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RISS 인기검색어
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- 저자 : 마순자(Ma Soon-Ja) (검색결과 6 건)
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마순자(Ma Soon-Ja) 현대미술사학회 2006 현대미술사연구 Vol.19 No.-
This article studies the meaning and the truth of Cezanne's myth. Paul Cezanne has been regarded as 'the father of 20th century art'. It means that he is the most important artist who paved the way to abstraction in modern art history. This evaluation was constructed and developed in literatures from early to middle of 20th century, by French and English critics. They interpreted Cezanne's paintings as a search for a 'pure form'. And on this account the myth of Cezanne was constructed. They regarded ‘modernity’ in art as a way to abstraction, and found a proper model for it in Cezanne. The concept lasted during the modernist period, specially in England and America. The first formation of Cezanne's myth began in his life time from young followers of him. The symbolists Emil Bernard and Maurice Denis saw Cezanne's mature painting as a search for a 'pure form'. As symbolists, hoping to depict essential essence of the world in painting, they preferred the flat plane to three dimensional space. They found a similar form in Cezanne's painting and made him a 'quasi idol' of the new art. From here began Cezanne's myth. But the understanding of french symbolists about Cezanne was not totally correct. They didn't notice the importance of nature in Cezanne's painting. In 1910's the interpretation of the symbolists was introduced to english critics. Roger Fry and Clive Bell constituted their own aesthetic concept on this base. They regarded form as the essential quality of art and named it 'pure form' or 'significant form'. They established from it their formalism aesthetics, which evaluate abstraction as modern character for autonomy and purity. But it was not a sufficient understanding of symbolists 'pure form'. It nevertheless contributed to make Cezanne's myth firm. This concept of modernity in painting spread throughout Europe and America until 1960's. Clement Greenberg declared the modern painting as a search for a pure form, which logically reduced to flat plane and the division of the plane. The phrase "refaire(vivifier) Poussin sur nature" means that Cezanne thought nature as the most important model for art. Either it means that Poussin lacks in nature or it urges to return to nature to do Poussin, the concern is the nature. In fact Cezanne thought nature as the most important thing in art. He aimed to render 'nature into art'. And he thought the duty of a painter as representing nature's primordial quality(such as light, colour and atmosphere)in art. Cezanne insisted the ability of strong sensation' to be a painter of nature. He named the method to transfer this 'sensation' into painting as 'modulation'. For him sensation and modulation should be the artist's own and it is the very originality in art. For Cezanne the classic and the modern in painting has the common feature, of the primordial originality. And it explains why the modernity of Cezanne and the classicism of Poussin can be compared. The myth of Cezanne as the father of 20th century art was formed as above mentioned partly on the ground of incomplete understanding of his art. Cezanne never thought art as a pure form in itself. The most important reason for him was nature. Cezanne's painting is original because it is live and stable, natural and formal at the same time once. Cezanne never planned to abstract nature, he wanted only to render nature into art in his original form.
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마순자(Ma Soon-Ja) 서양미술사학회 1997 서양미술사학회논문집 Vol.9 No.-
Constable is considered as the most renowned naturalist landscape painter of the 19th century Englands. Many researchers such as Michael Rosenthal, Ann Birmingham, Leslie Parris and Ian fleming-Williams, regard Constable as a naturalist. They acknowledge that the early and later years of Constable’ s art show the taste of picturesque. But they evaluate the middle period of the painter from about 1810 to the middle of 1820’ s only as naturalistic. Such a view, I think, is due to their intention to examine Constalbe’ s art under the tradition of European landscape painting till his time. This study is an attempt to show that the Constable’ s landscapes through all periods of his life could be interpreted both as naturalistic and picturesque. At first the fact, that his early and late landscapes have more picturesque qualities than the middle period’ s can be interpreted as an indication that he had maintained the taste of picturesque through the whole of his life, although he had at the same time the strong inclination to naturalism. In Constable’ s art naturalism and the picturesque character are not the confronting element but rather the element that coexist without conflicting each other. Constable’ s artistic activity continued over 30 years of the early 19th century. The 18th century England experienced changes and developments in every domain of life, both in real and spiritual life and in artistic circumstances. The blossoming of landscapes and the vogue of picturesque during this time can be seen as the reflection of the period. It reveals the changing attitudes of man to nature. In theories of art and aesthetics the concept of beauty alone was not enough to take the role to chracterize man’ s attitude to nature. The concepts such as the sublime and the picturesque were in formation. It reflects the speedy and successive change from neo-classicism to naturalism and romanticism. In this research I will treat Constable’ s landscapes in three categories according to the different feature of his works, which also corresponds with his chronology : 1) ‘Natural Painture’ (1802-1814), 2) Picturesque Naturalism(1814-1823), 3) ‘Romantic’ Picturesque Naturalism(1824-1837). Such a division is based on several factors; motiv, working method, artistic forrnCbrushing, color, material etc,) and attitude to nature. The artistic quality in Constable’ s landscapes shows the avant-garde charcter, which demonstrates artist’ s ability of perceiving the changing time in advance and leading the trends of the coming years. He revived ‘naturalistic’ quality of the picturesque to his new naturalism and retained it till the period of his ‘romantic’ expression of later years. It can be concluded that his later period cannot be regarded as the escape from naturalism. Rather the works of this period can be interpreted as showing his deep feeling to and love of nature and man.
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