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카라바조의 <루트 연주자>(1597-98) 연구 - 델 몬테 추기경의 예술후원을 중심으로 -
조우경 영남대학교 인문과학연구소 2016 人文硏究 Vol.- No.76
This paper analyzed Lute Player(1597-1597), the early work of Michelangelo Merisi da Caravaggio, an Italian Baroque artist, around patronage of Cardinal Francesco Maria Bourbon Del Monte(1549-1628), who is the orderer of the work. Firstly, the fact that Del Monte let Caravaggio as well as Pietro Montoya, Spanish castrato, stay at his Palazzo Madama at the time he ordered the work clarifies identity of the figure in the work, due to his epicene appearance and his playing instrument. Secondly, the music, the character played with, is found to be a Franco-Flemish madrigal of the early and mid- 16th century not the contemporary song. Caravaggio emphasized madrigal’s character, word- painting through look of the figure and displayed the atmosphere of the scene. Thirdly, the figure in this painting wore feminine attire, reflecting makeup culture, prevalent in the party of the high society. Furthermore, ‘Camerata’ paid attention to the Greek play and it is assumed that Caravaggio described the figure with classical makeup under that background. Finally, Del Monte more focused on North Europe-style instruments and costly objects like Oriental carpet covering a table. Thus, it is guessed that Del Monte was trying to prove and display expensive luxurious collection and his high quality artistic sense through Lute Player. 본 논문에서는 이탈리아 바로크 미술가인 카라바조의 <루트 연주자>(1597-98)를 작품의 주문자인 델 몬테 추기경의 예술후원을 중심으로 분석하였다. 따라서 이 작품에 반영된 주문자의 예술적 취향과 문화 예술적 배경을 밝히고, 궁극적인 주문 의도를 고찰하여 다음과 같은 결론에 이르렀다. 첫째, 작품을 주문했던 시기 델 몬테가 자신의 저택에 카라바조 뿐 아니라 스페인 카스트라토에게 거처를 제공해주었던 점은 그림 속 인물의 정체성을 확연하게 만든다. 양성적인 외양의 그는 카스트라토에게 강조된 악기연주를 하는 모습으로 묘사됨에 따라, 주문자가 개인적으로 후원했던 스페인 카스트라토로 추정된다. 둘째, 이 그림에 묘사된 악보는 등장인물이 연주중인 노래가 당시 유행했던 16세기 초중반 플랑드르의 마드리갈임을 확인시켜준다. 특히 가사의 표현을 가장 중요시했던 마드리갈의 특징은 세속적인 가사의 뉘앙스를 섬세하게 전달하는 인물의 표정을 통해 잘 드러난다. 셋째, 등장인물의 차림새는 당시 상류사회의 연회에서 만연했던 분장문화와 피렌체 ‘카메라타’에서 중요시여긴 고대 그리스의 연극에 대한 관심을 반영하며, 화면의 극명한 명암은 무대 조명을 연상시키면서 연극적인 분위기를 강화시킨다. 마지막으로 이 그림에는 값비싼 북유럽 스타일의 악기들과 호화로운 오리엔탈 카페트을 비롯한 고급스러운 수집품들이 묘사되었다. 이로써 파악되는 델 몬테의 궁극적인 작품 주문 의도는 자신의 높은 지위와 경제적인 부, 수준 높은 예술적 감각을 증명하고 과시하려 한 것으로 여겨진다.
조우경 서양미술사학회 2008 서양미술사학회논문집 Vol.28 No.-
This study analyzed the figures specifically to clarify the strange and ambiguous mood in The Street , a Balthus’ great work. First of all, the contradictoriness of figures expressed as dual images was surveyed. They look like actual figures going along a street in Paris, but on the other hand, they look like virtual figures. For this, even Balthus himself avoided a constant answer. That is, he said that the figures in The Street are common people in Paris on the one hand, but on the other hand, they are the figures appearing in Lewis Carroll s literature. As he said, the figures in The Street show the contradictoriness reflecting common figures and the characters in Carroll’s literature at the same time, which was a very familiar expression style to Balthus. In his childhood, he illustrated figures or reproduced a scene in a literary work and the way had been stayed until The Street was produced. In addition, the figures in The Street appeared as ones whose ages are ambiguous. They are depicted as children and also adults. Particularly, two girls in The Street show the images of young girls and women at the same time. This trend is also found in surrealism at that time and women in surrealistic literature and arts hold the contradictory images of young girls and women simultaneously. As well, the figures in The Street hold characteristic faces that can be distinguished between each other certainly and the faces schematized mechanically simultaneously. This is related to Balthus’ working style. He shows the peculiarity to substitute the figures in the works of past great masters, especially the figures of Piero della Francesca for the uncertain impressions captured momentarily. The figures in The Street act very eccentrically. They are never aware of the neighbors and the street and particularly, they care nothing of the indecent behaviors that two people on the left show. The various actions unrelated with each other and the indifference between figures like this are also found in surrealistic literature and arts. Especially, the girl on the left in The Street produces a decadent scene with a man nearby and takes the viewer’s eye. This indecent trend is also due to the influence of surrealism and Marquis de Sade’s literature. Besides, the figures in The Street take mechanical motions like stopping suddenly in a state turning their steps. Their motions recall the actors and actresses on the stage performing their given roles faithfully. And, the mechanical motions are related to the motif of dolls that surrealists used frequently, and particularly, the actions of two figures on the right are similar to ‘tableaux vivant’ popular in the grand monde in France at that time. As discussed above, contradictory and various images coexist in the figures in The Street . A far-reaching influence from the great works of past Renaissance arts to surrealistic arts at that time and literature and plays are big factors here. Particularly, both heterogeneous elements such as realism and surrealism coexist in The Street , which intensifies the ambiguous mood of the work. That makes the viewers feel unfamiliar with the figures in The Street and pay attention to his work once more.