19세기 전반 유럽 풍경화가의 광학도구 카메라 루시다의 사용 분석 - 영국 풍경화가 존 헤어셜, 바실 홀, 존 셀 코트만을 중심으로 = Analysis of Using of the Optical Instrument Camera Lucida by the European Landscapists in the first half of the 19 ^th Century - On the English Painters J. F. W. Herschel, B. Hall, J. S. Cotman

다국어 초록 (Multilingual Abstract)

This treatise investigates the using of the camera lucida as the representative optical instrument for drawing in the first half of the 19 ^th century in Europe. Invented in 1806 by the English scientist W H Wollaston (1766-1828), the camera lucida had been manufactured since 1807 and widely used by many European landscape painters. In order to examine the effects and problems of using the camera lucida this treatise analyses the drawings made with the camera lucida by amateur and professional painters during 1810s and 1840s in England; firstly, the two portrait drawings by the painters, John and Cornelius Varley and secondly, the landscape drawings by the scientist John F. W. Herschel and the navy officer Basil Hall and thirdly, the topographic drawings of the famous watercolorist John Sell Cotman (1782-1842) who successfully used the device for drawing architectural momuments and natural surroudings. The beneficial elements of the camera lucida were the rapid speed and the drawings of outlines as well as perspective lines which were more necessary to amateur artists than professional. On the problems of the device some professional painters pointed out the inaccuracy of outlines and perspective lines and were not content with the line quality. None the less the camera lucida had been widely used by the landscapists during the 19 ^th century, because they could easily bring it outside and draw objects directly in the nature, and it was more convenient than the rival media, the camera obscura.

참고문헌 (Reference)

1 이상면, "최초의 영상기구, 카메라 옵스쿠라의 문화사적 의미" 한국영상문화학회 (16) : 131-161, 2010

2 호크니, 데이비드, "명화의 비밀" 한길아트 2003

3 이상면, "근대 유럽 풍경화와 과학(영상)기구의 연관성* - 카날레토ㆍ샌드비ㆍ탈보트의 미술작업에서카메라 옵스쿠라와 카메라 루시다의 사용에 대해" 한국영상문화학회 (23) : 329-368, 2013

4 호크니, 데이비드, "그림의 역사" 미진사 2016

5 Steadman, Philip, "Vermeer’s Camera. Uncovering the truth behind the masterpieces" Oxford University Press 2001

6 Schaaf, Larry J, "Tracings of Light: Sir John Herschel and the Camera Lucida" Curatorial Assistance Inc 1989

7 Kemp, Martin, "The Science of Art. Optical Themes in Western Art from Brunelleschi to Seurat" Yale University Press 1990

8 Elkins, James, "The Hypothesis, Optics, Skill, and the Fear of Death"

9 Newhall, Beaumont, "The History of Photography. from 1839 to the present" The Museum of Modern Art 1982

10 Hammond, John H., "The Camera Lucida in Art and Sciences" Adam Hilger 1987

11 Schaaf, Larry J, "Ich sehe was, Du nicht siehst! Sehmaschinen und Bilderwelten" Museum Ludwig 48-53, 2002

12 Hick, Ulrike, "Geschichte der optischen Medien" Wilhelm Fink Verlag 1999

13 Holland, James, "Cotman Through the Camera Lucida"

14 Fiorentini, Erna, "Camera Obscura vs. Camera Lucida: Distinguishing Early Nineteenth Century Modes of Seeing" Max-Planck Institut für Wissenschaftgeschichte Berlin

15 Falco, Charles M, "Art-Optics"

16 Gorman, Michael John, "Art, Optics and History : New Light on the Hockney Thesis" The MIT Press 36 (36): 295-301, 2003

17 Dulwich Picture Gallery, "2012: Cotman in Normandy. 10.Oct.2012~13.Jan.2013"