{"id":"art-informel","no":471,"name":"Art Informel","ja":"アンフォルメル","era":"1945–1960","family":"抽象表現","kind":"スタイル","collection":"Dictionary expansion 23","addedAt":"2026-08-18","source":{"title":"Tate — Art Terms: Art Informel","url":"https://www.tate.org.uk/art/art-terms/a/art-informel"},"reference":{"status":"verified","pageUrl":"https://www.tate.org.uk/art/art-terms/a/art-informel","credit":"Tate — Art Terms: Art Informel","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Wols%20composition%201507416.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Wols%20composition%201507416.jpg","credit":"Wols によるコンポジション — Wikimedia Commons / CC BY-SA 4.0"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/L'arbre%20biplan%20(1968)%20-%20Jean%20Dubuffet%20(1901%20-%201985)%20(23420452431).jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:L'arbre%20biplan%20(1968)%20-%20Jean%20Dubuffet%20(1901%20-%201985)%20(23420452431).jpg","credit":"Jean Dubuffet《L'arbre biplan》1968 — Wikimedia Commons / CC BY 2.0"}]},"essence":"戦後ヨーロッパで、幾何学的な構成も具象も拒み、物質と行為の痕跡そのものを画面にした抽象。厚く盛られた絵具、掻き傷、滲み、破れが、形になる前の状態を提示する。素材の物質感を前面に出す設計の源流。","cues":["厚塗りと掻き傷の痕跡","形を成さない滲み","土と灰の色域","支持体の破れと露出"],"intents":["技術","遊び","懐かしさ"],"works":["一次資料と代表作から成立条件を比較する","別媒体へ応用できる構成原理を取り出す"],"recipe":{"type":"参照作品の文字・記号・スケールを観察する","layout":"視線と情報を支配する構造を一つ抽出する","material":"時代・地域・制作工程に固有の素材と挙動を確認する"},"avoid":"表面的な記号へ還元せず、時代・地域・技術・制作主体の文脈を確認する。","colors":["#e9e6dd","#67635d","#171615"],"motif":"graphic","pair":["tachisme","gutai"],"study":["タピエによる命名","アメリカの抽象表現主義との差","具体美術協会との交流"],"en":{"essence":"A postwar European abstraction that refused both geometric composition and figuration, making the surface out of matter and the traces of the act itself. Thickly piled paint, scratches, stains and tears present a state before form. The source of all design that pushes the physicality of material to the front.","cues":["Traces of impasto and scratching","Stains that never settle into form","A range of earth and ash tones","Tears and exposure of the support"],"works":["Texture-led art direction for craft, ceramics or fashion houses","Cover art and interiors where raw matter carries the emotion"],"recipe":{"type":"Minimal, quiet type kept clear of the matter, or scratched crudely into it","layout":"Centreless fields of material incident; composition by density, not by figure","material":"Impasto, plaster and tar in earth and ash tones; scraped, stained and torn supports"},"avoid":"Avoid faking the texture with clean digital filters—the style lives on real material resistance, and simulated grunge reads instantly as decor.","study":["The naming by Michel Tapié","The difference from American Abstract Expressionism","The exchange with the Gutai group"]}}