{"id":"nouveau-realisme","no":446,"name":"Nouveau Réalisme","ja":"ヌーヴォー・レアリスム","era":"1960–1970","family":"戦後抽象絵画","kind":"スタイル","collection":"Dictionary expansion 24","addedAt":"2026-08-18","source":{"title":"Tate — Art Terms: Nouveau Réalisme","url":"https://www.tate.org.uk/art/art-terms/n/nouveau-realisme"},"reference":{"status":"verified","pageUrl":"https://www.tate.org.uk/art/art-terms/n/nouveau-realisme","credit":"Tate — Art Terms: Nouveau Réalisme","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Jean%20Tinguely%20(1925%E2%80%931991)%20Fasnachts-Brunnen%2C%20Tinguely-Brunne%2C%20Basel%2009.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Jean%20Tinguely%20(1925%E2%80%931991)%20Fasnachts-Brunnen%2C%20Tinguely-Brunne%2C%20Basel%2009.jpg","credit":"ジャン・ティンゲリー《ファスナハト噴水》バーゼル — Wikimedia Commons / CC BY-SA 4.0"}]},"essence":"1960年のパリで「現実の直接的な取得」を宣言した集団。剥がしたポスターの層、圧縮した車体、集積したゴミが、描写を経ずに都市そのものを作品にする。素材を加工せず選び取るという態度が、以後のアッサンブラージュの前提を作った。","cues":["剥がされたポスターの層","同じ物の集積","圧縮された工業製品","加工しない素材の選択"],"intents":["反骨","技術","高揚"],"works":["街の音楽イベントで、掲示の重なりを剥がしてそのまま図版にしたいとき","回収や再利用を扱う企業の広告で、集積そのものを画にしたいとき"],"recipe":{"type":"残った文字の断片だけを見せ、新しい文字を足さない","layout":"剥離の縁を構図線にして面を割り、圧縮や集積の塊を一つ据える","material":"同じ物を大量に集めるか、層を剥いで下の刷りを出す"},"avoid":"破れの形を描き足して整えると、剥がれが起きた事実が失われ、傷み加工の素材と変わらなくなる。","colors":["#d5ccb4","#7face6","#15171b"],"motif":"graphic","pair":["neo-dada","arte-povera"],"study":["1960年の宣言と署名者","デコラージュの技法","アメリカのポップとの比較"],"en":{"essence":"A group that declared, in Paris in 1960, the direct appropriation of reality. Layers of torn posters, compressed car bodies and accumulated refuse make the city itself into the work without passing through depiction. The stance of selecting material rather than working it laid the ground for all later assemblage.","cues":["Layers of posters torn back","Accumulations of identical objects","Compressed industrial products","Material chosen rather than worked"],"works":["Urban and cultural posters that take fly-posted, weathered layers as their actual language rather than as a filter","Retail and exhibition display built from massed identical units, where the accumulation is the graphic device"],"recipe":{"type":"Fragments of existing typography, whatever survives the tear, never a face chosen for the job","layout":"Let the torn edge draw the composition, splitting the field around one compressed or massed block","material":"Mass identical real objects, or paste and tear paper so the lower printings show"},"avoid":"Simulating the torn poster with a distress filter: the movement's entire claim is that the material was taken and not made, and a synthetic tear reverses it.","study":["The 1960 manifesto and its signatories","The technique of décollage","Comparison with American Pop"]},"links":{"page":"https://indexstyle.org/styles/nouveau-realisme","json":"https://indexstyle.org/api/styles/nouveau-realisme","designSpec":"https://indexstyle.org/styles/nouveau-realisme/design.md","imagePrompt":"https://indexstyle.org/styles/nouveau-realisme/prompt.txt"},"usage":{"license":"CC-BY-4.0","licenseName":"Creative Commons Attribution 4.0 International","licenseUrl":"https://creativecommons.org/licenses/by/4.0/","attribution":"IndexStyle — https://indexstyle.org","attributionUrl":"https://indexstyle.org","scope":"Original IndexStyle text and structured data. Reference images, quoted works, and third-party material are excluded and retain their own rights."}}