# Nouveau Réalisme (ヌーヴォー・レアリスム)

> 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.

- IndexStyle No.487 — https://indexstyle.org/styles/nouveau-realisme
- Kind: Style · Family: Postwar European Art · Era: 1960–1970
- Mood: Rebellion, Technology, Exhilaration
- Color cues: #e9e6dd / #67635d / #171615 (cues taken from reference works, not a fixed palette)

## Defining characteristics

- Layers of posters torn back
- Accumulations of identical objects
- Compressed industrial products
- Material chosen rather than worked

## Best used for

- 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

## Research method

This entry records a historical style; derive the treatment from its sources rather than a fixed recipe:

- Fragments of existing typography, whatever survives the tear, rather than a face chosen for the job.
- A full-bleed field of layered material with no hierarchy, anchored by one compressed or accumulated mass in the lower half.
- Real paper on real paper: paste it, tear it, expose the layers beneath, and let the physical edge do the drawing.

## What to 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.

## Application checklist

Before calling a piece an application of this style, check it against the defining characteristics:

- [ ] Layers of posters torn back
- [ ] Accumulations of identical objects
- [ ] Compressed industrial products
- [ ] Material chosen rather than worked
- [ ] At least one reference work below has been studied directly
- [ ] The caution above ("What to avoid") has been addressed

## Related styles

- **Neo-Dada (ネオ・ダダ)** — A postwar current that answered the inwardness of Abstract Expressionism by bringing household objects, printed matter and taxidermy onto the picture, working in the gap between art and life. It inherited Dada's gestures while making the materials of consumer society into structural components. The branching point immediately before Pop art. → https://indexstyle.org/styles/neo-dada
- **Arte Povera (アルテ・ポーヴェラ)** — Uses non-precious, changing materials — earth, branches, cloth, stone, fire, metal — to intervene in art's commodification and industrial values. → https://indexstyle.org/styles/arte-povera

## Further study

- The 1960 manifesto and its signatories
- The technique of décollage
- Comparison with American Pop

## Reference works

- Arman によるニースでの作品 1967 — Wikimedia Commons / CC BY-SA 3.0 — https://commons.wikimedia.org/wiki/File:Arman-Nice-La-Lanterne-%C3%A9t%C3%A91967.png
- Jacques Villeglé と剥がしポスターの壁 — Wikimedia Commons / CC BY-SA 2.0 — https://commons.wikimedia.org/wiki/File:Villegl%C3%A9%20et%20l'%C3%A9quipe%20du%20mur.jpg

## Source of record

- Tate — Art Terms: Nouveau Réalisme — https://www.tate.org.uk/art/art-terms/n/nouveau-realisme

## Machine surfaces

- JSON: https://indexstyle.org/api/styles/nouveau-realisme
- Image-generation prompt (legally clean): https://indexstyle.org/styles/nouveau-realisme/prompt.txt
- MCP: https://indexstyle.org/mcp (tools: search_styles, get_style, compose_styles; prompts: image-prompt, apply-style)

## 日本語

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。

特徴: 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
注意: 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。