회화적 조형매체로서의 티파니 스테인드글라스 창 연구

김호정(Ho-Chung Kim) 현대미술사학회 2005 현대미술사연구 Vol.17 No.-

The one who brought the most epoch-making changes on stained glass art was the American Artist, Lows Comfort Tiffany(1848-1933). He and his own companies - Tiffany Glass Company, Tiffany Glass & Decorating Company, and Tiffany Studios - produced many of ecclesiastical and secular stained glass windows, and that windows commonly called as 'Tiffany Windows'. Through the investigation of these Tiffany Windows, I could find the origins of liberty of express and use on modern stained glass. So, Tiffany and his stained glass work became the most revolutionary turning point since the Middle Ages. This essay is study for influences of Louis Comfort Tiffany's painitng traits and his artistic goal to the changes of stained glass' expression and technical methods. Because Tiffany could make a realistic description with leaded glass as like as his paintings. Tiffany developed new stained glass materials and techniques, then depicting realistic pictorial images with glass could be realized. So, Tiffany Windows could express realistic color, natural shading and gradation, calligraphic outline and drawing, texture and perspective. And these pictorial expressions were related to the development of opalescent glass-'Favrille', mottled glass, drapery glass, copper-foil technique and plating. For Tiffany, stained glass was not the traditional glass art medium, but the new pictorial plastic art medium to complete his artistic goal. That is the "absolute synthesis of color and light" as Dr. Joan Elliott Price pointed. Dr. Price claimed that Tiffany was the Colorist painter and he Knew the M. E. Chevrel's Law of Simultaneous Contrast and the Ogden Rood's chromatic theory. So Tiffany tried to illustrate the 'Colored Light' by painting, but that was hard to paint. Because any of paints couldn't realistically represent the transmission and the reflection effect of light by itself. Therefore, Tiffany took an interest in glass and stained glass art. Because the colored glass was the only material that represent 'color-light' by itself. As like this, Tiffany regarded stained glass as painting, and so he joined his painting traits and techniques to the stained glass. To depict pictorial effect, Tiffany changed traditional stained glass materials and methods. Tiffany used leading as outline or drawing, and he replaced deceiving enamel painting by genuinely inherent colored glass effect. These revolutionary changes approved that stained glass could express pictorial illusion successfully. At last, Tiffany's concept of stained glass as the pictorial plastic art medium brought about the secularization of stained glass and new themes-still-life, landscape, and floral landscape. In addition, Tiffany applied an electronic lighting to the stained glass. That new lighting system helped the stained glass get liberty of place and time. And so far, stained glass could be installed anywhere, enjoyed anytime, and created as an art object. In conclusion, Tiffany's stained glass windows provided the basis of the modern stained glass art as the plastic art medium.

루이스 컴포트 티파니의 예술과 아메리카니즘

김호정(Kim Ho-Chung) 서양미술사학회 2011 서양미술사학회논문집 Vol.35 No.-

This thesis is a study of the Louis Comfort Tiffany’s Art and the Americanism. Most of preceeding researches focused on defining Louis Tiffany as an American Art Nouveau glass artist. Curiously, his most typical design styles were eclecticism and realistic naturalism, and these styles were different from the European Art Nouveau style. Therefore, Louis Tiffany must not to be considered only as an Art Nouveau artist anymore. Hence, purpose of this study is to clarify Louis Tiffany’s stylistic differences through ‘Americanism’. In the late 19th Century, Americanism used to be a word defining United States’ national identity by the Theodore Roosevelt. He argued that to realize Americanization, Americans must to invent new models differentiated from the Europeans. Art critics regarded Americanism as a cultural doctrine to be independent of European art tradition. So American artists pursued originality and individuality to be differentiated from the European art, then Americanized art. So I’ll consider how the Americanism influenced on the Louis Tiffany’s Art. At the 1900 Paris Exposition Universelle, American Government decided to show that United States can create one’s own national art. To demonstrate Americaness, U.S. Commissioner John Britton Cauldwell mainly selected domestic artists’ landscape paintings for American fine art exhibition. After 1900, these artists and their American landscape paintings recognized as the “American School”. At this Exposition, Louis Tiffany exhibited many of natural landscape depicting stained glass windows as like as the American School paintings do. And these were leaded glass windows that disusing traditional enamel painting. All the Louis Tiffany’s windows and blown glass objects made of his unique patented opalescent glass, named “Favrile glass”. European judges and critics recognized his art as the original American Art, so he won two grand prizes and many medals. Then American Press reported Tiffany’s prize-winning as the symbol of glory that American art was internationally recognized. Louis Tiffany inspired from English Aestheticism and Arts & Crafts Movement. As an Aesthete-artist, he always pursued for representing natural color-light effect in art. So he constantly tried scientific experimentation and invented new art medium. In consequence, Favrile glass and painted enameling would be invented. That would be recognized as an expression of his individuality and originality differentiated from the contemporary European art, even Art Nouveau. And he also want to be differentiated with the European styles. At first, Louis Tiffany tried to show the American national character through eclecticism. Eclecticism was the one of common traits of American School paintings with the native natural landscape theme. He mixed Western & Oriental arts or synthesized Japonisme design’s natural theme with American native species, for creating more differentiated design from the European Art Nouveau-Japonisme style. Then Louis Tiffany found another new way to create original American style. Because of American people likes illustrated images of American native nature. To develop his own unique American style, Louis Tiffany attempted to depicting native natural landscape pictorially in leaded glass windows, enamel-on-copper works, Jewelry. Through this study, It was revealed that Tiffany’s natural landscape designs resembled with the American Pre-Raphaelites’ natural studies and the Hudson River School’s landscape paintings. Such designs could be regarded as examples of the authentic American style and the Louis Tiffany’s art works. He also developed decorative media and designs artistically, so he was capable to be recognized as the pioneer of American Arts & Crafts and artistic design. Therefore, It could be said that Americanism was the Louis Tiffany’s artistic motive and goal either.

한국 성인 척추골 가로돌기와 가시돌기의 형태계측

김호정(KIM Ho Jeong),이혜연(LEE Hye Yeon),정인혁(CHUNG In Hyuk) 대한체질인류학회 1992 대한체질인류학회지 Vol.5 No.2

한국인 척추골 90예에서 가로돌기와 가시돌기의 길이와 각도를 조사하여 다음과 같은 결과를 얻었다. 1 가로돌기의 길이는 경추부위에서는 짧고, 요추부위로 갈수록 길어졌다. 경추부위에서 흉추부위로 이행할 때와 흉추부위에서 요추부위로 이행할 때 그 길이의 차이가 컸다. 가로 돌기 길이가 가장 긴 것은 셋째 요추골 이었으며(34.5㎜), 가장 짧은 것은 셋째부터 여섯째 경추골 이었다(17.9-18.4㎜). 흉추부위에서 둘째 흉추골의 가로돌기가 가장 길고, 여섯째 흉추골의 가로돌기가 그 다음으로 긴 경우가 가장 많았다. 2 가로돌기가 정중면의 앞쪽과 이루는 각도는 경추부위에서는 90˚보다 작았으며, 일곱째 경추골부터 열한째 흉추골까지 90˚보다 큰 각도로 계속 커지다가 요추부위에서 작아졌다. 각도가 가장 작은 것은 다섯째 또는 여섯째 경추골이 었고 (68.4˚-68.9˚), 가장 큰 것은 흉추골이었다.(136.2˚) 3 가시돌기의 길이는 경추골에서 여섯째 흉추골까지는 점차 길어지다가 요추부위로 내려가면서 짧아졌다 가시돌기가 가장 긴 것은 여섯째 흉추골이었고 (48.3㎜), 가장 짧은 것은 둘째 경추골이었다.(18.7㎜) 4 가시돌기가 몸통의 윗면과 이루는 각도는 경추부위에서는 아래로 내려가면서 작아지다가 일곱째 경추골부터 여섯째 흉추골까지는 점차 커진 후 셋째 요추골까지 내려가면서 다시 작아졌다. 가시돌기의 각도가 가장 큰 것은 여섯째 흉추골이었으며 (61.2˚), 가장 작은 것은 셋째 요추골이었다.(6.9˚) 5 일곱째 경추골의 가로돌기의 길이와 넷째 경추골의 가로돌기의 각도는 남녀 간에 유의한 차이를 보였다. 가시돌기의 길이와 각도는 남녀 간에 유의한 차이가 없었다.

한국 성인 척추뼈고리판의 형태계측

김호정(KIM Ho Jeong),정인혁(CHUNG In Hyuk) 대한체질인류학회 1996 해부·생물인류학 (Anat Biol Anthropol) Vol.9 No.2

간추림. 척추뼈고리판은 외과적 처치를 많이 하는 부분인데도 두께와 기울기에 대한 계측 자료가 거의 없다. 이 연구는 한국 성인 척주 90개에서 고리판의 두께와 고리판이 시상면과 이루는 각도를 계측하여 부위에 따라 어떤 차이가 있는가를 비교하였다. 1. 척추뼈고리판의 두께는 목뼈에서 허리뼈로 갈수록 두꺼워졌다. 가장 두꺼운 것은 다섯째 허리뼈였고(9.4mm), 가장 얇은 것은 다섯째 목뼈였다. (2.9mm) 하나의 척추에서는 둘째 목뼈(71%), 열두째 등뼈 (44%), 넷째 허리 뼈 (36%)의 고리판이 부위별로 가장 두꺼웠다. 2. 척추뼈고리판의 각도는 등뼈, 허리뼈, 목뼈의 순서로 컸다. 가장 각도가 큰 것은 여덟째 등뼈 (59.8˚) 였고, 가강 작은 것은 다섯째 허리뼈 (48.6˚) 였다. 하나의 척추에서는 일곱째 목뼈(27%), 여섯째 등뼈(20%), 다섯째 허리 뼈(48%)의 고리판이 부위별로 가장 두꺼웠다. 3. 척추뼈고리판의 두께와 각도에 있어서 당자와 여자사이에 유의한 차이는 보이지 않았다.

한국인 척추궁뿌리의 형태계측학적 연구

김남현(Nam Hyun Kim),이환모(Hwan Mo Lee),김호정(Ho Jeong Kim),정인혁(In Hyuk Chung),김상진(Sang Jin Kim) 대한정형외과학회 1990 대한정형외과학회지 Vol.25 No.4

전산화뇌단층촬영상에 나타난 외상성 뇌실질내혈종의 변화

김호정,김달수,김헌주,박동현 대한신경외과학회 1980 Journal of Korean neurosurgical society Vol.9 No.2

A case of large sized posttraumatic intracerebral hematoma was found in left external capsular area. This hematoma was managed by mannitolization and steroid therapy without surgical intervention and followed up by a serial interval changes in computed tomography till the 6th week after trauma when the hematoma was successfully resorbed and neurological status was markedly improved except mild monoparesis involving right arm.

Malignant Glioma에 대한 수술, 방사선 및 항암제의 병합치험례 : Case Report

김호정,이상철,김달수 대한신경외과학회 1981 Journal of Korean neurosurgical society Vol.10 No.1

A patient with glioblastoma multiforme was treated with postoperative radiotherapy and a simultaneous induction chemotherapy with CCNU (75mg/sqm), procarbazine (100mg/sqm), vincristine (1.4 mg/sqm). Follow up C-T scanning showed a mild decreased density area of left frontal lobe and the patient was discharged without any evidence of neurological deficit except mild decreased visual acuity.

DDY 마우스 구개형태발생에 미치는 Etretinate와 인삼 Po1yacetylene 성분의 상호작용

김호정,박선화,전용혁 대한해부학회 1995 Anatomy & Cell Biology Vol.28 No.1

胎兒肺葉間裂의 癒着

鄭寅鎬,金昊定,吳珍振 서울의대 1966 서울의대잡지 Vol.7 No.4

석회화를 동반한 만성 뇌경막하 혈종 1예 : 증례 보고 Case Report

이승민,이훈갑,김호정 대한신경외과학회 1988 Journal of Korean neurosurgical society Vol.17 No.3

Although it may occur in organized hematoma throughout the body, calcification within a chronic subdural hematoma is a rare condition. The total number of cases reported so far was not more than 110. We report a case of chronic subdural hematoma with calcification in 21 year old male who suffered from chronic headache for more than 6 months. The hematoma and calcification were surgically removed, and the patient's symptom disappeared.