ملامح الغرائبية في الرسم الوحوشي الحديث: جورج رووه أنموذجا

الملخص EN

The current research dealt with (features of exoticism in modern wilderness painting), which revolved around the concept of exoticism represented by the aesthetic and cognitive transformations in European art and culture witnessed in the nineteenth and twentieth centuries, which contributed to undermining the cultural and epistemological structures of art due to the dominance of ambiguity, alienation and unfamiliarity ..

in the production of new and unfamiliar ideas.

the problem of the current research is summarized in raising the following question: does exoticism-as a differentiated cognitive structure- have a specific role in the performance and value variables in the products of modern monster painting? the first chapter included the methodological framework of the research, which included recognizing the features of exoticism in modern wilderness painting, within the period from (5091) and also included defining terminology, passing through the second chapter (theoretical framework), which included two topics, the first of which dealt with: exoticism (between concept and theory and application), while the second topic included: exoticism in the products of the brutal painter George Woroh.

the third chapter also dealt with the research procedures and in view of the expansion of the research community, the research sample was intentionally selected with (2) models for the research sample.

as for the fourth chapter, it included the results and conclusions of the research, as well as recommendations and suggestions.

among the most prominent results reached by the researcher: 5- exoticism grotsky’s imaginative style in which the modern savage artist examines reality with a different eye, which sees what we do not see to form different textual formulations of various facts called heterogeneity based on irrationality, reality, and entering into spaces that conflict with the norm of life rationing, which in contemporary narrations are carved.

it is high, and a language of tight visions that is concerned with penetrating the familiar, and entering the depths of the crumbling soul in the hateful world of matter.

2- the exoticism in the savage painting is nothing but a free creative product that depends on the aesthetic intentionality in exploding the self that transcends its consciousness over material sensibilities at the moment of creative manifestation of the grotesque exotic image, transforming all the usual material things into a world that speaks of the strange, the unfamiliar, the ambiguous and the reduction and establishes its laws in a different way for everything that is ordinary in everyday reality, which means that exoticism is based on an element of imagination associated with the self.

among the most prominent conclusions reached by the current research: 5- the exoticism in the productions of the brutal painter George Woroh is the creation of what is strange, contrary to the ordinary and fragmented, and that transcends the possible, to penetrate the impossible, and achieve the unattainable, creating a state of astonishment and strangeness, relying on innovation that establishes unexpected and impossible relationships between things.

exoticism is the product of a simple spontaneous imagination closer to naivety and spontaneity.