/Henri_Matisse), but also [Pablo Picasso](/source/Pablo_Picasso). In particular, Picasso studied [Iberian sculpture](/source/Iberian_sculpture), [African sculpture](/source/African_sculpture), and [African traditional masks](/source/African_traditional_masks), and historical works such as the [Mannerist paintings](/source/Mannerism) of [El Greco](/source/El_Greco), from which aesthetic study Picasso painted *[Les Demoiselles d'Avignon](/source/Les_Demoiselles_d'Avignon)* (1907), and invented [Cubism](/source/Cubism).[23]

## Anti-colonial primitivism

Primitivism in art is usually regarded as a cultural phenomenon of Western art, yet the structure of primitivist idealism is in the art works of non-Western and anti-colonial artists. The nostalgia for an idealized past when humans lived in harmony with Nature is related to critiques of the negative cultural impact of Western modernity upon colonized peoples. The primitivist works of anti-colonial artists are critiques of the Western stereotypes about colonized peoples, while also yearning for the pre-colonial way of life. The processes of [decolonization](/source/Decolonization) fuse with the reverse [teleology](/source/Teleology) of Primitivism to produce native works of art distinct from the primitivist artworks by Western artists, which reinforce colonial stereotypes as true.[24]

As a type of artistic primitivism, the artworks of the [Négritude](/source/N%C3%A9gritude) movement tend to nostalgia for a lost [golden age](/source/Golden_age). Begun in the 1930s, by [francophone](/source/Geographical_distribution_of_French_speakers) artists and intellectuals on both sides of the Atlantic Ocean, the Négritude movement was readily adopted throughout continental Africa and by the [African diaspora](/source/African_diaspora). In rejection of Western [rationalism](/source/Rationalism) and European colonialism, the Négritude artists idealized pre-colonial Africa with works of art that represent pre-colonial Africa as composed of societies who were more culturally united before the Europeans arrived to Africa.

Notable among the artists of the Négritude movement is the Cuban artist [Wifredo Lam](/source/Wifredo_Lam) who was associated with Picasso and the [surrealists](/source/Surrealism) in Paris, in the 1930s.[25] On returning to Cuba in 1941, Lam was emboldened to create dynamic tableaux that integrated human beings, animals, and Nature. In *The Jungle* (1943), Lam's polymorphism creates a fantastical jungle scene featuring African motifs among the stalks of sugar cane to represent the connection between the neo-African idealism of Négritude and the history of plantation slavery for the production of [table sugar](/source/Sugar).

## Neo-primitivism

**Neo-primitivism** was a Russian [art movement](/source/Art_movement) that took its name from the 31-page pamphlet *Neo-primitivizm*, by [Aleksandr](/source/Aleksandr_Shevchenko) [Shevchenko (1913)](#CITEREFShevchenko1913). It is considered a type of avant-garde movement and is proposed as a new style of modern painting which fuses elements of [Cézanne](/source/C%C3%A9zanne), [Cubism](/source/Cubism), and [Futurism](/source/Futurism_(art)) with traditional Russian '[folk art](/source/Folk_art)' conventions and motifs, notably the [Russian icon](/source/Russian_icon) and the [lubok](/source/Lubok).

Neo-primitivism replaced the symbolist art of the [Blue Rose movement](/source/Blue_Rose_(art_group)). The nascent movement was embraced due to its predecessor's tendency to look back so that it passed its creative zenith.[26] A conceptualization of neo-primitivism describes it as anti-primitivist Primitivism since it questions the primitivist's [Eurocentric](/source/Eurocentrism) [universalism](/source/Universalism).[27] This view presents neo-primitivism as a contemporary version that repudiates previous primitivist discourses.[27] Some characteristics of neo-primitivist art include the use of bold colors, original designs, and expressiveness.[28] These are demonstrated in the works of [Paul Gauguin](/source/Paul_Gauguin), which feature vivid hues and flat forms instead of a three-dimensional perspective.[29] [Igor Stravinsky](/source/Igor_Stravinsky) was another neo-primitivist known for his children's pieces, which were based on Russian folklore.[30] Several neo-primitivist artists were also previous members of the [Blue Rose group](/source/Blue_Rose_(art_group)).[31]

### Neo-primitive artists

Russian artists associated with Neo-primitivism include:

- [Mikhail Larionov](/source/Mikhail_Larionov)

- [Natalia Goncharova](/source/Natalia_Goncharova)

- [Aleksandr Shevchenko](/source/Aleksandr_Shevchenko)

- [Marc Chagall](/source/Marc_Chagall)

- [Kasimir Malevich](/source/Kasimir_Malevich)

- [Ilya Mashkov](/source/Ilya_Mashkov)

- [Pavel Filonov](/source/Pavel_Filonov)

- [David Burliuk](/source/David_Burliuk)

- [Igor Stravinsky](/source/Igor_Stravinsky)

### Gallery of Russian Neo-primitive artists

		- [Natalia Goncharova](/source/Natalia_Goncharova), Street in Moscow, 1909

		- [Natalia Goncharova](/source/Natalia_Goncharova), “Blue Cow”

		- [Mikhail Larionov](/source/Mikhail_Larionov), “Two Chevaliers”, 1910

		- [Aleksandr Shevchenko](/source/Aleksandr_Shevchenko), “Portrait of Man in Chair”, 1914

		- [Aleksandr Shevchenko](/source/Aleksandr_Shevchenko), “Red House with River”, 1911

## Museum exhibitions on primitivism in modern art

In November 1910, [Roger Fry](/source/Roger_Fry) organized the exhibition titled *Manet and the Post-Impressionists* held at the [Grafton Galleries](/source/Grafton_Galleries) in London. This exhibition showcased works by [Paul Cézanne](/source/Paul_C%C3%A9zanne), [Paul Gauguin](/source/Paul_Gauguin), [Henri Matisse](/source/Henri_Matisse), [Édouard Manet](/source/%C3%89douard_Manet), [Pablo Picasso](/source/Pablo_Picasso), and [Vincent Van Gogh](/source/Vincent_van_Gogh), among others. This exhibition was meant to showcase how French art had developed over the past three decades; however, art critics in London were shocked by what they saw. Some called Fry "mad" and "crazy" for publicly displaying such artwork in the exhibition.[32] Fry's exhibition called attention to primitivism in modern art even if he did not intend for it to happen; leading American scholar Marianna Torgovnick to term the exhibition as the "debut" of primitivism on the London art scene.[33]

In 1984, [The Museum of Modern Art](/source/The_Museum_of_Modern_Art) in [New York](/source/New_York_City) had a new exhibition focusing on primitivism in modern art. Instead of pointing out the obvious issues, the exhibition celebrated the use of non-Western objects as inspiration for modern artists. The director of the exhibition, [William Rubin](/source/William_Rubin), took Roger Fry's exhibition one step further by displaying the modern works of art juxtaposed to the non-Western objects themselves. Rubin stated, "That he was not so much interested in the pieces of 'tribal' art in themselves but instead wanted to focus on the ways in which modern artists 'discovered' this art."[34] He was trying to show there was an 'affinity' between the two types of art. Scholar [Jean-Hubert Martin](/source/Jean-Hubert_Martin) argued this attitude effectively meant that the 'tribal' art objects were "given the status of not much more than footnotes or addenda to the Modernist avant-garde."[35] Rubin's exhibition was divided into four different parts: Concepts, History, Affinities, and Contemporary Explorations. Each section is meant to serve a different purpose in showing the connections between modern art and non-Western 'art.'

In 2017, the [Musée du Quai Branly – Jacques Chirac](/source/Mus%C3%A9e_du_Quai_Branly_%E2%80%93_Jacques_Chirac) in collaboration with the Musée National Picasso – Paris, put on the exhibition *Picasso Primitif*. Yves Le Fur, the director, stated he wanted this exhibition to invite a dialogue between "the works of Picasso – not only the major works but also the experiments with aesthetic concepts – with those, no less rich, by non-Western artists."[36] *Picasso Primitif* meant to offer a comparative view of the artist's works with those of non-Western artists. The resulting confrontation was supposed to reveal the similar issues those artists have had to address such as nudity, sexuality, impulses and loss through parallel plastic solutions.

In 2018, the [Montreal Museum of Fine Arts](/source/Montreal_Museum_of_Fine_Arts) had an exhibition titled *From Africa to the Americas: Face-to-Face Picasso, Past and Present*. The MMFA adapted and expanded on *Picasso Primitif* by bringing in 300 works and documents from the Musée du Quai Branly – Jacques Chirac and the Musée National Picasso – Paris. [Nathalie Bondil](/source/Nathalie_Bondil) saw the issues with the ways in which Yves Le Fur presented Picasso's work juxtaposed to non-Western art and objects and found a way to respond to it. The headline of this exhibition was, "A major exhibition offering a new perspective and inspiring a rereading of art history."[37] The exhibition looked at the transformation in our view of the arts of Africa, Oceania, and the Americas from the end of the 19th century to the present day. Bondil wanted to explore the question about how ethnographic objects come to be viewed as art. She also asked, "How can a Picasso and an anonymous mask be exhibited in the same plane?"[38]

## See also

- [Cultural cringe](/source/Cultural_cringe)

- [Decadence](/source/Decadence)

- [Escapism](/source/Escapism)

- [Ethnology](/source/Ethnology)

- [Exoticism](/source/Exoticism)

- [Folk art](/source/Folk_art)

- [Medievalism](/source/Medievalism)

- [Naïve art](/source/Na%C3%AFve_art)

- [Natural state](/source/State_of_nature)

- [Negrophilia](/source/Negrophilia)

- [Noble savage](/source/Noble_savage)

- [Racial fetishism](/source/Racial_fetishism)

- [Romantic racism](/source/Romantic_racism)

- [Orientalism](/source/Orientalism)

- [Othering](/source/Other_(philosophy))

- [Outsider art](/source/Outsider_art)

- [State of nature](/source/State_of_nature)

- [Xenocentrism](/source/Xenocentrism)

## Notes

1. **[^](#cite_ref-1)** Hirsch, Edward (2014). *A Poet's Glossary*. New York: HMH. p. 485. [ISBN](/source/ISBN_(identifier)) [978-0-15-101195-7](https://en.wikipedia.org/wiki/Special:BookSources/978-0-15-101195-7).

1. **[^](#cite_ref-2)** Atkins, Robert. *Artspoke* (1993) [ISBN](/source/ISBN_(identifier)) [978-1-55859-388-6](https://en.wikipedia.org/wiki/Special:BookSources/978-1-55859-388-6)

1. **[^](#cite_ref-3)** See: Marianna Torgovnick. *Gone primitive: Savage Intellects, Modern Lives* (Chicago: [University of Chicago Press](/source/University_of_Chicago_Press), 1991); Ben Etherington, *Literary Primitivism* (Stanford: [Stanford University Press](/source/Stanford_University_Press), 2018).

1. **[^](#cite_ref-:0_4-0)** Camayd-Freixas, Erik; Gonzalez, Jose Eduardo (2000). *Primitivism and Identity in Latin America: Essays on Art, Literature, and Culture*. Tucson: University of Arizona Press. p. 16. [ISBN](/source/ISBN_(identifier)) [978-0-8165-2045-9](https://en.wikipedia.org/wiki/Special:BookSources/978-0-8165-2045-9).

1. **[^](#cite_ref-auto_5-0)** Lovejoy, A. O. and Boas, George Boas. *Primitivism and Related Ideas in Antiquity* (Baltimore: Johns Hopkins Press, 1935).

1. **[^](#cite_ref-6)** Hamilton, Albert Charles (1997). *The Spenser Encyclopedia*. Toronto: University of Toronto Press. p. 557. [ISBN](/source/ISBN_(identifier)) [0-8020-2676-1](https://en.wikipedia.org/wiki/Special:BookSources/0-8020-2676-1).

1. **[^](#cite_ref-7)** Cook, Malcolm (2017-08-24). ["A Primitivism of the Senses"](https://oxford.universitypressscholarship.com/view/10.1093/acprof:oso/9780190469894.001.0001/acprof-9780190469894-chapter-3). In Rogers, Holly; Barham, Jeremy (eds.). *The Music and Sound of Experimental Film*. Oxford University Press. [doi](/source/Doi_(identifier)):[10.1093/acprof:oso/9780190469894.003.0003](https://doi.org/10.1093%2Facprof%3Aoso%2F9780190469894.003.0003).

1. **[^](#cite_ref-8)** Campbell, Rachel (2022-06-01). ["Primitivism and Settler Primitivism in Music: The Case of John Antill's Corroboree"](https://academic.oup.com/mq/article-abstract/105/1-2/190/6517202?redirectedFrom=fulltext). *The Musical Quarterly*. **105** (1–2): 192. [doi](/source/Doi_(identifier)):[10.1093/musqtl/gdab022](https://doi.org/10.1093%2Fmusqtl%2Fgdab022). [ISSN](/source/ISSN_(identifier)) [0027-4631](https://search.worldcat.org/issn/0027-4631).

1. **[^](#cite_ref-9)** Pagden, Anthony. "The Savage Critic: Some European Images of the Primitive", *The Yearbook of English Studies*, 13 (1983), 32–45.

1. **[^](#cite_ref-10)** Bitterli, Urs; Robertson, Ritchie (1989). *Cultures in Conflict: Encounters Between European and Non-European Cultures, 1492-1800*. Stanford, CA: Stanford University Press. p. 12. [ISBN](/source/ISBN_(identifier)) [978-0-8047-2176-9](https://en.wikipedia.org/wiki/Special:BookSources/978-0-8047-2176-9).

1. **[^](#cite_ref-11)** Anttonen, Pertti; Forselles, Cecilia af; Salmi-Niklander, Kirsti (2018). *Oral Tradition and Book Culture*. Helsinki: Finnish Literature Society. p. 70. [ISBN](/source/ISBN_(identifier)) [978-951-858-007-5](https://en.wikipedia.org/wiki/Special:BookSources/978-951-858-007-5).

1. **[^](#cite_ref-12)** Berlin, Isaiah. *Vico and Herder* (New York: Viking, 1976) p. 000.

1. **[^](#cite_ref-13)** Rubin, William, "Modernist Primitivism, 1984," p. 320, in *Primitivism: Twentieth Century Art, A Documentary History*, Jack Flam and Miriam Deutch, editors.

1. **[^](#cite_ref-14)** Dalrymple Henderson, Linda, *The Fourth Dimension and Non-Euclidean Geometry in Modern Art* (Princeton University Press, 19810) p. 000.

1. **[^](#cite_ref-15)** Diamond, S. *In Search of the Primitive: A Critique of Civilization*, (New Brunswick: Transaction Publishers, 1974), pp. 215–217.

1. **[^](#cite_ref-16)** Diamond, Stanley (2017). *In Search of the Primitive: A Critique of Civilization*. Oxon: Taylor & Francis. p. 159. [ISBN](/source/ISBN_(identifier)) [978-1-138-08779-8](https://en.wikipedia.org/wiki/Special:BookSources/978-1-138-08779-8).

1. **[^](#cite_ref-17)** Diamond 1974, p. 215.

1. **[^](#cite_ref-18)** Goldwater, Robert, *Primitivism in Modern Art*, Revised Edition (New York: Vintage, 1967) p. 0000.

1. **[^](#cite_ref-19)** See Solomon-Godeau 1986, p. 314.

1. **[^](#cite_ref-20)** About the painting *Where Do We Come From? What Are We? Where Are We Going?* (1897–1898), the art historian George T.M. Shackelford said: "Although, [Gauguin] downplayed the painting's relationship to the murals of Puvis, on the grounds of procedure and intention, in formal terms he cannot have hoped that his figured landscape — for all its apparent rejection of classical formulas and execution — could escape comparison with the timeless groves that Puvis had popularized in murals for the museums in Lyon and Rouen, as well as the great hemicycle of the Sorbonne."

1. **[^](#cite_ref-21)** Solomon-Godeau 1986, p.324.

1. **[^](#cite_ref-22)** Solomon-Godeau 1986, p.315.

1. **[^](#cite_ref-Cooper,_24_23-0)** Cooper, 24

1. **[^](#cite_ref-24)** Etherington, Ben. *Literary Primitivism* (Stanford: Stanford University Press, 2018) p. 000.

1. **[^](#cite_ref-25)** Stokes Sims, Lowery. *Wifredo Lam and the International Avant-garde, 1923–1982*, University of Texas Press, 2002 p. 000.

1. **[^](#cite_ref-26)** Bowlt, John E. (1976). *Russian Art, 1875-1975: A Collection of Essays*. New York, NY: MSS Information Corporation. p. 94. [ISBN](/source/ISBN_(identifier)) [0-8422-5262-2](https://en.wikipedia.org/wiki/Special:BookSources/0-8422-5262-2).

1. ^ [***a***](#cite_ref-:0a_27-0) [***b***](#cite_ref-:0a_27-1) Li, Victor (2006). *The Neo-primitivist Turn: Critical Reflections on Alterity, Culture, and Modernity*. Toronto: University of Toronto Press. pp. ix, 18, 19. [ISBN](/source/ISBN_(identifier)) [0-8020-9111-3](https://en.wikipedia.org/wiki/Special:BookSources/0-8020-9111-3).

1. **[^](#cite_ref-28)** Bachus, Nancy; Glover, Daniel (2006). *The Modern Piano: The Influence of Society, Style, and Musical Trends on the Great Piano Composers*. Los Angeles, CA: Alfred Music Publishing. p. 26. [ISBN](/source/ISBN_(identifier)) [0-7390-4298-X](https://en.wikipedia.org/wiki/Special:BookSources/0-7390-4298-X).

1. **[^](#cite_ref-29)** Bachus, Nancy; Glover, Daniel (2003). *Beyond the Romantic Spirit 1880-1922*. Los Angeles, CA: Alfred Music Publishing. p. 24. [ISBN](/source/ISBN_(identifier)) [978-0-7390-3217-6](https://en.wikipedia.org/wiki/Special:BookSources/978-0-7390-3217-6).

1. **[^](#cite_ref-30)** Foxcroft, Nigel H. (2019). *The Kaleidoscopic Vision of Malcolm Lowry: Souls and Shamans*. Lanham, MD: Rowman & Littlefield. p. 22. [ISBN](/source/ISBN_(identifier)) [978-1-4985-1657-0](https://en.wikipedia.org/wiki/Special:BookSources/978-1-4985-1657-0).

1. **[^](#cite_ref-31)** Brooker, Peter; Thacker, Andrew (2013). *The Oxford Critical and Cultural History of Modernist Magazines, Volume III*. Oxon: Oxford University Press. p. 1289. [ISBN](/source/ISBN_(identifier)) [978-0-19-968130-3](https://en.wikipedia.org/wiki/Special:BookSources/978-0-19-968130-3).

1. **[^](#cite_ref-32)** Frances Spalding, "Roger Fry and His Critics in a Post-Modernist Age," The Burlington Magazine 128, no. 1000 (1986): 490.

1. **[^](#cite_ref-33)** Marianna Torgovnick, Gone Primitive: Savage Intellects, Modern Lives, Nachdr. (Chicago: Univ. of Chicago Press, 1990), 104.

1. **[^](#cite_ref-34)** William Rubin et al., eds., "Primitivism" in 20th Century Art: Affinity of the Tribal and the Modern (New York : Boston: Museum of Modern Art ; Distributed by New York Graphic Society Books, 1984).

1. **[^](#cite_ref-35)** Jean-Hubert Martin, The Whole Earth Show, interview by Benjamin H. D. Buchloh, July 1989.

1. **[^](#cite_ref-36)** Yves Le Fur, "Picasso Primitif," Exhibition Leaflet, Musée du quai Branly - Jacques Chirac, 2017, 2.

1. **[^](#cite_ref-37)** "From Africa to the Americas: Face-to-Face Picasso, Past and Present," The Montreal Museum of Fine Arts, accessed December 3, 2018.

1. **[^](#cite_ref-38)** Ian McGillis, "MMFA Show Shines a Light on How Picasso Tapped into Africa to Redefine Art in the 20th Century," Montreal Gazette, May 4, 2018.

## References

- Antliff, Mark and Patricia Leighten, "Primitive" in *Critical Terms for Art History*, R. Nelson and R. Shiff (Eds.). Chicago: University of Chicago Press, 1996 (rev. ed. 2003).

- [Blunt, Anthony](/source/Anthony_Blunt) & Pool, Phoebe. *Picasso, the Formative Years: A Study of His Sources*. Graphic Society, 1962.

- Connelly, S. Frances. *The Sleep of Reason: Primitivism in Modern European Art and Aesthetics, 1725–1907*. University Park: Pennsylvania State University Press, 1999.

- del Valle, Alejandro. (2015). ["Primitivism in the Art of Ana Mendieta"](https://repositori.upf.edu/handle/10230/27026). Tesis doctoral. Universitat Pompeu Fabra. Retrieved 8 July 2017.

- [Cooper, Douglas](/source/Douglas_Cooper_(art_historian)) *The Cubist Epoch*, [Phaidon](/source/Phaidon_Press) in association with the [Los Angeles County Museum of Art](/source/Los_Angeles_County_Museum_of_Art) & the [Metropolitan Museum of Art](/source/Metropolitan_Museum_of_Art), London, 1970, [ISBN](/source/ISBN_(identifier)) [0-87587-041-4](https://en.wikipedia.org/wiki/Special:BookSources/0-87587-041-4)

- Diamond, Stanley. *In Search of the Primitive: A Critique of Civilization*. New Brunswick: Transaction Publishers, 1974.

- Etherington, Ben. *Literary Primitivism*. Stanford: Stanford University Press, 2018.

- Flam, Jack and Miriam Deutch, eds. *Primitivism and Twentieth-Century Art Documentary History*. University of California Press, 2003.

- Goldwater, Robert. *Primitivism in Modern Art*. Belnap Press. 2002.

- Lovejoy, A. O. and George Boas. Primitivism and Related Ideas in Antiquity. Baltimore: Johns Hopkins Press, 1935 (With supplementary essays by W. F. Albright and P. E. Dumont, Baltimore and London, Johns Hopkins U. Press. 1997).

- Redfield, Robert. "Art and Icon" in *Anthropology and Art*, C. Otten (Ed.). New York: Natural History Press, 1971.

- Rhodes, Colin. *Primitivism and Modern Art.* London: Thames and Hudson, 1994.

- Shevchenko, Aleksandr. 1913. *Neo-primitivizm: ego teoriia, ego vozmozhnosti, ego dostizheniia*. Moscow: [s.n.].

- Solomon-Godeau, Abigail. "Going Native: Paul Gauguin and the Invention of Primitivist Modernism" in *The Expanded Discourse: Feminism and Art History*, N. Broude and M. Garrard (Eds.). New York: Harper Collins, 1986.

## External links

- John Zerzan, *Telos* 124, *Why Primitivism?*. New York: Telos Press Ltd., Summer 2002. ([Telos Press](http://www.telospress.com)).

- [Articles on Primitivism](https://web.archive.org/web/20140104063225/http://primitivism.com/)

- ["Primitivism meaning and methods"](http://www.reviewfashion.com/Primitivism.htm)"Primitivism, or anarcho-primitivism, is an anarchist critique of the origins and progress of civilization. Primitivists argue that the shift from hunter-gatherer to agricultural subsistence gave rise to social stratification, coercion, and alienation. "

- [Research Group in Primitive Art and Primitivism (CIAP-UPF)](https://www.upf.edu/en/web/ciap/inici)

- Ben Etherington, ["The New Primitives"](https://lareviewofbooks.org/article/the-new-primitives/), *Los Angeles Review of Books*, May 24, 2018.

## Further reading on Neo-primitivism

- [Cowell, Henry](/source/Henry_Cowell). 1933. "Towards Neo-Primitivism". *Modern Music* 10, no. 3 (March–April): 149–53. Reprinted in *Essential Cowell: Selected writings on Music by Henry Cowell, 1921–1964*, edited by Richard Carter (Dick) Higgins and Bruce McPherson, with a preface by Kyle Gann, 299–303. Kingston, NY: Documentext, 2002. [ISBN](/source/ISBN_(identifier)) [978-0-929701-63-9](https://en.wikipedia.org/wiki/Special:BookSources/978-0-929701-63-9).

- Doherty, Allison. 1983. "Neo-Primitivism". MFA diss. Syracuse: Syracuse University.

- Floirat, Anetta. 2015a. "[Chagall and Stravinsky: Parallels Between a Painter and a Musician Convergence of Interests](https://www.academia.edu/11937326/Chagall_and_Stravinsky_parallels_between_a_painter_and_a_musician_Convergence_of_interests)", Academia.edu (April).

- Floirat, Anetta. 2015b. "[Chagall and Stravinsky, Different Arts and Similar Solutions to Twentieth-Century Challenges](https://www.academia.edu/12290198/Chagall_and_Stravinsky_different_arts_and_similar_solutions_to_twentieth-century_challenges)". Academia.edu (April).

- Floirat, Anetta. 2016. "[The Scythian Element of the Russian Primitivism, in Music and Visual arts. Based on the Work of Three Painters (Goncharova, Malevich and Roerich) and Two Composers (Stravinsky and Prokofiev)](https://www.academia.edu/27688221/The_Scythian_element_of_the_Russian_primitivism_in_music_and_visual_arts._Based_on_the_work_of_three_painters_Goncharova_Malevich_and_Roerich_and_two_composers_Stravinsky_and_Prokofiev_)". Academia.edu.

- Garafola, Lynn. 1989. "The Making of Ballet Modernism". *Dance Research Journal* 20, no. 2 (Winter: Russian Issue): 23–32.

- Hicken, Adrian. 1995. "The Quest for Authenticity: Folkloric Iconography and Jewish Revivalism in Early Orphic Art of Marc Chagall (c. 1909–1914)". In *Fourth International Symposium Folklore–Music–Work of Art*, edited by Sonja Marinković and Mirjana Veselinović-Hofman, 47–66. Belgrade: Fakultet Muzičke Umetnosti.

- Nemirovskaâ, Izol'da Abramovna [Немировская, Изольда Абрамовна]. 2011. "Музыка для детей И.Стравинского в контексте художественной культуры рубежа XIX-ХХ веков" [Stravinsky's Music for Children and Art Culture at the Turn of the Twentieth Century]. In Вопросы музыкознания: Теория, история, методика. IV [Problems in Musicology: Theory, History, Methodology. IV], edited by Ûrij Nikolaevic Byckov [Юрий Николаевич Бычков] and Izol'da Abramovna Nemirovskaâ [Изольда Абрамовна Немировская], 37–51. Moscow: Gosudarstvennyj Institut Muzyki im. A.G. Snitke. [ISBN](/source/ISBN_(identifier)) [978-5-98079-720-1](https://en.wikipedia.org/wiki/Special:BookSources/978-5-98079-720-1).

- Sharp, Jane Ashton. 1992. "Primitivism, 'Neoprimitivism', and the Art of Natal'ia Gonchrova, 1907–1914". Ph.D. diss. New Haven: Yale University.

v t e Avant-garde movements Visual art Abstract expressionism Art Nouveau Art & Language Conceptual art Constructivism Proto-Cubism Cubism Functionalism Bauhaus Grosvenor School Devětsil Divisionism Fauvism Impressionism Neo-Impressionism Post-Impressionism Color Field Incoherents Lyrical Abstraction Mail art Minimalism Mir iskusstva Multidimensional art Neoplasticism De Stijl Neue Slowenische Kunst Nonconformism Nouveau réalisme Orphism Performance art Pop art Process art Purism Rayonism Suprematism Temporary art Vorticism Literature and poetry Acmeism Angry Penguins Asemic writing Conceptual poetry Cyberpunk Ego-Futurism Experimental literature Flarf poetry Hungry generation Imaginism Imagism Language poets Neoavanguardia Neoteric Nouveau roman Oberiu Oulipo Slam poetry Ultraísmo Visual poetry Young Vienna Zaum Music By style Funk Jazz Free funk Yass Pop Rock Prog Punk Metal Others Aleatoric music Ars nova Ars subtilior Atonal music Electroacoustic music Electronic music Industrial music Experimental pop Free jazz Free improvisation Futurism Microtonal music Minimal music Drone music Music theatre Musique concrète New Complexity No wave Noise music Post-rock Rock in Opposition Second Viennese School Serialism Spectral music Stochastic music Textural music Totalism Twelve-tone technique Cinema and theatre Cinéma pur Dogme 95 Drop Art Epic theatre Experimental film Experimental theatre Modernist film Poetic realism Postdramatic theatre Remodernist film Structural film Theatre of the Absurd Theatre of Cruelty General Constructivism Dada Expressionism Fluxus Futurism Russian Futurism Cubo-Futurism Lettrism Modernism Minimalism Postminimalism Neo-minimalism Neo-Dada Neoism Postmodernism Postmodernist film Late modernism Primitivism Situationist International Social realism Socialist realism Surrealism Symbolism Russian symbolism

v t e Futurism Italian Futurists Giacomo Balla (list of works) "Barbara" Umberto Boccioni Anton Bragaglia Benedetta Cappa Carlo Carrà Franco Casavola Nikolay Diulgheroff Luigi De Giudici F. T. Marinetti Marisa Mori Bruno Munari Aldo Palazzeschi Ugo Piatti Francesco Balilla Pratella Antonio Russolo Luigi Russolo Antonio Sant'Elia Gino Severini Ardengo Soffici Ego-Futurists Graal Arelsky Vasilisk Gnedov Boris Gusman Georgy Ivanov Igor Severyanin Dmitri Kryuchkov Konstantin Olimpov Rurik Ivnev Pavel Shirokov Russian Futurists and Cubo-Futurists Alexander Archipenko Nikolai Aseev Vladimir Baranoff-Rossine Lilya Brik Osip Brik Alexander Bogomazov Kseniya Boguslavskaya David Burliuk Vladimir Burliuk Joseph Chaikov Aleksandra Ekster Nina Genke-Meller Natalia Goncharova Elena Guro Vasily Kamensky Velimir Khlebnikov Ivan Kliun Aleksei Kruchyonykh Nikolai Kulbin Mikhail Larionov Aristarkh Lentulov El Lissitzky Benedikt Livshits Kazimir Malevich Mikhail Matyushin Vladimir Mayakovsky Boris Pasternak Victor Palmov Lyubov Popova Ivan Puni Olga Rozanova Vadim Shershenevich Nadezhda Udaltsova Léon Zack (Khrisanf) Ilia Zdanevich (Iliazd) Aeropittura Giacomo Balla "Barbara" Benedetta Cappa Giuseppe Caselli Tullio Crali Fortunato Depero Gerardo Dottori Fillìa Sante Monachesi Marisa Mori Enrico Prampolini Other Futurists Alice Bailly Mina Loy Almada Negreiros C. R. W. Nevinson Emilio Pettoruti Mário de Sá-Carneiro Valentine de Saint-Point Jules Schmalzigaug Mykhaylo Semenko Amadeo de Souza-Cardoso Frances Simpson Stevens Mary Swanzy Růžena Zátková Techniques, sub-genres and inventions Anti-neutral suit Intonarumori Italian futurism in cinema Futurist architecture Futurist cooking Futurist literature Futurist music Noise music Zaum Selected output Abstract Speed + Sound Antigrazioso The Art of Noises BÏF§ZF+18 The City Rises Cyclist Development of a Bottle in Space Drama in the Futurists' Cabaret No. 13 Dyr bul shchyl Dynamism of a Car Dynamism of a Cyclist Dynamism of a Dog on a Leash Dynamism of a Human Body: Boxer Dynamism of a Soccer Player Dynamism of a Speeding Horse + Houses Futurist Painting: Technical Manifesto The Knifegrinder Girl Running on a Balcony The Hand of the Violinist Lacerba Man of Smoke Manifesto of Futurism Manifesto of Futurist Musicians Mercury Passing Before the Sun The Poem of the End Poesia The Street Enters the House The Street Light Thaïs Tango with Cows Unique Forms of Continuity in Space Universal War Victory over the Sun Vladimir Mayakovsky Zangezi Zang Tumb Tumb Associated people Luisa, Marchesa Casati Gabriele D'Annunzio Sergei Diaghilev Benito Mussolini Wyndham Lewis Léonide Massine Igor Stravinsky Groups influenced Agitprop Agit-train Constructivism Dadaism Donkey's Tail Grosvenor School Jack of Diamonds Neo-Primitivism Oberiu Panfuturism Precisionism Rayonism Soyuz Molodyozhi Suprematism Supremus Vorticism See also 0,10 Exhibition 5×5=25 Cubism Divisionism Estorick Collection of Modern Italian Art Le Chahut Pointillism Primitivism Robert René Meyer-Sée Russian avant-garde Russian Ballet Sackville Gallery Ukrainian avant-garde Verbovka Village Folk Centre Zveno (art)

v t e Premodern, Modern and Contemporary art movements List of art movements/periods Premodern (Western) Ancient Thracian Dacian Nuragic Aegean Cycladic Minoan Minyan ware Mycenaean Greek Sub-Mycenaean Protogeometric Geometric Orientalizing Archaic Black-figure Red-figure Severe style Classical Kerch style Hellenistic "Baroque" Indo-Greek Greco-Buddhist Neo-Attic Etruscan Scythian Iberian Gaulish Roman Republican Gallo-Roman Julio-Claudian Pompeian Styles Trajanic Severan Medieval Late antique Early Christian Coptic Ethiopian Migration Period Anglo-Saxon Hunnic Insular Lombard Visigothic Donor portrait Pictish Mozarabic Repoblación Viking Byzantine Iconoclast Macedonian Palaeologan Italo-Byzantine Frankish Merovingian Carolingian Pre-Romanesque Ottonian Romanesque Mosan Spanish Norman Norman-Sicilian Opus Anglicanum Gothic Gothic art in Milan International Gothic International Gothic art in Italy Lucchese school Crusades Moscow school Novgorod school Vladimir-Suzdal school Duecento Sienese school Mudéjar Medieval cartography Italian school Majorcan school Mappa mundi Renaissance Italian Renaissance Trecento Proto-Renaissance Florentine school Pittura infamante Quattrocento Ferrarese school Forlivese school Venetian school Cinquecento High Renaissance Bolognese school Mannerism Counter-Maniera Northern Renaissance Early Netherlandish World landscape Ghent–Bruges school Northern Mannerism German Renaissance Cologne school Danube school Dutch and Flemish Renaissance Antwerp Mannerism Romanism Still life English Renaissance Tudor court Cretan school Turquerie Fontainebleau school Art of the late 16th century in Milan 17th century Baroque Baroque in Milan Flemish Baroque Caravaggisti in Utrecht Tenebrism Louis XIII style Lutheran Baroque Stroganov school Animal painting Guild of Romanists Dutch Golden Age Delft school Capriccio Heptanese school Classicism Louis XIV style Poussinists and Rubenists 18th century Rococo Rocaille Louis XV style Frederician Chinoiserie Fête galante Neoclassicism Goût grec Louis XVI style Adam style Directoire style Neoclassical architecture in Milan Picturesque Colonial art Art of the African diaspora African-American Caribbean Haitian Colonial Asian art Arts in the Philippines Letras y figuras Tipos del País Colonial Asian Baroque Company style Latin American art Casta painting Indochristian art Chilote school Cuzco school Quito school Latin American Baroque Art borrowing Western elements Islamic Moorish Manichaean Mughal Qajar Qing handicrafts Western influence in Japan Akita ranga Uki-e Transition to modern (c. 1770 – 1862) Romanticism Fairy painting Danish Golden Age Troubadour style Nazarene movement Purismo Shoreham Ancients Düsseldorf school Pre-Raphaelites Hudson River School American luminism Orientalism Norwich school Empire style Historicism Revivalism Biedermeier Realism Barbizon school Costumbrismo Verismo Macchiaioli Academic art Munich school in Greece Neo-Grec Etching revival Modern (1863–1944) 1863–1899 Neo-romanticism National romanticism Yōga Nihonga Japonisme Anglo-Japanese style Beuron school Hague school Peredvizhniki Impressionism American Hoosier Group Boston school Amsterdam Canadian Heidelberg school Aestheticism Arts and Crafts Art pottery Tonalism Decadent movement Symbolism Romanian Russian Volcano school Incoherents Post-Impressionism Neo-Impressionism Luminism Divisionism Pointillism Pont-Aven School Cloisonnism Synthetism Les Nabis American Barbizon school California tonalism Wilhelminism Costumbrismo 1900–1914 Art Nouveau Art Nouveau in Milan Primitivism California Impressionism Secessionism School of Paris Munich Secession Vienna Secession Berlin Secession Sonderbund Pennsylvania Impressionism Mir iskusstva Ten American Painters Fauvism Expressionism Die Brücke Der Blaue Reiter Noucentisme Deutscher Werkbund American Realism Ashcan School Cubism Proto-Cubism Orphism A Nyolcak Neue Künstlervereinigung München Futurism Cubo-Futurism Art Deco Art Deco in New York City Metaphysical Rayonism Productivism Synchromism Vorticism 1915–1944 Sosaku-hanga Suprematism School of Paris Crystal Cubism Constructivism Latin American Universal Constructivism Dada Shin-hanga Neoplasticism De Stijl Purism Return to order Novecento Italiano Figurative Constructivism Stupid Cologne Progressives Arbeitsrat für Kunst November Group Australian tonalism Dresden Secession Social realism Functionalism Bauhaus Kinetic art Anthropophagy Mingei Group of Seven New Objectivity Grosvenor school Neues Sehen Surrealism Iranian Latin American Mexican muralism Neo-Fauvism Precisionism Aeropittura Asso Scuola Romana Cercle et Carré The Group Harlem Renaissance Kapists Regionalism California Scene Painting Heroic realism Socialist realism Nazi art Streamline Moderne Concrete art Abstraction-Création Tiki The Ten Dimensionism Boston Expressionism Leningrad school Contemporary and Postmodern (1945–present) 1945–1959 International Typographic Style Abstract expressionism Washington Color School Visionary art Vienna School of Fantastic Realism Spatialism Color field Lyrical abstraction Tachisme Arte Informale COBRA Nuagisme Generación de la Ruptura Jikken Kōbō Metcalf Chateau Mono-ha Nanyang Style Action painting American Figurative Expressionism in New York New media art New York school Hard-edge painting Bay Area Figurative Movement Les Plasticiens Gutai Art Association Gendai Bijutsu Kondankai Pop art Situationist International Soviet Nonconformist Ukrainian underground Lettrism Letterist International Ultra-Lettrist Florida Highwaymen Cybernetic art Antipodeans 1960–1969 Otra Figuración Afrofuturism Nueva Presencia ZERO Happening Neo-Dada Neo-Dada Organizers Op art Nouveau réalisme Nouvelle tendance Capitalist realism Art & Language Arte Povera Black Arts Movement The Caribbean Artists Movement Chicano art movement Conceptual art Land art Systems art Video art Minimalism Fluxus Generative art Post-painterly abstraction Intermedia Psychedelic art Nut Art Photorealism Environmental art Performance art Process art Institutional critique Light and Space Street art Feminist art movement in the US Saqqakhaneh movement The Stars Art Group Tropicália Yoru no Kai Artificial intelligence visual art 1970–1999 Post-conceptual art Installation art Artscene Postminimalism Endurance art Sots Art Moscow Conceptualists Pattern and Decoration Pliontanism Punk art Neo-expressionism Transavantgarde Saint Soleil school Guerrilla art Lowbrow art Telematic art Appropriation art Neo-conceptual art New European Painting Tunisian collaborative painting Memphis Group Cyberdelic Neue Slowenische Kunst Scratch video Transgressive Retrofuturism Young British Artists Superfiction Taring Padi Superflat New Leipzig school Artist-run initiative Artivism The Designers Republic Grunge design Verdadism Chinese Apartment Art Oscilloscope Music 2000– present Amazonian pop art Altermodern Art for art Art game Art intervention Brandalism Classical Realism Contemporary African art Africanfuturism Contemporary Indigenous Australian art Crypto art Cyborg art Excessivism Fictive art Flat design Corporate Memphis Hypermodernism Hyperrealism Idea art Internet art Post-Internet iPhone art Kitsch movement Lightpainting Massurrealism Modern European ink painting Neo-futurism Neomodern Neosymbolism Passionism Post-YBAs Relational art Skeuomorphism Software art Sound art Stuckism Superflat SoFlo Superflat Superstroke Toyism Vaporwave Walking Artists Network Related History of art Abstract art Asemic writing Anti-art Avant-garde Ballets Russes Christian art Art in the Protestant Reformation and Counter-Reformation Catholic art Icon Lutheran art Digital art Fantastic art Folk art Hierarchy of genres Genre painting History painting Illuminated manuscript Illustration Interactive art Jewish art Kitsch Landscape painting Modernism Modern sculpture Late modernism Naïve art Outsider art Portrait Prehistoric European art Queer art Realism Shock art Trompe-l'œil Western painting Category

---
Adapted from the Wikipedia article [Primitivism](https://en.wikipedia.org/wiki/Primitivism) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Primitivism?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.