New Realism in Art by Ashish Maurya by Ashish Maurya

By Ashish Kumar Maurya

New Realism in Art

Report submitted to college of art, university of Delhi, New Delhi for the previous year master of fine arts in painting department.

Guide Dr. Sanihita Bhowal Lecturer, Art Historian COA, New Delhi

Investigator Ashish Kumar Maurya MFA (previous year} Dept. of Painting, College of Art, New Delhi.

Certificate The Report is presented to College of art, University of Delhi, New Delhi in partial fulfilment of the MFA (Previous Year) curriculum. It is record of the student own work carried by her/his under the supervision and guidance of

The Principal Dr. B.C. Chauhan

Head of the Department of Painting Dr. Jyotika Sehgal

The Research guide Mrs. Sanhita Bhowal

Researcher Ashish Kumar Maurya

Acknowledgement

First and foremost I owe profound reverence and obligation to a very humane and generous soul, my Supervisor, Prof. (Mrs.) Sanihita Bhowal, Department of painting, College of art, University of Delhi, New Delhi for her incessant moral and intellectual support. Equally I am greatly indebted to Prof. Dr. Jyotika Sehgal, the worthy HOD, Department of Painting, college of art New Delhi for his erudite advice, invaluable support and kind cooperation. I also feel it my humble duty to acknowledge the precious support I received from all the faculty members of the department of painting, college of art, New Delhi. Last but not the least I am indebted to all the libraries and institutions especially college of art library and NGMA library, for permitting me to access and explore their resources. I also owe my deepest thanks to my classmates for group discussion which had helped me out of this report. I am very grateful to my parents who gave me a tremendous energy to complete this report.

25th June, 2020

Ashish Kumar maurya

Table of Content 1. Summary………………………………………………………………................... 7 2. Purpose and plan of the Report………………………………………………...... 7 3. Introduction……………………………………………………………………...... 8 4. History of new Realism…………………………………………………………… 9 The final manifesto………………………………………………………………….... 10 5. Concept, Style and Techniques of new realism…………………………………. 11 Assemblage……………………………………………………………........... 12 Decollage……………………………………………………………………. 13 Performance………………………………………………………………….. 14 Painting………………………………………………………………………. 16 Sculpture and Installations…………………………………………………… 17 6. Artists of New Realism…………………………………………………………… 19 1. Yves Klein………………………………………………………………. 19 Yves Klein’s Romanticism………………………………………………….

Monochrome Blue………………………………………………………….. 20 Living Brush Painting……………………………………………………… 20 Seeking Immateriality……………………………………………………… 21 Works…………………………………………………………………........ 21 2. Arman…………………………………………………………………… 23 Artistic career 1955-1959…………………………………………………... 24 Exhibition of works by Arman……………………………………………… 24 Works……………………………………………………………………… 24 The artwork Les Poubelles……………………………………………........

3. Jean Tinguely…………………………………………………………… 27 Jean Tinguely; Life and works (1925-1991)……………………………….. 27 Freelance decorator in Basel………………………………………………. 27 Change of 1960…………………………………………………………….. 28 Works………………………………………………………………………. 28

Medium……………………………………………………………………… 29 7. Chronology of New Realism……………………………………………………… 30 8. Observation of new realism in contemporary society………………………….. 30 9. Conclusion…………………………………………………………………............ 32 10. Bibliography………………………………………………………………………. 33 1. Books 2. Links

Summary .

A group of French artists in the early 1960s set the standards for avant-garde art for a whole generation. Emerging at a time of political upheaval in France, Klein was not only a pioneer of conceptual art, but also a ground-breaking exponent of performance art, taking part in several high risk events. On October 27, 1960, art critic Pierre Restany named a group of Paris-based artists the “Nouveaux Realists” (New Realists) in a founding declaration that stated, “The New Realists recognize their collective singularity. New Realism = new perceptual approaches of the real.” Besides Restany, this group included Yves Klein, Arman, François Dufrêne, Raymond Hains, Martial Raysse, Daniel Spoerri, Jean Tinguely, and Jacques Villeglé. Their work incorporated consumer objects and new media in response to the postwar period’s painterly modes and its burgeoning consumer and industrial society. Although it was not the first "realism" movement, it was coined "new" as the third component to the Nouveau Roman (fiction) and New Wave (film) genres that were also progressive arrivals of culture in France at the time. With Nouveau Réalisme, artists questioned the idea that art had to elevate, politicize, or idealize any subject. This questioning led to an intersection between art and life, narrowing the gap between artists and the public, allowing everyone to participate in and easily relate to a rich multiplicity of media, forms, and styles. Although it was relatively short-lived, the movement's influence is still widely seen today, perhaps because it offered such myriad possibilities within the ever-existing fodder of the present environment for any given artist. Their rejection of traditional artistic norms - in true Dada spirit, along with his wholehearted pursuit of an entirely new set of aesthetics, makes the first and most original exponent of postmodernist art - in Europe, if not the world.

In a way, New Realism, One of the most important neo-avant-garde movement in 20th century who mandated a “direct appropriation of the real”. New Realism engaged performative practice to produce alternative social meanings.

Purpose and plan of the Report: I have deep interest to search in art history. I love reading and studying. Similarly, after turning a few pages, I met this chapter with whom I was connecting myself such as experimenting with the concept, features and materials of art. Yes I am talking about that movement which was the newAvant- grade in 20th century art named, New Realism. Works of artists and their style Left a deep impression on me. This is a historical research in which I have tried to present my aspect of New Realism in detail. Blue series of Yves Klein and his performance I like most and he is one of the my favorite artist

in 20th century. There are so many movements at that time like Dada, Fluxes and in America pop art but New Realists descended them and create new style with new meanings of art. in my point of view they referenced with these movements Dada, Pop and Fluxes but Yves Klein and his fellow artists stand with new version of art in 20th century. From last some years I am seeking knowledge about materiality that how materiality is important in art and how can we relate them with a strong concept in symbolic manner. So this small research will help me that what I am looking as well as those who are trying to explain their art with materiality representation in abstract form.

IntroductionSince the beginning of time we have been told stories through art. They have become an important source of communication and in fact, one can trace the trajectory of narrative art to understand how culture has evolved over the centuries. Art became the signifier of power and patronage. With the rise of abstract art in the 20th century the narrative became marginalized. However, during the 90's when artists felt the need to articulate the politics of identity and difference, they began investing in both abstract and representational forms of art with narrative content. A group of French artists in the early 1960s set out to prove the death of art's preciousness by considering reality their primary medium. Through a phenomenological reflection about the world around them, they would create works and happenings under the banner of Nouveau Realism, or New Realism. In 1955, French art critic Pierre Restany met Yves Klein at his first solo show in Paris. At the time Klein had been making a name for himself as an artist whose work challenged the illusions of art. In this exhibition he was showing the first series of what would later become his famous monochrome works - paintings made of simple squares of one uniform color. There was no relation of color to anything but itself, a blasphemous notion at the time. Klein introduced Restany to a large group of artists including Jean Tinguely and Arman whose work, like much of his own, meant to show ordinary reality without idealization. Unlike the European Realists or the Social Realists before them, who were known to present reality through a darker lens, Klein and his peers were simply acting as mirrors to explore their everyday urban, consumer society. "New Realism - new ways of perceiving the real." In 1961, Klein began to distance himself from the group, publishing his own

artistic statement called the Chelsea Hotel Manifesto. The following year, he died suddenly of a heart attack, and his death marked the beginning of the end for Nouveau Realism. The opening chapter succinctly delineates the concept of New Realism and its impression on Artist and art movement. The chapter surveys the Avant- Grade of French art. It portrays major influential artist and movement that shaped with new identity. It also focuses on the Art movement accomplishments of the artist like Yves Klein, Arman, Jean Tinguely and Mimmo Rotella etc. In addition it concentrates on the themes and acquaintance of the artist under French as well as whole world.

History of New RealismIn 1958, Restany wrote the catalog notes for Klein a famous exhibition in which no work was shown. Instead, the walls of the gallery were left blank and viewers were invited to consider "the specialization of sensibility." The conceptual nature of the show prompted a response from a fellow artist Arman, who filled the windows of the Galleries Iris Clert with rubbish and named the work Le Plein (or "Full Up") in 1960.The term new realism was first used in May 1960 by Pierre Restany, to describe the works of Omiros, Arman, François Dufrêne, Raymond Hains, Yves Klein, Jean Tinguely and Jacques Villeglé as they exhibited their work in Milan. Restany wrote the catalog essay for the show, which he titled "Les Nouveaux Réalistes." In it he characterized the art as "The passionate adventure of the real perceived in itself and not through the prism of conceptual or imaginative transcription." In October of the same year, Restany encouraged the artists involved to put their signatures to his essay, transforming it into the first manifesto of Nouveau Réalisme. The artists included Yves Klein, Arman, François Dufrene, Raymond Hains, Daniel Spoerri, Jean Tinguely and Jacques de la Villegle. They used the manifesto to affirm their "collective singularity" as a group and their dedication to appropriating reality in their art, cementing the style as a movement. The singlestatement manifesto read: "The Nouveaux Réalistes have become conscious of their collective identity; Nouveau Réalisme = new perceptions of the real." Restany defined this group of artists as sharing "new perceptual approaches to reality". The first exhibition of the "Nouveaux réalistes" took place in November 1960 at the Paris Festival d'avantgarde. Their work was an attempt at reassessing the concept of art and the artist in the context of

20th-century consumer society by reasserting humanistic ideals in the face of industrial expansion.[3] In 1961 he co-founded with Jeannine de Goldschmidt the Galerie J in Paris.

The Final ManifestoAn art manifesto is a public declaration of the intentions, motives, or views of an artist or artistic movement. Manifestos are a standard feature of the various movements in the modernist avant-garde and are still written today.In 1962, there was an exhibition of Nouveau Réaliste work at the Sidney Janis Gallery in New York. This joint declaration was signed on 27 October 1960, in Yves Klein's workshop, by nine people: Yves Klein, Arman, Martial Raysse, Pierre

Restany, Daniel

Spoerri, Jean

Tinguely and

the Ultra-Lettrists, Francois

Dufrêne, Raymond Hains, Jacques de la Villeglé; in 1961 these were joined by César, Mimmo Rotella, then Niki de Saint Phalle and Gérard Deschamps. The show posited the New Realism movement as an embryonic precursor to the emerging US Pop art movement, rather than giving it status as a movement in its own right. The following year, Christo joined the Nouveau Realism movement at the Second Festival of New Realism in Munich. Restany once again wrote the catalog essay for the exhibition entitled "New realism? What are we to make of it?" The text became the final manifesto, signifying the unified movement's dissolution. After this, the group rarely showed there works together. Christo, who was known for his monumental environmental artworks with his late wife, Jeanne-Claude Denat de Guillebon, has died. He was 84 years old. Together, known simply as Christo and Jeanne-Claude, they wrapped iconic landmarks in fabric, such as the Pont Neuf in Paris in 1985 and the Reichstag in Berlin in 1995; and mounted thousands of orange gates in Central Park, redolent of Japan's sacred torii gates, in 2005. Christo passed away Sunday 31 May at his home in New York. Nouveau Realism’s presentation of reality was a decidedly new one. Its artists were responding to their environment in post-war Europe amidst a society wetting its teeth on cultural production and consumption. This was articulated through a direct appropriation of, and dialogue with, parts of their world, or as founder Pierre Restany would say, "a poetic recycling of urban, industrial

and advertising reality." They advocated this return to reality (the items they saw around themselves) in opposition to the lyricism of abstract painting or the petty bourgeois of figuration.

The Nouveau Realism Manifesto, signed By all of the original members in Yves Klein's apartment, 27 October 1960

Concepts, Styles, and techniques of New RealismNew Realists declared that they had come together on the basis of a new and real awareness of their "collective singularity", meaning that they were together in spite of, or perhaps because of, their differences. But for all the diversity of their plastic language, they perceived a common basis for their work; this being a method of direct appropriation of reality, equivalent, in the terms used by Pierre Restany, to a "poetic recycling of urban, industrial and advertising reality â&#x20AC;&#x153;Artists of Nouveau Realism sought out to strip art of previously thought standards that art had to mean something, they could take any object beyond its preconceived notions and present it as itself, and thought it could still be considered art. Many of them also sought to break down the glamorization of artists producing their craft in private, and due to this often times art pieces were produced in public

Made extensive use of collage, cinema posters, and assemblage, using real objects incorporated directly into the work and acknowledging a debt to the ready-mades of Marcel Duchamp. But the New Realism movement has often been compared to the pop art movement in New York for their use and critique of mass-produced commercial objects although Nouveau Realism maintained closer ties with Dada than with pop art. The Nouveaux Realists ushered in a bold cacophony of styles. Even when borrowing from Dada or American Pop art contemporaries, they managed to make several techniques their own with an inherent avant-garde flair.

AssemblageMany of the New Realism artists use the technique of assemblage, a format that brings together disparate elements, often found items, to create a single sculptural work. It was famously adopted and explored by Arman, for his "poubelles" or trashcan compositions, in which he filled transparent cases with items of rubbish.

“I specialize very much in… everything,” the French-born American artist Arman told an interviewer in 1968. “I have never been — how do you say it? A dilettante.” Regarded as one of the most prolific and inventive creators of the late 20th century, Arman’s vast artistic output ranges from drawings and prints to monumental public sculpture to his famous “accumulations” of found objects. His work—strongly influenced by Dada, and in turn a strong influence on Pop Art—is in the collections of such institutions as the Metropolitan Museum of Art in New York, the Tate Gallery in London and the Centre Pompidou in Paris. Trash in Plexiglas box on painted wood, 100/100 28 1/8 x 20 1/4 x 4 7/8 "

DecollageDecollage is a two-dimensional technique that achieves a similar aesthetic to assemblage. The technique was inspired by the collage practices of Dada and was adopted by Franรงois Dufrene, Jacques Villegle, Mimmo Rotella and Raymond Hains who were inspired by the peeling billboards, decomposing posters, and tattered advertisements on the streets of Paris. They would pirate images directly from the walls and signs, sometimes taking a chunk of wall in its entirety an act of vandalism justified by their self-labelled solidarity against the advertisement industry's co-opting of public space - and then create works with these images layered one atop the other.

With a Smile,1962 MEDIUM-Printed papers on canvas

COLLECTION-Tate, New York

Famously introduced collage to the Western canon in 1912, including elements like rope and oil-cloth in his work as a part of his ongoing exploration (culminating in cubism) of how to reconcile three-dimensional subject matter with the two-dimensional plane of the canvas. German Dadaists like Hannah Hoch and John Heartfield picked up on this thread around 1920, compiling collages and photomontages from magazine, newspaper, and catalogue clippings in

order to comment on the use of mass media as a political tool and a new, image-saturated world. More than 30 years later, the practitioners of pop art, like Richard Hamilton, used the medium to show how life had become an assemblage of consumer products and cultural references. Collage allowed all of these artists to bring aspects of the outside world into their work; in its threedimensionality, however subtle, it also allowed them to physically project their art back into the world. Mimmo Rotella’s work is clearly and deeply linked to all of these movements, which only adds weight to the force of his originality. Rotella’s oeuvre is so distinct that it requires its own vocabulary. The most important term, which he coined, is décollage: it refers to the collaging process that he developed in which he ripped worn-out posters from outdoor walls of Rome, tore them up further in his studio, and then reassembled them on prepared canvas.

PerformanceAs an antidote to the stereotype that artists are isolated figures, eternally tucked away like hermits in the privacy of their studios, many of the Nouveaux Realists chose to produce their work in the public eye. Key examples of this include Yves Klein's Anthropometry works in which naked women were used as "human paintbrushes" to smear paint onto prepared canvases. Arman staged public destructions of instruments and then rearranged their parts into distinctive abstract object paintings. For instance, in Chopin's Waterloo, he smashed up a piano in a gallery before fixing the pieces to a pre-prepared mount. In some performances an artist would direct the creative process, then encourage visitors to contribute; in Daniel Spoerri's EAT pieces, viewers were invited to eat food prepared by the artist before the leftovers were used to make art. For one serial work, Nikki de Saint Phalle shot a gun at her canvas, popping hidden bags of paint to ooze and reveal a colorful work of happenstance - then she asked the audience to take a shot as well. On a clear night in March at ten pm sharp a crowd of one hundred people, all dressed in black tie attire, and came to the Galleries International d’Art Contemporain in Paris. The event was the first conceptual piece to be shown at this gallery by their new artist Mr. Yves Klein. The gallery was one of the finest in Paris.

Yves Klein's performance, "Anthropometries of the Blue Period", march 9th 1960 Galerie International d'art contemporain, Paris, France

"I chose this painting by Yves Klein; I love it, I like it. I always feel that I have a close relationship, and yet I didn't know Yves Klein but I admire him, I have always admired him because he has done something very extraordinary, it's innovative, it's cheeky. Then he asked the question of the act of painting. It happened in a gallery, in 1960. He had summoned his models; he called them "living paintbrushes", so they were painted up to their thighs, with this blue that he had invented, and then they were placed against the canvas or the paper, and this idea of the body with this shape between the thighs and the bust, the pubic hair, it puts the painting in a carnal relationship with the spectators. And at the same time, it's something that gĹ&#x201C;s back to very, very old customs, long before civilization, in the caves, there were traces, there were footprints, there were handprints.

PaintingAlthough much New Realists work utilized experimental art forms, several members of the movement were also exploring new directions for painting. Yves Klein in particular spent much of his time creating paintings that challenged assumptions about the medium. He used unconventional tools to paint, such as naked human bodies. He also created an extensive series of monochromatic paintings, the highly reductive nature of which questioned the emotional depths supposedly visible in abstract art. Niki de Saint Phalle similarly pushed the boundaries the medium with her series Tirs, which consisted of paintings made by shooting at bags of paint with a rifle, parodying the approaches of Abstract Expressionism.

Yves Klein, Blue Monochrome, 1961 MOMA

Nikki de Saint Phalle, Tirs, 1961

Klein famously declared the blue sky to be his first artwork and from there continued finding radical new ways to represent the infinite and immaterial in his works. One such strategy was monochrome abstractionâ&#x20AC;&#x201D;the use of one color over an entire canvas. Klein saw monochrome painting as an â&#x20AC;&#x153;open window to freedom, as the possibility of being immersed in the

immeasurable existence of color.” Although he used a range of colors, his most iconic works often featured International Klein Blue, a shade of pure ultramarine that Klein claimed to have invented and trademarked. He used materials like water, fire, and air to construct his works and staged a “leap into the void” for a self-published newspaper. In 1961, Niki de Saint Phalle held an exhibition at Galleries J entitled "Fire at Will." On show were several of her Tirs or Shooting Paintings (Tir is the French word for "shooting" or "to fire"), including this one. They were made by fixing polythene bags of paint to a board, and covering them with a thick plaster surface. Viewers were then invited to shoot a rifle at the surface, popping the bags and causing the paint to run down the textured white surface. This particular work was shot at by a number of notable artists, including Jasper Johns and Robert Rauschenberg.

Sculpture and InstallationsSculptures and installations were freed of their normative boxes and given free reign in the absurd, experimental, and unconventional. Jean Tinguely used assemblage techniques to create wild kinetic sculptures out of household and industrial items. In 1960, one of his best-known works, Homage to New York was placed in the garden at New York City's MoMA where it was intended to self-destruct, but dramatically caught fire instead and was shut off by a fire warden. Daniel Spoerri made "snare pictures," which were affixed groups of objects from a real life experience, such as leftover food and crockery from a dinner on canvas. Arman crafted his abstract compilations of objects he had moments before destroyed.

SNARE-PICTURES ASSEMBLAGES BY DANIEL SPOERRI

Spoerri’s “snare-pictures” assemblages are the three-dimensional real life equivalent of all those overhead food shots on Instagram, but without most of the food and fancy food styling. He would take the remains of meals, including plates, silverware, and glasses, affix them to the table or board, and then hang it up.

This is one piece of what the artist called a “self-constructing and self-destroying work of art,” composed of bicycle wheels, motors, a piano, an addressograph, a go-cart, a bathtub, and other cast-off objects. Twentythree feet long, twenty-seven feet high, and painted white, the machine was set in motion on March 18, 1960, before an audience in the Museum’s sculpture garden. Jean Tinguely Fragment from Homage to New York1960

This large-scale sculpture presents a highly non-traditional view of the goddess figure. Saint Phalle's Venus doesn't conform to the stereotypes of female beauty established by Western classical art, nor does it necessarily recall sculptural goddess forms of the ancient Eastern world and/or the Southern hemisphere. Instead, this figure is large-limbed, actively in motion, black-skinned, and adorned in a colorful, cartoonish bathing costume. Black Venus is one of several black Nanas (French slang term for woman; like chick or broad) Saint Phalle made during this period, as a statement of solidarity with the civil rights movement. The black Nanas were among the first in the series, and exhibited at the Alexander Iolas Gallery in Paris in September 1965. Nikki de Saint Phalle, Black Venus, 1965-67

Artists of New RealismI am going to describe about the artists of New Realism who create a masterpiece of this art movement. The artists are given below;

Yves Klein

Born: April 28, 1928 - Nice, France Died: June 6, 1962 - Paris, France

Yves Klein was the most influential, prominent, and controversial French artist to emerge in the 1950s. He is remembered above all for his use of a single color, the rich shade of ultramarine that he made his own: International Klein Blue. But the success of his sadly short-lived career lay in attacking many of the ideas that underpinned the abstract painting that had been dominant in France since the end of the Second World War. For some critics he is a descendent of Marcel Duchamp, a prankster who lampooned settled understandings of painting and opened art up to new media. Others consider him as a descendant of earlier avant-garde artists such as Kazimir Malevich and Aleksander Rodchenko, who were also attracted to the monochrome. And even in the ways he used performance later on in his career, he is like many artists who rediscovered some of the tactics of earlier avant-gardes in the 1950s and '60s. Klein might also be compared to his contemporary Joseph Beuys, for, like Beuys, he embraced aspects of Romanticism and mysticism - Klein was intrigued by Eastern religion and Rosicrucianism, and was even influenced by judo. Also like Beuys, many have condemned him as an obscurantist and a charlatan: yet the brevity, wit, and seductive beauty of much of his work continues to inspire.

Yves Klein's RomanticismThe 1956 performance of the costumed Georges Mathieu (1921-2012) making action paintings before an audience at the Sarah Bernhardt Theatre in Paris had a catalyzing effect for French artists, just as the first happenings by Allan Kaprow (1927-2006) did for artists in New York at the end of the fifties. Like Kaprow, Mathieu made action painting the basis for greater direct engagement and a new theatricality. Between 1958 and 1962 the art actions of Yves Klein (1928-62) infused this theatricality and the tendency toward a more directly physical expressionism with an aura of mysticism that tied them into the traditions of European romanticism of the 19th century. Klein sought a flash of spiritual insight for his viewers, in which he was the medium of revelation: unlike the American action painter's revelation of personal identity, Klein's work purported to evoke an intuition into the cosmic order.

Monochrome BlueAt first Klein made his "monochrome propositions" (as Restany called them to emphasize their philosophical and immaterial nature) in a variety of colours. In 1956 he limited his palette to an ultramarine blue, then broadened the palette to blue, pink, and gold (the Rosicrucian trilogy of the colours of fire). Klein had a Paris gallery show in 1956. In January 1957 he launched "L'Epoca Blue" (The Blue Epoch) in the Galleria Apollinaire in Milan, where it irrevocably altered the career of the Italian artist Piero Manzoni. In May he had two Paris shows at the Iris Clert and Colette Allendy Galleries simultaneously, in June he exhibited in Dusseldorf (the Zero Group came together in Cologne during 1957, influenced by Klein), and in late June he opened a one-man show in London. Thus, he successfully orchestrated his entrance on to the European scene as though everywhere at once.

Living Brush PaintingA little more than a month later, on June 5, 1958, Klein performed his first "Living Brush" painting in a posh apartment on the Isle Saint-Louis in Paris. In this performance a nude model applied blue paint to her torso and then pressed the paint on to the canvas on the floor, forming fluid patterns of abstract art, as directed by the artist.

Seeking ImmaterialityMeanwhile in 1959 Klein pushed still further into the terrain of immateriality. At an exhibition in Antwerp he stood in the space allotted for his work and read a passage from the writings of Gaston Bachelard, impregnating the space with his spiritual vibrations. In August, when he decided to abandon Iris Clert for a more established dealer, he did not tell her directly but went into the gallery, picked up his work and told Clert's assistant that his paintings were invisible and that prospective purchasers should simply write her a check. To her surprise, the very first person to whom she told this agreed to do it, so Klein devised his "Ritual for the Relinquishing of Immaterial Zones of Pictorial Sensibility". On November 18, 1959 the buyer met the artist by the Seine, delivered a prescribed quantity of pure gold in exchange for an "immaterial zone of pictorial sensibility" and received a receipt which, following the terms of the agreement, the buyer solemnly burned. The artist then threw half the gold into the river and the entire transaction was recorded in photographs.

Works-

Blue Monochrome, 1957 Dry pigment in synthetic polymer medium on cotton over plywood - Museum of Modern Art, New York

Living Brush Painting by Yves Klein Anthropometry f the blue period, 1960. Yves Klein (performance , conceptual, environmental art)

â&#x20AC;&#x153;Blue Globeâ&#x20AC;? 1957. Dry pigment and synthetic Resin on a Metalic Globe. 8x5x5 inch, Yves Klein.

Arman

FRENCH-AMERICAN ARTIST

Born: November 17, 1928 - Nice, France Died: October 22, 2005 - New York, NY, USA

Arman is most associated with the New Realism movement that emerged in 1960, and which represented France's response to the trend of Pop art that was sweeping Europe and the United States. Arman had first emerged as a lyrical abstract painter, but he soon rejected the style and began making sculpture inspired by the concept of the readymade. Arman's most notable work was preoccupied with the consequences of mass production: his Accumulations often reflected on the identical character of modern objects; his Poubelles, or "trash cans," considered the waste that results when these objects are discarded; and his Coleres, or "rages," expressed an almost irrational rage at objects that, in modern times, threatened to dominate everyday life. At his best, Arman delivered a powerful and chilling rejection of modernization and the culture of mass consumption. Later, he developed an aesthetic based on the act of destruction, his pieces commemorating the obliteration objects in various ways.

Artistic Career 1955-1959 His first artistic explorations involved abstract paintings but after seeing the 1954 Paris retrospective exhibition on the assemblage art of the innovative Dadaist Kurt Schwitters, he began to reject traditional painting (notably the Lyrical Abstraction variant of New York Abstract Expressionism) and sculpture, in favour of a more contemporary focus on the object.In essence, object art - originated by Marcel Duchamp - is any type of junk plastic art, that is, any three-dimensional work made from objects or materials accumulated by the artist which are then constructed, arranged or affixed together in some symbolic or meaningful way. After an interesting experiment with two-dimensional accumulations (Dadaist stamp prints dubbed 'cachets') which he showed at a solo exhibition staged at Paris's trendy Galerie Iris

Clert in 1958, Arman moved on to his 'Coupes' and 'Coleres' accumulations of objects which he cut into thin strips before smashing them to pieces in public, in a sort of actionpacked performance art. Afterwards, some of these broken items would be arranged on canvases.

Exhibitions of Works by ArmanGradually recognized as being one of the top contemporary artists within the world of avantgarde sculpture and assemblage, Arman's work has been widely exhibited in many of the best art museums across six continents. In Europe, the latter include: the Stedelijk Museum, Amsterdam; Palais de Beaux-Arts, Brussels; Musee des Arts Decoratifs, Paris; Kunsthalle, Berlin; Moderna Museet, Stockholm; Kunsthaus, Zurich; Musee National d'Art Moderne, Pompidou Centre; Musee d'Art Moderne de la Ville de Paris; Musee du Jeu de Paume, Paris, and many others.

Works-

Assemblage of Arman Chopin's Waterloo (1962) The artwork Les Poubelles

Long Term Parking, 1982 (Public sculpture)

L'Heure de Tous, 1985 (Public sculpture)

Heroica, 1982 (From Wall Reliefs series)

Home Sweet Home II, 1960 ( From ACCUMULATIONS IN A BOX Series)

The artwork Les PoubellesBy the Trash (Poubelle), the French artist Arman decides that the object can become art without any mediation. With the use of waste in support and at the beginning of the work, he anticipates here a practice that will become that of the arte povera.Arman delivers a panoptic (idea of being inside society and observe it as a whole, participating in it while emitting a critical thought towards it) negative of the production of industrial societies: it does not not celebrating the consumer society but reveals its epidemic and mortal nature. he artwork Les Poubelles (Thrases) exposes degradations and limits, saturation and paralysis. The trash is at the same time horizon and frame. There is immanence of denial in the form of final rejection, vitrification, foreclosure, imprisonment of objects in a combination of concrete, glue, polyester, solder, bronze or any other means to reduce the objects to the metaphorical power of the unusable, the separation, the rejection, the trash. Le plein (the Full) artwork becomes the showcase of the entire Armanâ&#x20AC;&#x2122;s work: it is actually the showcase of the gallery Iris Clert, treated as a trash. Appears here the seenable coffin of industrial society as a dark masterpiece. The transparent wall and the flat surface used to frame the garbage cans are not a coincidence, the former painter is in fact always one: the frontal perception as it exists on the canvas is associated with the volume, and Arman uses object for denying its use and basic value. In the right line of Duchamp, Arman directly used, as pictorial material, manufactured objects, which represented to him the multiple and infinite extensions of the hand of man who undergo a continuous cycle of production, consumption, destruction. Yes, there is a relation to the existence of the object, and its degradation as a function of time passing, of the context in which it is, but also a relation to the human, the person who conceives this object, the person who buys it and uses it, maintains it or not, keeps it or throws it away. The objects, these objects, testify of a fragment of life of human beings that led them to their present state.

Jean Tinguely-

SWISS SCULPTOR AND PAINTER Born: May 22, 1925 - Fribourg, Switzerland Died: August 30, 1991 - Bern, Switzerland

Jean Tinguely first began creating assemblages composed of found-objects, but soon thereafter, intrigued by the current debate regarding the effect of mechanization and industrial innovation on modern society, he completely altered these static works by putting them into motion. Tinguely was intrigued by the effect of these moving constructions on the spectator and devoted the rest of his career to its exploration. The resultant oeuvre, on both a small and large scale, in works that generated corollary works of art and those that self-destructed, instigated spectator reaction and forever challenged the concept of a static experience of viewing art. Jean Tinguely: life and work (1925â&#x20AC;&#x201C;1991)As a creator of kinetic works of art, Jean Tinguely counts among the great pioneering artists of the second half of the twentieth century. At the heart of his work was a preoccupation with the machine. What interested him most was how machines work, how they move, the noises they m Freelance decorator in BaselHe spent the years 1944 to 1945 attending his compulsory military service with the Swiss Army. Otherwise, Tinguely and Eva Aeppli led an unconventional life and for a while lived in a condemned house, the now near-legendary Burghof on St. Alban-Vorstadt, near the Kunstmuseum Basel. It was during this period that Tinguely created the sculptures made of wire that are his earliest surviving works. To earn a living, Tinguely worked as a freelance decorator in Basel and Zurich; he also created window displays that before long were the talk of the town.

What would later become Tinguely’s signature style is evident even in those early displays made of wire. Changes of 1960Tinguely’s success as an artist manifested itself in his first solo show in a museum at the Haus Lange in Krefeld in 1960. On 27 October of that year he and Yves Klein together with six other artists and the art critic Pierre Restany signed the manifesto of a new group who called themselves the Nouveaux Réalistes. Tinguely marked the group’s tenth anniversary by staging his last major auto-destructive performance, a work called La Vittoria, in front of Milan Cathedral in 1970. La Vittoria was a 10-metre-high phallus made of papier-mâché, spiked with fireworks, and then set on fire.

Works-

Metamechanical Sculpture with Tripod 1954

Baluba (1961-62)

Jean Tinguelyâ&#x20AC;&#x2122;s Drawings Illustrated book with ballpoint pen and pencil Jean Tinguely. La Vittoria (Victory). 1970â&#x20AC;&#x201C;72

Medium Illustrated book with eleven offset lithographs (some with rubber stamp, collage, pochoir, watercolor, gouache, crayon, felt-tip pen, ballpoint pen, and pencil additions), two lithographs, two etchings (one with aquatint), one screen-print, and fourteen offset lithograph reproductions.

Observation of new realism in contemporary societyThere are so many artists now a days using new media art. In 20th century New Realists tried to explore something new in art form like; gun fire painting, Assemblage, Decollage, Performance art with body and mind, as the same way now in contemporary age we are trying to do something new with new media technologies; Digital art- computer graphics, Computer animation, Virtual art, Internet art, Interactive art, Sound art, Video games, Computer robotics, 3-D Painting, Cyborg art and art as biotechnology. Contemporary is one of the simplest forms of art to understand, in a way. Well, it allows each one of us to perceive and interpret artworks as we want. Each one of us has a distinctive experience of life that we can associate with the puzzling patterns of a contemporary art. So, it is likely to happen that whatever meaning you extract from a piece of contemporary art, others may think differently.

Chronolozy of New Realism1955 The art critic Pierre Restany meets Yves Klein at the Club des Solitaires in Paris, where the artist's first solo show has been put on. Klein is showing monochromes in different colours. He introduces Arman, a childhood friend, to Restany, then Hains and Tinguely. 1958 At the Galerie Iris Clert, Yves Klein presents the Void exhibition : no works are on show and the gallery's white picture rails merely invite visitors to contemplate "the spatialisation of sensibility". The catalogue's introduction is written by Pierre Restany. Arman's Full exhibition in 1960 will be a response to this event: this time the Galerie Iris Clert will have its window filled with refuse. 1960 In May, at the Apollinaire gallery in Milan, Pierre Restany sets up the first group exhibition, bringing together Arman, Hains, DufrĂŞne, Yves the Monochrome (Klein), VilleglĂŠ and Tinguely. On this occasion he composes a text introducing the catalogue with the title "Les Nouveaux RĂŠalistes"; it is the first time this term appears in Restany's writing, and this text is regarded as

On 27 October, at the home of Yves Klein, Arman, Dufrêne, Hains, Raysse, Restany, Spoerri, Tinguely and Villeglé the first manifesto of the group (there will be three in all). sign nine copies of the statement constituting the New Realist group, thereby affirming their "collective singularity". César and Rotella are invited to the meeting but are unable to attend, while Niki de Saint Phalle and Deschamps are to join the group in 1961. 1961 Jeannine Restany opens the Galerie J, which will now be the group's favoured exhibition space. For the opening Pierre Restany organises the exhibition À 40º au-dessus de Dada (40º above Dada). His introduction to the catalogue, establishing a kinship between the New Realists and the non-art of Dada and Duchamp, is regarded as the second manifesto of the movement. In July, the First Festival of New Realism is held in Nice (where Klein and Arman come from), with a group exhibition, public action-spectacles and a recital of phonetic poems by Rotella. The exhibition The Art of Assemblage is held at the Museum of Modern Art in New York, with the participation of Arman, Dufrêne, Hains, Rotella, Villeglé and Spoerri. 1962 On 6 June, Yves Klein dies of a heart attack. In October, the Sidney Janis Gallery in New York puts on the exhibition The New Realists, in which the European New Realist artists are presented as the partial precursors of an artistic advance which flowers fully only with the Pop Art artists. 1963 In Munich, the Second Festival of New Realism takes place, in the course of which Christo joins the group. The introduction to the catalogue written by Pierre Restany, "Le Nouveau Réalisme? Que faut-il en penser?" ("New realism? What are we to make of it?") is regarded as the third and final manifesto of the movement. At the 4th San Marino Biennale the last of the group's collective activities is presented (aside from the commemoration of the birth of New Realism which will be held in 1970). 1964 The Grand Jury Prize at the 34th Venice Biennale is awarded to Robert Rauschenberg, a sign of

the new ascendancy of American art over European art. A room is devoted to the works of Rotella. 1970 In Milan, the New Realists put on a series of events to celebrate their tenth anniversary, with an exhibition, The New Realists 1960/1970, action-spectacles in the city and, finally, a funeral banquet for which Spoerri has made for each member of the group an edible representation of their work. ConclusionAfter studied New Realism in western art, we will find that there was an art movement where artists tried new media art shows the poetic recycling of urban, industrial, and advertising reality. Many of the New Realism artists also sought to break down the glamorization of artists producing their craft in private and due to this often times art pieces were produced in public. At that time when Pop art and Fluxes movement was on their pick of art with different mediums, New realism explore their art with new mediums in different perspective like; Gun shooting by Nikki de Saint Phalle

and International Kleinâ&#x20AC;&#x2122;s Blue (IKB), Assemblage, Decollage and

Anthropometry performance by Klein. They present new perception of art in 20th century western art. The concluding chapter is an attempt to explore the disposition of cultural identity of New Realism art movement. Simultaneously, a comparative analysis distinguishes of new realism artists as well. It also portrays how they grapple with the significant aspects of French sociocultural milieu. Besides, it is pertinent to mention here that their demarcation of cultural values acquaints the readers to the ancient Indian culture and grants ample scope of augmentation.

BibliographyBooks1. Yves Klein (1928-1962) by HANNAH WEITEMEIER 2. Art: The Definitive Visual Guide by ANDREW GRAHAM- DIXON 3.

Art of the 20th Century by KARL RUHRBERG, INGO F. WALTHER

Links 1. https://en.wikipedia.org/wiki/Nouveau_r%C3%A9alisme 2. https://www.theartstory.org/movement/nouveau-realisme/ 3. https://web.archive.org/web/20081204064340/http://www.cnacgp.fr/education/ressources/ENS-newrea-EN/ENS-newrea-EN.htm

4. http://www.armanstudio.com/artworks 5. http://www.armanstudio.com/artworks/wall-reliefs 6. http://www.armanstudio.com/artworks/accumulations-in-a-box?view=slider#10 7. http://www.visual-arts-cork.com/famous-artists/klein-postmodernist.htm#introduction 8. https://medium.com/stephaniethrt/arman-object-artist-collector-from-an-early-age632e9b3b4d7c

9. https://www.moma.org/collection/works/14545 10. https://www.tinguely.ch/en/tinguely/tinguely-biographie.html 11. https://www.tinguely.ch/en/tinguely/tinguely-biographie.html 12. https://www.theartstory.org/artist/klein-yves/ 13. http://www.visual-arts-cork.com/contemporary-artists-top-20.htm 14. http://mediation.centrepompidou.fr/education/ressources/ENS-newrea-EN/ENS-newreaEN.htm 15. https://www.nationalgalleries.org/art-and-artists/glossary-terms/new-realism

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