What is the diffrence between folk art, naive art and outsider art?

His work is on display at the Adolf Wölfli Foundation in the Museum of Fine Art, Bern. A defining moment was the publication of Bildnerei der Geisteskranken (Artistry of the mentally ill) in 1922, by Dr. Hans Prinzhorn. This was the first serious study of psychiatric works which was created after compiling thousands of examples from European Institutions.

The book and the collection gained much attention from avant-garde artists of the time, including Franz Marc, Paul Klee, Max Ernst and Jean Dubuffet. People with some artistic training and well-established artists are not immune from mental illness and may also be institutionalised. For example, William Kurelek, later awarded the Order of Canada for his artistic life work, as a young man was admitted to the Maudsley Psychiatric Hospital where he was treated for schizophrenia.

4 In hospital he painted, producing "The Maze", a dark depiction of his tortured youth. 5 He was transferred from the Maudsley to Netherne Hospital from November 1953 to January 1955, to work with Edward Adamson (1911–1996), a pioneer of art therapy, and creator of the Adamson Collection. French artist Jean Dubuffet was particularly struck by Bildnerei der Geisteskranken and began his own collection of such art, which he called art brut or raw art.

In 1948 he formed the Compagnie de l'Art Brut along with other artists, including André Breton. The collection he established became known as the Collection de l'art brut. It contains thousands of works and is now permanently housed in Lausanne, Switzerland.

"Those works created from solitude and from pure and authentic creative impulses – where the worries of competition, acclaim and social promotion do not interfere – are, because of these very facts, more precious than the productions of professionals. After a certain familiarity with these flourishings of an exalted feverishness, lived so fully and so intensely by their authors, we cannot avoid the feeling that in relation to these works, cultural art in its entirety appears to be the game of a futile society, a fallacious parade." — Jean Dubuffet. Place à l'incivisme (Make way for Incivism).

Art and Text no.27 (December 1987 – February 1988). P.36 Dubuffet's writing on art brut was the subject of a noted program at the Art Club of Chicago in the early 1950s. Dubuffet argued that 'culture', that is mainstream culture, managed to assimilate every new development in art, and by doing so took away whatever power it might have had.

The result was to asphyxiate genuine expression. Art brut was his solution to this problem – only art brut was immune to the influences of culture, immune to being absorbed and assimilated, because the artists themselves were not willing or able to be assimilated. The interest in "outsider" practices among twentieth century artists and critics can be seen as part of a larger emphasis on the rejection of established values within the modernist art milieu.

The early part of the 20th Century gave rise to cubism and the Dada, Constructivist and Futurist movements in art, all of which involved a dramatic movement away from cultural forms of the past. Dadaist Marcel Duchamp, for example, abandoned "painterly" technique to allow chance operations a role in determining the form of his works, or simply to re-contextualize existing "readymade" objects as art. Mid-century artists, including Pablo Picasso, looked "outside" the traditions of high culture for inspiration, drawing from the artifacts of "primitive" societies, the unschooled artwork of children, and vulgar advertising graphics.

Dubuffet's championing of the art brut – of the insane and others at the margins of society – is yet another example of avant-garde art challenging established cultural values. Two images of Joe Minter's African Village in America, a half-acre visionary art environment in Birmingham, Alabama. Scenes include African warriors watching their descendants’ struggles in Alabama, tributes to black scientists and military leaders, recreations of the epic civil rights confrontations in Alabama, and biblical scenes.

A number of terms are used to describe art that is loosely understood as "outside" of official culture. Definitions of these terms vary, and there are areas of overlap between them. The editors of Raw Vision, a leading journal in the field, suggest that "Whatever views we have about the value of controversy itself, it is important to sustain creative discussion by way of an agreed vocabulary".

Consequently they lament the use of "outsider artist" to refer to almost any untrained artist. "It is not enough to be untrained, clumsy or naïve. Art Brut: literally translated from French means "raw art"; 'Raw' in that it has not been through the 'cooking' process: the art world of art schools, galleries, museums.

Originally art by psychotic individuals who existed almost completely outside culture and society. Strictly speaking it refers only to the Collection de l'art brut. Folk art: Folk art originally suggested crafts and decorative skills associated with peasant communities in Europe – though presumably it could equally apply to any indigenous culture.

It has broadened to include any product of practical craftsmanship and decorative skill – everything from chain-saw animals to hub-cap buildings. A key distinction between folk and outsider art is that folk art typically embodies traditional forms and social values, where outsider art stands in some marginal relationship to society's mainstream. Intuitive art / Visionary art: Raw Vision Magazine's preferred general terms for outsider art.

It describes them as deliberate umbrella terms. However, Visionary Art unlike other definitions here can often refer to the subject matter of the works, which includes images of a spiritual or religious nature. Intuitive art is probably the most general term available.

Intuit: The Center for Intuitive and Outsider Art based in Chicago operates a museum dedicated to the study and exhibition of intuitive and outsider art. The American Visionary Art Museum in Baltimore, Maryland is dedicated to the collection and display of visionary art. Marginal art/Art singulier: Essentially the same as Neue Invention; refers to artists on the margins of the art world.

Naïve art: Another term commonly applied to untrained artists who aspire to "normal" artistic status, i.e. They have a much more conscious interaction with the mainstream art world than do outsider artists. Neuve invention: Used to describe artists who, although marginal, have some interaction with mainstream culture.

They may be doing art part-time for instance. The expression was coined by Dubuffet too; strictly speaking it refers only to a special part of the Collection de l'art brut. Visionary environments: Buildings and sculpture parks built by visionary artists – range from decorated houses, to large areas incorporating a large number of individual sculptures with a tightly associated theme.

Examples include Watts Towers by Simon Rodia, Buddha Park and Sala Keoku by Bunleua Sulilat, and The Palais Ideal by Ferdinand Cheval. Nek Chand (b. 1924) is an Indian artist, famous for building the Rock Garden of Chandigarh, a forty acre (160,000 m2) sculpture garden in the city of Chandigarh, India.

Ferdinand Cheval (1836–1924) was a country postman in Hauterives, south of Lyon, France. Motivated by a dream, he spent 33 years constructing the Palais Ideal.