Nouveau réalisme

In the late 1960s‘, after the end of the Second World War, Paris was not any more the romantic city, known from the last centuries. The French capital became the described definition of 'modern ' in the same sense of an international culture. This meaning was adapted by other folklores as African sculptures, American detective stories, Russian music, Neo-Catholicism, German technique, Italian desperation. Meantime a group called Nouveaux Réalistes was formed, where two artists were working within – Raymond Hains and Christo with his wife Jeanne-Claude. By analysing their works - Panneau d’affichage (Billboard) and Wall of Barrels – The Iron Curtain, Rue Visconti, Paris, in this visual analysis I will try to compare and to distinct them therefore to identify the different art works in the related period and location, however driven by contrary historical and cultural events. The emergence of the New Realism style had been crucial for both artists – Hains and Christo. On the 27th October 1960 in Paris Pierre Restany formed a group with his colleagues Yves Klein, Arman, François Dufrêne, Raymond Hains, Daniel Spoerri, Martial Raysse, Jean Tinguely, and Jacques Villeglé, under the name Nouveaux Réalistes. The ideas that they have shared about the “gap between art and life” were by handling with modern consumption and mass media to create ‘reality’, where artists worked with different forms from Action-spectacles, Happenings, décollages, Assemblage, and wrappings. The Nouveaux…

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