OPVS PISANI PICTORIS: 피사넬로와 초기 르네상스 메달

조은정 서양미술사학회 2006 서양미술사학회논문집 Vol.25 No.-

OPVS PISANI PICTORIS: Pisanello and the EarlyRenaissance Portrait MedalsCho, Eunjung _Seoul National University조은정OK 2006.8.21 8:44 AM 페이지34 g5 One fine example is the reverse of the portrait medal of Leonello to celebrate his marriage toMaria dAragon. A small putto holding a musical manuscript in front of a lion, which is a visualizationof the idea that the marriage between the Este family and the Aragon family would provide Leonellolove and power. Also the blindfolded Lynx, the sail on a mast fixed in the ground(festina lenteimpresa), and the three-faced putto images frequently found in the reverse of the Leonello medalsare the allegory of Prudence that Pisanello used to commemorate the virtue of this prince. Incomparison to the Leonello marriage medal, the large medal of Alfonso dAragon in 1449 emphasizesthe public image of king Alfonso as Triumphator et Pacificus as well as a provider of

지역미술사 정립을 위한 연구: 전주 근현대 작가 연구 보고

조은정 한국근현대미술사학회(구 한국근대미술사학회) 2025 한국근현대미술사학 Vol.50 No.-

전주 근현대 작가 연구는 궁극적으로 전주미술사 정립을 위한 연구이다. 전주와 연관된 미술인을 확인하고, 이들 중 주요 미술가의 생애를 연구하고 작품 세계를 포함하여 해제하며 연보를 정리하여 전주미술사 정립에 기여하는 것을 목적으로 하였다. 이 연구는 전주 미술을 구축하는 인적 자원과 관계의 대강의 지도를 그려줌으로써 전주 미술의 정체성 파악에 도움을 줄 것으로 기대하였다. 이러한 부차적인 효능 이외에 궁극적으로 향후 개관하는 전주시립미술관의 작품 수집정책과 전시를 위한 기초 자료, 교육 프로그램 개발을 위한 정보로 활용하기 위하여 작가와 작품을 다각도에서 연구하였다. 본 글은 전주시의 의뢰로 2023년 12월부터 2024년 9월 30일까지 6명의 연구진이 진행하였던 전주 근현대 작가 연구에 대한 보고이다. 연구 조직은 전체 6인으로 구성되었다. 책임연구원 조은정은 사업총괄로 사업 설계 및 감수, 해제문 작성을 담당하였다. 연구원 김미정, 허나영, 홍성후는 전주 미술인 조사 및 해제문 작성을 하였다. 보조연구원 구지원은 자료 조사 및 작가 목록 작성과 회의록을 작성, 이안나는 자료 조사 및 작가 목록 작성과 회계 업무를 담당하였다. 6인의 자문위원과 다수의 편집자문위원이 함께 연구를 도모하였다. 이 연구는 전주시립미술관에서의 작품 수집 정책과 전시, 교육을 위한 기초 자료가 된다는 점에 주안점을 두었다. 따라서 공공미술관의 역할과 지역성, 지역미술사에 대한 연구를 선행하고, 전주미술사를 위한 기초 자료로서 전주미술인을 조사하고 목록화하였다. 먼저 전주에서 활동하는 모든 전문적인 미술인을 검토 대상으로 하였다. 그러나 다른 지역에 비하여 현저히 많은 미술인의 활동을 확인할 수 있었다. 그래서 1955년 출생한 작가까지 해제 대상으로 하였으나 자료 부족 등으로 120명의 작가에 대한 해제를 완료하였다. 이와 작가는 엑셀로 정리하여 전주시에 제공하였는데 1955년생까지 중 엑셀로만 정리된 작가는 17명, 1956년 이후부터 1970년대까지는 96명이었다. 전주 근현대 미술 작가 연구는 단순한 지역 작가의 발굴이나 기록에 그치지 않고, 전주의 문화적 정체성과 미술사적 위상을 재조명하는 의미 있는 작업이다. 이 연구를 통해 우리는 전주라는 공간이 단순한 지방 도시가 아니라, 전통과 근대를 잇고 현대미술로 확장되는 중요한 예술적 터전이었음을 확인할 수 있다. The study of modern and contemporary artists associated with Jeonju aims to establish Jeonju’s art history. The purpose of this research was to identify artists connected to Jeonju, to elucidate the lives of major figures among them, and to provide critical annotations of their artistic practices and bodies of work, including compiled chronologies, thereby contributing to the construction of Jeonju’s art-historical narrative. By outlining a broad map of the human resources and relational networks that constitute Jeonju’s artistic field, this study assists in clarifying the identity of art in Jeonju. Beyond these ancillary outcomes, the research primarily sought to produce foundational materials to support future collection policies and exhibitions of the Jeonju Museum of Art, as well as to inform the development of educational programs. To this end, artists and their works were examined from multiple perspectives. This report details the findings of the research project regarding Jeonju's modern and contemporary artists, commissioned by Jeonju City and conducted by a six-member research team from December 2023 through September 30, 2024. The research team comprises six members. The Principal Investigator, Cho Eun-jeong, oversaw the entire project, including its design, supervision, and the writing of interpretive texts. Researchers Kim Mijeong, Hur Nayoung, and Hong Sunghu were responsible for surveying artists associated with Jeonju and preparing interpretive entries. Assistant Researcher Koo Jiwon conducted archival research, compiled artist lists, and prepared meeting minutes, while Lee Anna handled archival research, artist list compilation, and financial administration. In addition, six advisory scholars and numerous editorial advisors contributed to the research process. This study emphasized its function as foundational data for collection policies, exhibitions, and educational initiatives at the Jeonju Museum of Art. Accordingly, preliminary research was conducted on the role of public art museums, issues of locality, and regional art history. Based on this framework, artists associated with Jeonju were investigated and catalogued as primary source material for Jeonju’s art history. Initially, all professional artists active in Jeonju were considered for inclusion. However, a notably large number of artists were identified in comparison to other regions. Consequently, artists born up to 1955 were selected as subjects for full annotation, resulting in completed entries for 120 artists, despite limitations such as insufficient archival materials. Artist data were organized in Excel format and submitted to Jeonju City. Among those born up to 1955, 17 artists were recorded only in the Excel database, while 96 artists born between 1956 and the 1970s were likewise catalogued. The study of modern and contemporary artists in Jeonju moves beyond the identification or documentation of local practitioners. It constitutes an analytical framework for rearticulating Jeonju’s cultural identity and reassessing its significance within broader art-historical narratives. Through this research, Jeonju is positioned not merely as a provincial city but as a historically and conceptually significant site in which tradition, modernity, and contemporary artistic practices intersect.

한국전쟁기 남한 미술인의 전쟁 체험에 대한 연구 : 종군화가단과 유격대의 미술인을 중심으로

조은정 이화여자대학교 한국문화연구원 2002 한국문화연구 Vol.3 No.-

During the Korean War, a significant ideological disruption existed among the South Korean Artists. The ideology taken by the artists, whether it is right(Denmocracy-South Korea) or left(Socialism-North Korea), it is directly related with their life perse. Since much Korean territory was conquered by the U.N. troops and also by China over and over, most of the artists could not escape from treasonous felony. Therefore, the artists crossed the 38 Parallel and headed for South or North upon their ideology and became members of war-artists or volunteered for military service. During and After the Korean War, the Do-gang Pa, a group of artists who crossed the Han river and settled down in the South, assumed hegemony. This was a prelude for power games between groups of artists, a faction. Since then, the factionalism played a important role for competition of the Korean art contests. During the period of the Korean War, there was no further development of art works but a structural change was witnessed in the factionalism. This was a pro-America art group in one side and a conservative art group leaded by Ko, Hee-dong in other side. Most ideological conflicts in the world of Korean arts, experienced after the Korean War, in fact began during the Korean War. Because anti-communist ideology also emerged in the world of Korean arts after the Korean War. This study examines artists’ activities based on the ideological perspective in the South during the Korean War. Also this study reveals that collective behavior among the artists dominates the world of Korean arts and patterns of the art works. During the period of the Korean war, main art organization was the member of war-artists and irregular partisans and anti-communist military groups belonged to this organization. The reasons why the artists participated at the organization and the tasks what they did revealed the true nature of the Korean War. The member of war-artists participated at the organization to be shown as the right wing and fear against revenge from the Korean forces leaded the artists to become irregular partisans. This study showed for the first time the reality of art world of the irregular partisans artists who were taken advantage of psychological warfare. War experience of the Korean artists during the Korean War yielded no criticism for obedience and anti-communism against the hegemony which was the main stream to lead modernism. However, we witnessed a challenge against the taboo-subjects in the year of 1980s when new artists with no war-experience emerged in the world of art.

A Cognitive Approach to Productive Word-Formation in Neologisms: Focusing on -gate Words

조은정 현대영미어문학회 2019 현대영미어문학 Vol.37 No.1

This study discusses how to classify a certain type of word formation, such as the hamburger series, and focuses on the identity of the segmented elements of these series. The type of the hamburger series, the so-called H-type word formation (Frath 2005), includes the burger series, the -holic series, the -gate series, and so on. This study critically reviews the three approaches to these (un)bound morphemes in the previous studies, argues that the word formation should be regarded as metonymic shortening or clipping, and suggests that emergent (un)bound morphemes should be called “(un)bound remnants” (cf. Kageyama and Saito 2016). This new term can draw attention to the characteristics of this type of word formation, which is different from lexical blending and similar to compounding. Using the term remnant can prevent us from confusing the H-type word formation with lexical blending, and encourage us to distinguish it from affixation since the new term, unlike affixes, refers to the part of the word which acquires semantic independence that corresponds to the meaning of the original parent word.

명화감상과 구연동화 활동이 유아의 언어능력에 미치는 효과 비교

조은정,박유영,지성애 한국영유아교원교육학회 2006 유아교육학논집 Vol.10 No.2

A Comparison of the Effects of The Artist Painting Appreciation and Orally Narrative Fairy Tales Activity on Young Children's Language Ability

보육교사가 평가한 보육시설장의 전문성에 관한 연구

조은정,박은영,김희정 한국영유아교원교육학회 2008 유아교육학논집 Vol.12 No.3

The purpose of this study was to investigate the child-care center directors' professionalism by child-care teachers' evaluation, 206(1 child-care teacher per 1 center) in Jeollanam-do. The results of this study were as follows: First, There was significant difference on establishment type in evaluation of the child-care center directors' professionalism scores of the public were higher than the ones of the corporative and nongovernmental. Second, There was significant difference on accreditation system of child care center whether or not. The evaluation of child-care center director's professionalism scores were much higher than the ones of non-evaluation child-care centers. 본 연구는 보육교사가 평가한 보육시설장의 전문성을 알아보기 위해 전라남도 보육시설에 근무하는 206명의 보육교사(각 시설 별로 보육교사 1인)를 대상으로 보육시설장의 전문성에 관한 설문이 실시되었다. 본 연구결과 보육교사가 평가한 보육시설장의 전문성은 보육시설 유형(국・공립, 법인, 민간) 따라 통계적으로 유의미한 차이가 있는 것으로 나타났으며, 국공립보육시설의 시설장이 법인 보육시설과 민간보육 시설장보다 전문성이 더 높은 것으로 밝혀졌다. 둘째, 보육교사가 평가한 보육시설장의 전문성은 평가인증 여부에 따라 통계적으로 유의미한 차이가 있는 것으로 나타났으며, 평가인증을 받은 시설의 보육시설장이 평가인증을 받지 않은 시설의 시설장에 비해 전문성이 더 높은 것으로 밝혀졌다.

성장기 환아의 복잡 치관-치근 파절 영구전치의 Root submergence

조은정,이제우,라지영 대한구강악안면병리학회 2018 대한구강악안면병리학회지 Vol.42 No.5

Complicated crown-root fractures are considered rare occurrences in young permanent dentition; however, they often present complicated and unpredictable treatment options. The most common treatment option for crown-root fractured teeth is reattachment of fractured segment, but if it is thought impossible to maintain, it should be extracted. However, when unfavorable crown-root fracture occurs in the adolescents, extraction of fractured teeth is expected to be poor due to excessive resorption of alveolar and prosthetic replacement cannot be performed immediately, various treatment options should be considered. This report suggests root submergence in the complex crown-root fracture in growing patients is performed and the functional and aesthetic results including preservation of the alveolar bone are obtained.

전신적 증후군을 보이지 않는 다발성 함치성 낭

조은정,이제우,라지영 대한구강악안면병리학회 2018 대한구강악안면병리학회지 Vol.42 No.5

Dentigerous cysts, the most commonly occurring developmental cysts of the jaw, develop in association with impacted teeth. Most dentigerous cysts are solitary. Multiple dentigerous cysts are rare and generally occur in association with a developmental syndrome or systemic disease, such as mucopolysaccharidosis and cleidocranial dysplasia. However, in the absence of a syndrome, occurrence of multiple dentigerous cysts is rare. Development of multiple dentigerous cysts on first molars extremely rare. The purpose of this paper was to report on a nonsyndromic, 8-year-old boy who presented multiple dentigerous cysts on first molars.

근대 지식인의 교유와 미술 - 고영철, 안중식, 조석진의 영선사(領選使) 활동을 중심으로

조은정 한국근현대미술사학회(구 한국근대미술사학회) 2019 한국근현대미술사학 Vol.38 No.-

Youngseonsa's goal was to learn modern technical education in Tianjin, the Qing Dynasty, where the young talents of Joseon accepted the preceding artifacts. Unlike the Sinsayuramdan, which were formed mainly by Yangban(兩班), the company was made up of Jungin(中人) and artisan. Of course, it was aimed at introducing 'technology' to learn direct weapons manufacturing technique, and it was actually participated by working and artisans and Jugin rather than Yangban. Most of them were those who had been in the business or started to act as management of Joseon. Among the students who came back with Kim Yun-sik after studying diligently and patriotically without falling in the middle as an academic, there were Ko Youngcheol, Cho Tae-won, and Ahn Wook-sang. Ahn Wook-sang(1833-1919) was Ahn Jung-sik, the last palace painter and an leaer of the modern calligraphy system, and Cho Tae-won was Cho Seok-jin(1853-1920). Just as Ko Young-cheol came back to Korea in late 1882 and returned to the office in early 1883, he had a new job in teaching and publishing foreign languages i n accordance with the system he had learned in China. Also, Kim Yun-sik's confidence in Ko Young-cheol was overwhelming. Ko Hui-dong, the son of Ko Young-cheol is called the first Western painting artist. He attended the school of French Language and served as an injection to the headquarters. He learned to draw pictures with Cho Seok-jin and Ahn Jung-sik after Lee Doyoung(1884-1933). As painters, they painted paintings and interacted with them at the center of the enlightenment party. Research on Youngsunsa has been conducted in depth in various fields. In contrast to the historical research, this researcher noticed that those who participated as members of Yeongsunsa played an important role in modern art. Therefore, we confirmed the members who participated in Youngsunsa such as Kim Yun-sik, Ko Young-cheol, Ahn Jung-sik and Cho Seok-jin in the members of Seohwa Association. In particular, I grasped the process of association with the members of Seohwa Art Society and Seohwa Association and established the relationship between them. In other words, the purpose of the association was to transform the position from artisan to modern artist. With the relationship between Cho Seok-jin, Ahn Jung-sik, and Ko Young-cheol, it is possible that Ko Young-cheol, as a father when the world is disturbed, invited his son to enter the world of art. So he sent his son to Cho Seok-jin and Ahn Jung-sik of old friends to study painting. He was the son of a friend who leaned together in a dizzy world. To their mentor, Ko Hui-dong was different from any disciples. Later, it became possible for Kim Yun-sik to become a member of the Seowha Association in the context of their relationship. Ko Young-cheol, who Kim Yun-sik had trusted, was a writer of the third episode, Ahn Jung-sik and Cho Seok-jin were professional painters, and Ko Young-cheol's son Ko Hui-dong learned paintings as the disciples of these two painters and became Korea's first Western painting artist. During the ceremony of the 3.1 movement, a number of literary men and ethnic Koreans, including national representatives, came to Kyungmuk-dang and Seohwa Art Hall. The modern intellectuals planned the future of the nation by discourse and criticism in the reception room of the artist.

극놀이와 연계한 유아 미술감상교육 프로그램 개발 및 효과

조은정,김영옥 한국영유아교원교육학회 2010 유아교육학논집 Vol.14 No.4

The objective of this study is to improve the appreciation program designed for enhancing young children’s artistic eyes and senses and understanding of world around them. We verified the effects of an art appreciation program connected with dramatic play on children’s drawing representational skills, intelligence and prosocial behavior. In conclusion, the art appreciation program connected with dramatic play, which was developed in this research, has been proven to improve children’s representational drawing abilities, intellectual abilities, and prosocial behaviors. These results indicate that an art appreciation program connected with dramatic play has the potential as an alternative art education program that helps children’s wholesome development. 본 연구는 유아의 미적안목과 미적 감성 및 주변세계의 이해, 사회성을 증진 시킬 수 있는 효과적인 미술감상교육 프로그램을 개발하고 이를 실제적으로 적용해 봄으로써 그 효과를 검증하는데 목적이 있다. 이를 위해 국내외 관련 논문 및 자료들의 문헌고찰을 토대로 극놀이를 활용한 유아 미술감상교육 프로그램을 개발하였으며, 개발된 프로그램이 유아의 그리기표상, 지적 능력과 친사회적 행동에 미치는 효과를 검증하였다. 본 연구에서 개발된 극놀이와 연계한 유아 미술감상교육 프로그램은 그리기표상, 지적능력과 친사회적 행동을 증진시킨 것으로 나타났으며 이러한 결과는 유아의 전인적 발달을 도모하는 대안적인 미술교육 프로그램으로서의 적용가능성을 시사하고 있다.