마이클 박산 달의 르네상스 회화 연구

전동호 미술사와 시각문화학회 2007 미술사와 시각문화 Vol.6 No.-

Michael Baxandall is widely regarded as one of the most distinguished art historians of the twentieth century. Born in 1933, He attended Manches?ter Grammar School and then Cambridge University where he received an M,A, He continued his postgraduate studies at the Universities of Pavia and Munich in Italy and Germany. In 1961 Baxandall joined the Department of Sculpture at the Victoria and Albert Museum in London, where he worked until 1965 when he left the Museum to become an assistant professor at the Warburg Institute of the University of London, He remained there until 1987 when he moved to the USA to take up a professorship at the University of California, Berkeley. This essay is an attempt to highlight his achievements as an art historian, focusing particularly on his most famous book Painting and Experience in Fifteenth-Century Italy, published in 1972. The book was one of the first books to investigate Italian Renaissance painting within the framework of social history. calling for a paradigm shift in the study of Renaissance art. Baxandall's methods employed in the book, in contrast to the biographical approach, are primarily concerned with exploring how artists and the works of art they produced operated within their original social, commercial and religious contexts. Among the key concepts Baxandall devised in the book to advance his arguments is the "period Eye"? The attempted reconstruction of the mental and visual equipment brought to bear on works of art in a given society and time. Adapting the notion of cognitive style developed in anthropology, Baxan-dall effectually argued for a kind of historically specifiable visual anthropology, that is, a way to view art via the actual experiences of the patrons and painters of the period, Equipped with a combination of phenomenal lin-guistic abilities, vast bibliographic resources, careful looking and sophisti-cated thinking, Baxandall provided penetrating insights into how to look at Italian Renaissance art from socio-cultural perspectives. Considered one of the founders of what has later come to be called visual culture' studies, Baxandall has been widely acknowledged as one of the most original thinkers both inside and outside art history.

Synergetic Influence of Microcrystalline Quartz and Alkali Content in Aggregate on Deterioration of Concrete Railroad Ties Used for 15 Years in High-Speed Railways

전동호,유주안,김지환,윤세윤,배영훈,오재은 한국콘크리트학회 2023 International Journal of Concrete Structures and M Vol.17 No.1

This study investigated the deteriorations of precast prestressed concrete (PSC) ties that were used for 15 years in high-speed railways in Korea and its damaging mechanism. The collected PSC ties with longitudinal cracks on sides and map cracks on surfaces exhibited strength degradation. The deteriorations were likely related to alkali-silica reaction (ASR) and delayed ettringite formation (DEF) together, given that the presence of massive ettringite crystals and the decomposition of ASR gel were found from microstructural analyses. Although there were no typical reactive siliceous aggregates for ASR in this study, ASR cracks were generated in the PSC ties. This is because the aggregates in the PSC ties with cracks were potentially reactive, and its high alkali-silica reactivity was likely attributable to the presence of microcrystalline quartz, supplying reactive SiO2 to trigger ASR. Furthermore, the alkali content in aggregates was associated with the deterioration of the PSC ties. The alkali-bearing minerals in aggregates (i.e., alkali feldspars) likely supplied enough alkalis for ASR. Besides, micas in aggregates could promote ASR due to their porous structure, which helps easy water ingress.

금산 인삼 사업 현황과 전망

전동호 고려인삼학회 1992 Journal of Ginseng Research Vol.16 No.2

Selling East Asia in Colour: Elizabeth Keith and Korea

전동호 미술사와 시각문화학회 2020 미술사와 시각문화 Vol.25 No.-

Elizabeth Keith (1887/8-1956) was a British artist whose colour prints depicting Far Eastern subjects have once gripped the visual imagination of art lovers. At her prime in the 1930s, she was even ranked in the same league as Hiroshige and Hokusai, the eminent old masters of Japanese Ukiyo-e (浮世絵). Based largely on newly discovered contemporary sources such as newspapers and hitherto unpublished correspondence, this article has two overlapping aims. First, it seeks to provide a contextual account of Keith’s life in broadly chronological order. Second, it attempts to highlight her relations with Korea: not only was her career as a popular printmaker made possible thanks to her early depiction of Korean subjects but later in life she devoted her energy to producing an illustrated book on Korea. Keith, of course, happened to live in the age of imperialism, and there is no doubt that she colluded, if unconsciously, in orientalising Korea and the Far East. Criticising her simply for being an implicit imperialist, however, does not do justice to her achievements any more than lionising her as a selfless lover of Korea does. After all, the decision to settle in East Asia and to become a printmaker specialising in Far Eastern subjects was ingenious for a British ‘surplus woman’ to make. As an historical actor and agent, Keith did what she was willing and able to do within the boundary of real life options available to her. This article purports to locate Keith and her art within the context of the interplays between historical contingencies and human desires, and it calls in particular for more solid documentary research than most current studies available on Keith.

수집가들의 향연 ; 리버풀 미술동호회와 그 전시회들 1872-1895

전동호 미술사와 시각문화학회 2003 미술사와 시각문화 Vol.2 No.-

This article traces the history of the Liverpool An Club (LAC) and its place in the a5Sociational culture of late 19~h-cenrury Liverpool, the second largest seaport city in Britain. Formed by an-lovers and collectors to further their interests in the visual arts and to hold exhibitions of fine and industrial arts, the LAC was unique in combining the two functions of being a private dub while taking on the role of a semi-public exhibiting society. Led by collectors rather than by artists, it was a highly unusual venture outside London, signifying the capacity of Victorian Liverpool to mobilise considerable cultural capital. Much of the primary evidence for this article has come from the LAC's primed annual reports and exhibition catalogues, a sizeable and rich source previously neglected by historians. These enable the LAC and its activities to be placed in the broader contexts of British and European art in this period, and also allow an assessment of the club' s location in the cultural landscape of Liverpool itself.

Acid protease 생산균 Penicillium sp. CK-2의 분리 및 효소생산

전동호,김진웅,권태종 건국대학교 산업기술연구원 2003 건국기술연구논문지 Vol.28 No.-

서울 시내 각 지역의 토양 및 하천수 230점을 대상으로 강력히 acid protease를 생산하는 균주인 CK-2를 선별하였으며 이 균주의 형태학적, 배양학적 특징을 조사한 결과 Penicillium속으로 동정하였으며 효소생산을 위한 최적조건을 조사하였다. 효소생산을 위한 최적 배지조성은 sucrose 1.0%, yeast extract 0.1%, (NH_4)_2SO_4 0.2%, K_2HPO_4 0.1%, MgSO_4·7H_2O 0.05%, FeSO_4·7H_2O 0.001% 였다. 최적 배양온도는 37℃였으나 30℃에서 50℃까지의 범위에서도 균체증식과 효소생산력이 우수하였으며, 최적 pH는 3.0, 37℃에서 54시간 배양하였을 때 최대효소활성을 보였으며 이때의 acid protease 활성은 980 unit/㎖이었다. Department of Microbial Engineering, Konkuk University, Hwayang-Dong 1, Kwangjin-Gu, Seoul 143-701, Korea, A fungi strain No. CK-2 producing extracellular acid protease was isolated from soil in acidic environment, and selected on bases of protease productivities as the only one of 230 isolates to produce high levels of acid protease. We are selected the best strain by soil-direct method. It was identified as Penicillium sp. based on its morphological and physiological characteristics. Image analyzer was used in investigation of the morphological characteristics. The optimal conditions for the enzyme production were Sucrose 1.0%, Yeast extract 0.1%, (NH_4)_2SO_4 0.2%, K_2HPO_4 0.1%, MgSO_4·7H_2O 0.05%, FeSO_4·7H_2O 0.001%, initial pH 3.0, incubation for 54hrs at 37℃. It grew in the temperature range of 30℃ to 50℃ and the pH range of pH 2.0 to 4.0.

금산 인삼 사업 현황과 전망 ( Present Status and Prospects of Geumsan Ginseng Business )

전동호 고려인삼학회 1992 Journal of Ginseng Research Vol.16 No.2

풍경화 속에 숨겨진 이데올로기 : 존 컨스터블의 서포크 풍경화를 중심으로

전동호 문화사학회 2008 역사와 문화 Vol.15 No.-

숨겨진 진실: 18세기 영국 남성 초상화 속에 나타난 가발의 의미

전동호 서양미술사학회 2006 서양미술사학회논문집 Vol.25 No.-

애마 귀족: 조지 스텁스와 18세기 영국의 말 그림

전동호 미술사학연구회 2016 美術史學報 Vol.- No.46

조지 스텁스(George Stubbs)는 18세기 영국을 대표하는 동물화가이다. 그는 특히 사냥, 승마 등을 포함한 말 초상화에 뛰어난 재능을 보여 서양미술의 역사상 최고의 말 그림 화가로 평가받는다. 본고는 1762년 스텁스가 그린 말 초상화 <휘파람주머니>를 중심으로 18세기 영국에서 본격적으로 등장한 말 그림이 가지는 문화적 의미를 이들 말 이미지의 주요 주문자였던 귀족 계급의 자기 정체성 및 동물에 대한 근대적 인식의 변환이라는 관점에서 탐구해 보려는 시도이다. 영국은 오늘날 우리가 익숙한 경마가 처음 등장한 국가이고 따라서 경주마의 품종 개량에도 대단히 적극적이었다. 특히, 18세기에는 경마 열풍이 영국 전역을 휩쓸었고, 당시 개최된 유수의 경마 대회는 오늘날까지도 계속 이어지며 그 명성을 유지하고 있다. 경마가 이렇듯 중요한 사회적 담론의 대상이 되면서, 말 초상화가 본격적으로 등장하는 시기와 장소도 18세기 영국이다. 물론 17세기에도 사냥도나 승마도 등 말 그림이 전혀 없었던 것은 아니지만, 18세기에 들어서면서 집단이 아닌 말 한 마리만을 화폭에 담는 새로운 전통이 나타난다. 즉, 말의 집단 초상화가 아닌 특정 말 한 마리가 주인공인 말의 개인 초상화 장르가 등장하는 것이다. 그렇다면 18세기 영국 귀족들은 왜 말 초상화를 주문했으며, 말 초상화는 그들에게 어떤 의미를 가지고 있었을까? 본고를 통해 필자는 18세기 영국의 말 초상화는 궁극적으로 소유주인 귀족의 계급 정체성의 일환인 동시에, 그 중 일부는 동물도 수단이 아닌 목적이 될 수 있음을 형상화한 근대적 사고 전환의 이정표라는 주장을 펼친다. George Stubbs (1724-1806) was a renowned horse painter in eighteenth-century England. Focusing on Stubbs’s monumental portrayal of a race horse called Whistlejacket in 1762, this paper is to explore the genre of horse portraiture in eighteenth-century England in terms of the cultural politics of its most prominent patrons, the landed nobility, and their sense of identity. In fact, England is the nationa where horse racing in the modern sense has first emerged. Horse racing gained popularity among all walks of life by the eighteenth century and as a result, Englishmen were extremely keen on producing faster and better horse breeds. It is no wonder, then, that eighteenth-century England witnessed the emergence of horse portraiture as an independent genre of painting to record winning horses and to commemorate their owners’ glory. Expensive commodities, they were mostly kept and bred by members of aristocracy, and it was they who commissioned horse portraits. What did it mean for them to order and hang visual representations of their equine animals? Inspired by recent vigour of animal studies, this paper argues that English horse portraiture in the eighteenth century was a part and parcel of noble class identity formation while a few exceptional pieces, those commissioned by the second Marquis of Rockingham with featureless blank backgrounds, captured the paradigm shift of human ideas and perceptions of animals and their places in the order of things.