New Figuration (Spanish: Nueva Figuración ), also known as Neofiguration , is an artistic and cultural movement that emerged in the 1950s, gaining prominence in the 1960s. This movement represented a return to figurative painting after the dominance of abstract expressionism, although it incorporated elements of abstraction. New Figuration developed in Europe and Latin America, to its greatest extent in Argentina, Mexico, Venezuela, and Spain.

The movement is characterized by a focus on the human figure, often depicted in distorted, exaggerated, or monstrous forms. Artists employed a wide range of colors and techniques, emphasizing freedom of expression and a departure from traditional artistic norms. Works of New Figuration frequently conveyed a sense of social critique, using cynical, cruel, or mocking representations of reality. The historical context of the movement includes the aftermath of World War II, which influenced the artists' use of dark colors and themes of war and suffering. New Figuration also drew upon informalism, incorporating its emphasis on formless figures and dramatic brushstrokes.

The term was first used by the French critic Michel Ragon, and it is sometimes argued that the move back to figuration occurred during an era of political and social turbulence in Europe and the Americas.

The New Figuration movement emerged in the mid-20th century, primarily in Spanish-speaking countries, as a response to the limitations of both abstract art and traditional figurative styles. Artists sought to create a new form of figuration that could address the social and political realities of their time, particularly in the aftermath of World War II and amidst various periods of political unrest.

In Argentina, the movement was fueled by political turmoil and economic instability. Artists associated with the Otra Figuración (Other Figuration) group, such as Ernesto Deira, Rómulo Macció, Luis Felipe Noé, and Jorge de la Vega, sought to revive figurative art as a means of social commentary and critique. They rejected both the notion of Argentina as a European society in exile and the idea of an untouched American authenticity, aiming to portray the complexities of Argentine identity in the mid-20th century.

In Colombia, artists like Fernando Botero and Débora Arango used New Figuration to challenge political oppression and respond to the violence of La Violencia , the country's decade-long civil war. Their works often featured distorted figures and satirical representations of political and religious leaders.

In Mexico, New Figuration developed as a reaction against Mexican Muralism , which was seen as overly nationalistic and politically controlled. Artists like José Luis Cuevas sought to express a more personal and critical perspective through their art, often depicting marginalized figures and themes of alienation.

In Venezuela, the movement reflected the political changes of the time, including the end of the military regime in 1958 and the rise of a new democratic government with socialist leanings. Artists like Jacobo Borges used vibrant colors and expressionistic styles to critique the Venezuelan bourgeoisie and comment on the social and political landscape.

In Spain, New Figuration addressed the legacy of the Spanish Civil War and the realities of the post-war period. Due to censorship imposed by the Francoist regime, many artworks had to be published abroad. Notably, the movement developed significantly in Galicia, where artists explored updated codes of figuration through both painting and sculpture. Artists such as Javier Aguilera, Bosco Caride, Elena Fernández Prada, Germán Pintos, Ignacio Pérez-Jofre, Jorge Perianes, Urbano Lugrís, and Juan Rivas were some of the artists involved in this movement. This Galician variation explored both descriptive and narrative functions within figurative art. New Figuration was a dominant art current among Spanish artists until approximately 1965 when it was succeeded by Figuration Narrative , which incorporated abstract and surrealist elements to tell stories.

New Figuration art centered on the human figure, which artists distorted and exaggerated to convey emotional and social messages. Works featured a wide range of colors, including frequent use of dark tones like purple, black, and brown. Freedom of expression was prioritized, as artists broke from traditional norms and embraced diverse techniques, including those associated with informalism and collage.

Argentine artists, such as those in Otra Figuración , employed bright colors and loose brushwork, while exploring themes of power and chaos. Mexican artists like José Luis Cuevas favored ink and watercolor, creating distorted figures to represent alienation and social marginalization. Colombian artists like Fernando Botero developed a distinctive style of inflated figures, often reinterpreting historical artworks or depicting scenes of civil conflict. Débora Arango's works featured assertive brushstrokes and satirical representations of political and religious figures. Venezuelan artist Jacobo Borges used vibrant colors to critique the bourgeoisie and comment on the socio-political climate.

Irish-born artist Francis Bacon's work is often associated with New Figuration, although he was not directly affiliated with any specific group within the movement. His paintings frequently depicted distorted and isolated figures, conveying a sense of existential angst and psychological tension. As he put it: