Magic realismMagic realism or magical realism is a style of literary fiction and art. It paints a realistic view of the world while also adding magical elements, often blurring the lines between fantasy and reality. Magic realism often refers to literature in particular, with magical or supernatural phenomena presented in an otherwise real-world or mundane setting, commonly found in novels and dramatic performances.
Literary realismLiterary realism is a literary genre, part of the broader realism in arts, that attempts to represent subject-matter truthfully, avoiding speculative fiction and supernatural elements. It originated with the realist art movement that began with mid-nineteenth-century French literature (Stendhal) and Russian literature (Alexander Pushkin). Literary realism attempts to represent familiar things as they are. Realist authors chose to depict everyday and banal activities and experiences.
Monochrome paintingMonochromatic painting has played a significant role in modern and contemporary Western visual art, originating with the early 20th-century European avant-gardes. Artists have explored the non-representational potential of a single color, investigating shifts in value, diversity of texture, and formal nuances as a means of emotional expression, visual investigation into the inherent properties of painting, as well as a starting point for conceptual works.
Realism (arts)Realism in the arts is generally the attempt to represent subject matter truthfully, without artificiality and avoiding speculative and supernatural elements. The term is often used interchangeably with naturalism, although these terms are not synonymous. Naturalism, as an idea relating to visual representation in Western art, seeks to depict objects with the least possible amount of distortion and is tied to the development of linear perspective and illusionism in Renaissance Europe.
PaintingPainting is the practice of applying paint, pigment, color or other medium to a solid surface (called the "matrix" or "support"). The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, and airbrushes, can be used. In art, the term "painting" describes both the act and the result of the action (the final work is called "a painting").
Nouveau réalismeNouveau réalisme (French for "new realism") is an artistic movement founded in 1960 by the art critic Pierre Restany and the painter Yves Klein during the first collective exposition in the Apollinaire gallery in Milan. Pierre Restany wrote the original manifesto for the group, titled the "Constitutive Declaration of New Realism," in April 1960, proclaiming, "Nouveau Réalisme—new ways of perceiving the real.
History of paintingThe history of painting reaches back in time to artifacts and artwork created by pre-historic artists, and spans all cultures. It represents a continuous, though periodically disrupted, tradition from Antiquity. Across cultures, continents, and millennia, the history of painting consists of an ongoing river of creativity that continues into the 21st century. Until the early 20th century it relied primarily on representational, religious and classical motifs, after which time more purely abstract and conceptual approaches gained favor.
Avant-gardeIn the arts and in literature, the term avant-garde (advance guard and vanguard) identifies a genre of art, an experimental work of art, and the experimental artist who created the work of art, which usually is aesthetically innovative, whilst initially being ideologically unacceptable to the artistic establishment of the time. The military metaphor of an advance guard identifies the artists and writers whose innovations in style, form, and subject-matter challenge the artistic and aesthetic validity of the established forms of art and the literary traditions of their time; thus how the artists who created the anti-novel and Surrealism were ahead of their times.
Performance artPerformance art is an artwork or art exhibition created through actions executed by the artist or other participants. It may be witnessed live or through documentation, spontaneously developed or written, and is traditionally presented to a public in a fine art context in an interdisciplinary mode. Also known as artistic action, it has been developed through the years as a genre of its own in which art is presented live. It had an important and fundamental role in 20th century avant-garde art.
Russian avant-gardeThe Russian avant-garde was a large, influential wave of avant-garde modern art that flourished in the Russian Empire and the Soviet Union, approximately from 1890 to 1930—although some have placed its beginning as early as 1850 and its end as late as 1960. The term covers many separate, but inextricably related, art movements that flourished at the time; including Suprematism, Constructivism, Russian Futurism, Cubo-Futurism, Zaum, Imaginism, and Neo-primitivism.
Ink wash paintingInk wash painting (; is a type of Chinese ink brush painting which uses washes of black ink, such as that used in East Asian calligraphy, in different concentrations. It emerged during the Tang dynasty of China (618–907), and overturned earlier, more realistic techniques. It is typically monochrome, using only shades of black, with a great emphasis on virtuoso brushwork and conveying the perceived "spirit" or "essence" of a subject over direct imitation.
MysticismMysticism is popularly known as becoming one with God or the Absolute, but may refer to any kind of ecstasy or altered state of consciousness which is given a religious or spiritual meaning. It may also refer to the attainment of insight in ultimate or hidden truths, and to human transformation supported by various practices and experiences. The term "mysticism" has Ancient Greek origins with various historically determined meanings.
Art manifestoAn art manifesto is a public declaration of the intentions, motives, or views of an artist or artistic movement. Manifestos are a standard feature of the various movements in the modernist avant-garde and are still written today. Art manifestos are sometimes in their rhetoric intended for shock value, to achieve a revolutionary effect. They often address wider issues, such as the political system. Typical themes are the need for revolution, freedom (of expression) and the implied or overtly stated superiority of the writers over the status quo.
Jewish mysticismAcademic study of Jewish mysticism, especially since Gershom Scholem's Major Trends in Jewish Mysticism (1941), draws distinctions between different forms of mysticism which were practiced in different eras of Jewish history. Of these, Kabbalah, which emerged in 12th-century Europe, is the most well known, but it is not the only typological form, nor was it the first form which emerged. Among the previous forms were Merkabah mysticism (c. 100 BCE – 1000 CE), and Ashkenazi Hasidim (early 13th century) around the time of the emergence of Kabbalah.
Religious experienceA religious experience (sometimes known as a spiritual experience, sacred experience, or mystical experience) is a subjective experience which is interpreted within a religious framework. The concept originated in the 19th century, as a defense against the growing rationalism of Western society. William James popularised the concept. In some religions this may result in unverified personal gnosis. Many religious and mystical traditions see religious experiences (particularly the knowledge which comes with them) as revelations caused by divine agency rather than ordinary natural processes.
Scholarly approaches to mysticismScholarly approaches to mysticism include typologies of mysticism and the explanation of mystical states. Since the 19th century, mystical experience has evolved as a distinctive concept. It is closely related to "mysticism" but lays sole emphasis on the experiential aspect, be it spontaneous or induced by human behavior, whereas mysticism encompasses a broad range of practices aiming at a transformation of the person, not just inducing mystical experiences. There is a longstanding discussion on the nature of so-called "introvertive mysticism.
Anti-realismIn analytic philosophy, anti-realism is a position which encompasses many varieties such as metaphysical, mathematical, semantic, scientific, moral and epistemic. The term was first articulated by British philosopher Michael Dummett in an argument against a form of realism Dummett saw as 'colorless reductionism'. In anti-realism, the truth of a statement rests on its demonstrability through internal logic mechanisms, such as the context principle or intuitionistic logic, in direct opposition to the realist notion that the truth of a statement rests on its correspondence to an external, independent reality.
Philosophical realismPhilosophical realism – usually not treated as a position of its own but as a stance towards other subject matters – is the view that a certain kind of thing (ranging widely from abstract objects like numbers to moral statements to the physical world itself) has mind-independent existence, i.e. that it exists even in the absence of any mind perceiving it or that its existence is not just a mere appearance in the eye of the beholder.
PerformanceA performance is an act of staging or presenting a play, concert, or other form of entertainment. It is also defined as the action or process of carrying out or accomplishing an action, task, or function. In the work place, job performance is the hypothesized conception or requirements of a role. There are two types of job performances: contextual and task. Task performance is dependent on cognitive ability, while contextual performance is dependent on personality.
Naïve realismIn philosophy of perception and epistemology, naïve realism (also known as direct realism, perceptual realism, or common sense realism) is the idea that the senses provide us with direct awareness of objects as they really are. When referred to as direct realism, naïve realism is often contrasted with indirect realism. According to the naïve realist, the objects of perception are not representations of external objects, but are in fact those external objects themselves.
