Neorealism (art)

In art, neorealism refers to a few movements.

In literature

Portuguese neorealism was a marxist literary movement that began slightly before Salazar's reign. It was mostly in line with socialist realism.

In painting

Neo-realism in painting was established by the ex-Camden Town Group painters Charles Ginner and Harold Gilman at the beginning of World War I. They set out to explore the spirit of their age through the shapes and colours of daily life. Their intentions were proclaimed in Ginner’s manifesto in New Age (1 January 1914), which was also used as the preface to Gilman and Ginner’s two-man exhibition of that year. It attacked the academic and warned against the ‘decorative’ aspect of imitators of Post-Impressionism. The best examples of neorealist work is that produced by these two artists; Howard Kanovitz and also Robert Bevan. For Robert Bevan he joined Cumberland Market Group in 1914.[1]


In cinema

Neorealism is characterized by a general atmosphere of authenticity. André Bazin, a French film theorist and critic, argued that neorealism portrays: truth, naturalness, authenticity, and is a cinema of duration. The necessary characteristics of neo-realism in film include:[5]

  • a definite social context;
  • a sense of historical actuality and immediacy;
  • political commitment to progressive social change;
  • authentic on-location shooting as opposed to the artificial studio;
  • a rejection of classical Hollywood acting styles; extensive use of non-professional actors as much as possible;
  • a documentary style of cinematography.




Other countries

See also


  1. ^ A Countryman in Town. Robert Bevan and The Cumberland Market Group. Exhibition catalogue. Southampton City Art Gallery. 2008.
  2. ^ Ruhrberg, Karl, Manfred Schneckenburger, Christiane Fricke, Klaus Honnef, and Ingo F. Walther. "Chapter 12 Painting as a Mind-Game." Art of the 20th Century. Köln: Taschen, 2016. 338-39. Print.
  3. ^ Ruhrberg, Karl, Manfred Schneckenburger, Christiane Fricke, Klaus Honnef, and Ingo F. Walther. "Chapter 12 Painting as a Mind-Game." Art of the 20th Century. Köln: Taschen, 2016. 338-39. Print.
  4. ^ Ruhrberg, Karl, Manfred Schneckenburger, Christiane Fricke, Klaus Honnef, and Ingo F. Walther. "Chapter 12 Painting as a Mind-Game." Art of the 20th Century. Taschen, 2016. 335. Print.
  5. ^ Bondanella, Peter. La Strada, Rutgers Films in Print Series. Rutgers University Press: 1987, page 3-4. ISBN 0-8135-1236-0.

External links


Aletheia (Ancient Greek: ἀλήθεια) is truth or disclosure in philosophy. It was used in Ancient Greek philosophy and revived in the 20th century by Martin Heidegger.

It is a Greek word variously translated as "unclosedness", "unconcealedness", "disclosure" or "truth". The literal meaning of the word ἀ–λήθεια is "the state of not being hidden; the state of being evident." It also means factuality or reality. It is the opposite of lethe, which literally means "oblivion", "forgetfulness", or "concealment". According to Pindar's Olympian Ode, Aletheia is the daughter of Zeus, while Aesop in his Fables said that she was crafted by Prometheus.

Candido Portinari

Candido Portinari (December 29, 1903 – February 6, 1962) was a Brazilian painter. He is considered one of the most important Brazilian painters as well as a prominent and influential practitioner of the neo-realism style in painting.

Portinari painted more than five thousand canvases, from small sketches to monumental works such as the Guerra e Paz panels, which were donated to the United Nations Headquarters in 1956. Portinari developed a strong social preoccupation throughout his oeuvre and maintained an active life in the Brazilian cultural and political worlds.

Gabriela Bustelo

Gabriela Bustelo (Madrid, 1962) is a Spanish author, journalist and translator.

Included in the 1990 neorealist generation of Spanish novelists, Bustelo made her debut with Veo Veo (Anagrama, 1996), which placed her in the literary Generation X. She shares with José Ángel Mañas, Ray Loriga and Lucía Etxebarria a crisp style visibly influenced by commercial culture — advertising, pop music, film and television. Gabriela Bustelo is one of the few Spanish women who have written science fiction. Her second novel Planeta Hembra (RBA, 2001), located in New York, is a dystopia that envisaged —almost two decades ago— the underlying conflict between women and men that in the 21st century has become the MeToo Movement as a global battle of the sexes. La historia de siempre jamás (El Andén, 2007) portrays the immorality and shallowness of European political elites. In 1996 she began to write for publications such as Vogue and Gala (magazine), having penned political columns for a decade at newspapers La Razón and La Gaceta. After signing from 2015 to 2017 a weekly tribune for the Spanish digital newspaper "Vozpópuli" ( and a weekly op-ed column in English for the digital newspaper "The Objective" (, Bustelo has been writing a weekly op-ed column for "Cuarto Poder" ( since September 2017. She has contributed cultural articles to Colombian magazine "Arcadia" ( since 2005.

List of Spanish films of 1984

A list of films produced in Spain in 1984 (see 1984 in film).


Neorealism may refer to:

Neorealism (art)

Italian neorealism (film)

Indian neorealism

Neorealism (international relations)

New realism (philosophy)

By style
By theme
By movement
or period
By demographic groups
By format,
or production

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