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르네상스와 색채: 마사초의 빛과 프라 필립포 립비의 색채
양정무 서양미술사학회 2003 서양미술사학회논문집 Vol.20 No.-
Renaissance and Colour ,Jeong-mu Yang This study is concerned with the practice and theory of colour in Italy at the critical point of time with emphasis on the beginning of ‘Alberti System’; the term referred to the colour modeling based on tonal emphasis in the exchange of chromatic beauty in Italian Renaissance. Modern colour theory shows that all the colours have three categorical dimensions; 1) hue(色相), 2) saturation(彩度), and 3) value(明度). In the history of European painting, however, it is of great interest to observe that these three dimensions did not constitute the system of colour experience simultaneously; they were practiced with much various modes, depending on time and place. In Medieval paintings, for instance, it is difficult to separate the idea of value from the idea of hue. More precisely, it can be said that Medieval painters had only a tentative knowledge of value in the understanding of colours. Evidently, it is Quattrocento Italian painters who were for the first time aware of the importance of value in colour and made the intensive use of it in picture-making, conceiving colour as representing light as well as modeling. The preoccupation of colour as the representation of light, together with the analysis of space by the newly-developed rule of linear perspective, remained as the dominant tradition of European painting next coming five centuries. In conclusion, I will propose that it was grey which did not only play an important role of the development of naturalistic paintings, but also gave them dignity in their looks, which might help to modernize the visual world of a city republic Florence, for instance-with growing interest in classical civic world.
Reconstructing Art Criticism in Korea - A Proposal for Selecting Agenda for Art Criticism in Korea
양정무 한국예술종합학교 한국예술연구소 2018 한국예술연구 Vol.- No.-
This article examines the problem of art and its documentation in regards to art criticism. In depth, the article contemplates whether art criticism will continue to be an arena for circulation of partisan arguments, or whether it will mature into an activity that reaches the possibility of human liberation. In this paper, I will examine the state of Korean art criticism through the events surrounding the 1991 Grand Art Exhibition of Korea when the first prize winner of the oil painting field was accused of plagiarism. The prize winner Cho Won Kang was blamed for synthesizing his painting, Another Dream, from two photographs: a black and white nude photograph by French photographer Frederic Achudou and a color nude photograph by Italian photographer Paolo Gioli. A number of critics became enmeshed in this incident and the issue quickly expanded to involve more fundamental problems regarding art criticism in Korea. On one side of the debate was Chung Young-Mok who stated the fundamental problem of Korean art criticism was the education of art criticism which focused on aesthetics that often lead critics to be fixated on idealistic, speculative, and metaphysical concepts. On the other side of the debate was Seo Seong-Rok who argued that art criticism was not a field of study that should be focused on the pursuit of objectivity and universality. Instead, he argued that art criticism reflected the subjective point of views that bind artwork to reality and reflect the critics’ own power and vision. Moreover, he stated that art criticism had its background in art history and the humanities which leaves no ground for asserting that art history is superior to art criticism. At this same time period, there was a similar argument among historians in the western art debating whether art history should change in order to overcome the perceived narrow-mindedness of traditional art history. Fundamental questions were being asked in art history about art in which alternative directions were suggested based on epistemological concerns toward a more practical view of art history. Additionally, in art criticism, there was a drive towards a stronger methodology by objectively investigating modern cultural discourses. It should be emphasized that when both art history, which observes art in the process of historical development, and art criticism, which examines art at work in the real world, meet in a complementary manner, the evaluation and record of art can be rational and be reasonable. This paper presents an example of a biased artistic record and suggests a dialectic consolidation in the fields of art history and art criticism as an alternative.