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Noble savage
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In Western anthropology, philosophy, and literature, the myth of the noble savage refers to a stock character who is uncorrupted by civilization. As such, the "noble" savage symbolizes the innate good
Roman historian Tacitus introduced the idea of the noble savage in his historical work Germania, describes the ancient Germanic people in terms that precede the notion.
Roman historian Tacitus introduced the idea of the noble savage in his historical work Germania, describes the ancient Germanic people in terms that p
The playwright John Dryden coined the term "noble savage" in the stageplay The Conquest of Granada by the Spaniards (1672).
The playwright John Dryden coined the term "noble savage" in the stageplay The Conquest of Granada by the Spaniards (1672).
In the stageplay Oroonoko: A Tragedy (1696), by Thomas Southerne, plot complications lead the protagonist Oroonoko to kill his beloved Imoinda.
In the stageplay Oroonoko: A Tragedy (1696), by Thomas Southerne, plot complications lead the protagonist Oroonoko to kill his beloved Imoinda.
Jean-Jacques Rousseau (1712–1778) by Allan Ramsay (1766)
Jean-Jacques Rousseau (1712–1778) by Allan Ramsay (1766)
Primitivism
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In the arts of the Western world, Primitivism is a mode of aesthetic idealization that means to recreate the experience of the primitive time, place, and person, either by emulation or by re-creation.
Noble savage
…the essay "The Noble Savage" (1853), Charles Dickens rendered the noble savage into a rhetorical oxymoron by satirizing the British romanticisation of Primitivism in philosophy and in the arts made possible by moral sentimentalism. In many ways, the myth of the noble savage entails fantasies about the non-West…
In a Tropical Forest Combat of a Tiger and a Buffalo (1908–1909), by Henri Rousseau
In a Tropical Forest Combat of a Tiger and a Buffalo (1908–1909), by Henri Rousseau
The stylistic influences of the African mask of the Fang people are noticeable in the painting Les Demoiselles d'Avignon (1907), by Pablo Picasso.
The stylistic influences of the African mask of the Fang people are noticeable in the painting Les Demoiselles d'Avignon (1907), by Pablo Picasso.
Spirit of the Dead Watching (1892), by Paul Gauguin
Spirit of the Dead Watching (1892), by Paul Gauguin
In the painting Les Demoiselles d'Avignon (1907) the two figures at the right indicate the stylistic origin of Pablo Picasso's African period
In the painting Les Demoiselles d'Avignon (1907) the two figures at the right indicate the stylistic origin of Pablo Picasso's African period