{"id":"nouveau-realisme","no":487,"name":"Nouveau Réalisme","ja":"ヌーヴォー・レアリスム","era":"1960–1970","family":"戦後ヨーロッパ美術","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/Arman-Nice-La-Lanterne-%C3%A9t%C3%A91967.png?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Arman-Nice-La-Lanterne-%C3%A9t%C3%A91967.png","credit":"Arman によるニースでの作品 1967 — Wikimedia Commons / CC BY-SA 3.0"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Villegl%C3%A9%20et%20l'%C3%A9quipe%20du%20mur.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Villegl%C3%A9%20et%20l'%C3%A9quipe%20du%20mur.jpg","credit":"Jacques Villeglé と剥がしポスターの壁 — Wikimedia Commons / CC BY-SA 2.0"}]},"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":["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":["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, rather than a face chosen for the job.","layout":"A full-bleed field of layered material with no hierarchy, anchored by one compressed or accumulated mass in the lower half.","material":"Real paper on real paper: paste it, tear it, expose the layers beneath, and let the physical edge do the drawing."},"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"]}}