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C. Nagy

(b Budapest, Oct 26, 1941).

Hungarian painter, photographer and conceptual artist. He studied under Géza Fónyi at the Fine Art College in Budapest and then from 1966 to 1972 produced portraits, in which the influence of Expressionism was noticeable. From 1973 to 1979, however, he moved in a different direction, producing films, photographic sequences and textual conceptual works, all based on structuralist analysis of pictorial representation and of the institutions of the exhibition and the museum (e.g. the photographic sequences Inquiries on the Exterior Wall of the Museum of Fine Arts, 1975–6; and Reflections, 1976). From 1975 to 1980 he was involved in the Indigo project led by Miklós Erdély, but in 1980 he returned to oil painting, producing abstract works divided into two or three sections and often symmetrical in composition. At first these were vividly coloured, using bold brushstrokes and inspired by the Hungarian landscape, but later works were dominated by schematic representations of the human face, reduced after ...

Article

Deborah A. Middleton

American group of artists active in the 1950s and 1960s who were part of a movement that was reacting to Minimalism, Abstract Expressionism and conceptual art by choosing to represent traditional subjects of nudes, portraiture, still lifes, landscapes and urban street scenes that often were plain and ordinary. The rise of consumerism and mass production inspired New Realist artists who returned to representing subjects as everyday and common visual encounters and experiences. The New Realist movement is in contrast to earlier forms of realism practiced by European artists whose works embody idealism or romanticize the commonality of the subject. New Realism is also associated with the emergence of Photorealism, where the camera captured the momentary fleeting naturalism of the subject. A common approach characteristically unifying New Realist artworks is the notion of the presence of the subject, which is understood as the representation of a neutral peripheral visual experience that exposes the subject prior to its discovery as a cognitive translation, intellectual or emotional response. Paintings and drawings present the perception of the real in a direct, clear and straightforward way using conventional drawing and painting techniques, and classical compositional approaches. Subjects are acutely observed and revealed with precise attention to detail and technical draftsmanship to disclose the detached presence of the subject itself....