페르낭 크노프(Fernand Khoopff) 미술세계에 나타난 나르시스적 자아탐구 = The Narcissistic Self- Pursuit in the Art of Fernand Khnopff

다국어 초록 (Multilingual Abstract)

The purpose of this article is to augment the knowledge of Khnopff's art, and thus to enhance the understanding of Symbolist movement as a whole.
Fernand Khnopff is a Belgian Symbolist, who has accepted French Symbolism and English Pre-Raphaelites, thereby fundamentally enriched European Symbolism with the creation of his own style.
Recently, concomitant to the international revival of interest in late nineteenth-century symbolist art, the work of Belgian painter Fernand Khnopff(1858-1921) has been rescued from obscurity. The words of 'Narcissus' and 'isolation' are most frequently found in books or articles about Frnand Khnopff's art. These words are also stand as emblems of his character. 'Narcissus' represents that Fernand Khnopff is the self-absorbing and the self-loving, and the word 'isolation' stands for his pessimistic propensity. The pessimists who denied his desire to out world would often become the Narcissus who concentrates his mind only upon himself .
In late 19th century, despite of improvement in convenience of human life by industrial development, exceeding materialism rendered the loss and vanity in human mind. The newly-rising nation, Belgium was not the exception of this situation. This phenomenon caused symbolism artists to indulge in their inner-world. The interests on self among artists, however, is not caused only by social reason but also by reason in art world. Since the concept of originality when evaluating work of art became the major ruller, artists, to emphasize their originality, tried to find the materials of originality in their inner-side, studying emotion, thought, propensity and etc. of theirselves.
Fernand Khnopff, the Belgian painter in 19th century shows his path of narcissistic self-pursuit in his work. He expresses the process of constant research on his inner-self, watching and upcomming to himself and falling into his doubtfulness again. In other words, his work has continuously repeated dedication and unfaithfulness to himself. His emotional waver is transduced to the waver in his work making mysterious, obscure moods that is not surely perceptible.
The 'isolation' in his work is the 'condition precedent' to concentrate on himself. The 'isolation' he expressed is not the separation from what or whom regardless of his will but the process of psychological detachment with his active intention. And he often re-imaged the isolated figures in picture images on his work. He, in double imaging method, attempts to gain the purity through erasing real world. This is the same process as narcissistic self-persuit. In fact, the more one erases the real world the more one gets obscurity and inconceivability.
In one of Khnopff's work depicting a mirror-watching woman, the mirror is not the tool that exhibits the voluptuous beauty of woman but the media that exposes the other 'her' who dwells in inner-side of this woman. Therefore, the reflected image appears different from the real figure. The woman objectifies her self and examine it and attempts to come close to the objectified her self. And the circles in his work often appear as the mirrors that are the means of introspection or the places on which the encountered self through search is visualized.
His sister Marguerite in majority of Khnopff's painting may be the reflection of himself. He painted Marguerite as an androgyne with famine aspect and also masculine aspect. She is the existence who can represent his identification because of resemblance and the object in whom Khnopff can find himself in her easily because they have opposit sexes.
He regards the real him not as the true him and tries to deny the real him and rather to crawl to the one who is even hardly visible. He could not come to the fully self-indulging state and also he comes close to his inner-self where he becomes doubtful again. In this psychological process the isolated, mysterious and obscure uniqueness of his work is born.

목차 (Table of Contents)

• 목차 = 1
• 서론 = 2
• Ⅰ. 19세기말 사회 문화적 배경 = 5
• 1. 유럽의 세기말적 현상 = 5
• 2. 벨기에 사회와 미술의 동향 = 7
• Ⅱ. 자아탐구적 미술과 나르시시즘 = 13
• 1. 자아에 집중한 상징주의 = 13
• 2. 독창성의 요구로 인한 자아탐구 = 15
• 3. 자아탐구로의 나르시시즘 = 17
• Ⅲ. 크노프의 나르시스적 자아탐구 = 22
• 1. 크노프 예술세계의 형성과정 = 22
• 2. 크노프 작품에 나타난 나르시스적 양상 = 29
• 1)인물의 고립 = 29
• 2)거울과 여인 = 39
• 3)양성적 이미지 = 47
• 결론 = 56
• 참고문헌 = 59
• 도판 = 63
• Abstract = 70