{"id":"purism","no":463,"name":"Purism","ja":"ピュリスム","era":"1918–1925","family":"機械美学","kind":"スタイル","collection":"Dictionary expansion 23","addedAt":"2026-08-18","source":{"title":"Tate — Art Terms: Purism","url":"https://www.tate.org.uk/art/art-terms/p/purism"},"reference":{"status":"verified","pageUrl":"https://www.tate.org.uk/art/art-terms/p/purism","credit":"Tate — Art Terms: Purism","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Cover%20esprit%20nummer%201.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Cover%20esprit%20nummer%201.jpg","credit":"雑誌『L'Esprit Nouveau』創刊号表紙 1920 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/L'EspritNouveau-issue1.png?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:L'EspritNouveau-issue1.png","credit":"『L'Esprit Nouveau』第1号 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Am%C3%A9d%C3%A9e%20Ozenfant%20%E2%80%94%20Graphics%20on%20a%20Black%20Background%20(1928).jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Am%C3%A9d%C3%A9e%20Ozenfant%20%E2%80%94%20Graphics%20on%20a%20Black%20Background%20(1928).jpg","credit":"Amédée Ozenfant《黒地の上のグラフィック》1928 — Wikimedia Commons / Public domain"}]},"essence":"キュビスムの装飾化を批判し、機械時代にふさわしい明晰な形へ戻せと説いた運動。瓶・グラス・ギターといった規格化された「オブジェ・タイプ」を、水平垂直の秩序と抑えた色で描く。雑誌『レスプリ・ヌーヴォー』を通じて近代建築とグラフィックの規範になった。","cues":["規格化された日用品のシルエット","水平垂直を基調とした構成","抑制された色数","重なりの輪郭線"],"intents":["信頼","未来"],"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":["cubism","international-style"],"study":["『レスプリ・ヌーヴォー』誌の版面","オブジェ・タイプの概念","ル・コルビュジエの建築との連続"],"en":{"essence":"A movement that criticised Cubism's drift into decoration and called for a return to forms clear enough for the machine age. Standardised 'objets-types'—bottles, glasses, guitars—are painted within a horizontal-vertical order and a restrained palette. Through the journal L'Esprit Nouveau it became a norm for modern architecture and graphics.","cues":["Silhouettes of standardised everyday objects","Compositions built on horizontals and verticals","A restrained number of colours","Contour lines of overlapping forms"],"works":["Product communication that presents industrial objects as calm archetypes","Editorial systems pairing strict horizontal-vertical grids with a quiet palette"],"recipe":{"type":"Rational geometric sans of even weight, set flush to the grid","layout":"Horizontal-vertical armature; object silhouettes overlapped in shallow, ordered space","material":"Chalky muted blues, greys and ochres; smooth matte surfaces without visible gesture"},"avoid":"Avoid reintroducing anecdote or ornament—once the objects stop being types and become picturesque still lifes, the machine-age clarity is lost.","study":["The page layouts of L'Esprit Nouveau","The concept of the objet-type","The continuity with Le Corbusier's architecture"]}}