또 하나의 냉전 = 미군 점령기(1945-1951) 일본에서의 ‘민주주의’적인 프랑스 미술의 궤적

다국어 초록 (Multilingual Abstract)

In 1970, the so-called 'revisionists' of the United States criticised that 'the triumph of American art' was the product of 'cultural Cold War' and Abstract Expressionism as well as the Museum of Modern Art in New York were the weapons of Cold War. Their criticism suggested the problematic issues about modern art in Cold War, but they had some logical limits in their literatures: on the one hand, they were almost interested in the centre of modern art, Paris or New York, and on the other hand, they believed the 'centre', understood as American art in New York after World War Ⅱ, was getting to be diffused into the other areas step by step, for example, Europe in the 1950s, Asia in the 1960s. This means even the critical 'revisionists', probably unconsciously, were not free from and consequently reproduced the geopolitics of the 'centre' with regard to modern art.
As for Japan, however, the cultural Cold War' did not come late in the 1960s, but started from the Occupation of the GHQ (General Headquarters/Supreme Commander for Allied Powers) in 1945. And although under the Occupation, the meaning of modern art in Japan was not directly connected to 'the triumph of American art', rather the exhibitions of French modern art were vigorously held. These exhibitions were taken place almost by the newborn 'Kokuritsuhakubutsukan (National Museum)' which had been the property of Tenno (Emperor of Japan) but was reconstituted as that of people by the GHQ on the basis of the Occupational ideology of 'democracy' after the defeat of war. In short, there appeared the 'cultural Cold War' in Japan during the Occupation years in the form of 'democratic modern' French art. And more, the ideology of 'democracy' was so discussive, inconsistent and changing one that could not say that the ever-determined principle of the 'centre' was received as it was without any resistance or modification in Japan. Therefore, I think the case of Japan under the Occupation is a good one to question about the geopolitics of 'centre' reproduced by the 'revisionists'.
During the Occupation years, the meaning of 'democracy' and 'democratic modern' art was changed gradually, from anti-militarism (or anti-nationalism) to anti-communism (or anti-socialism) and ended up to the resurrection of Japanese nationalism. With these changes, the French artists or artistic movements was selectively accentuated, from Impressionists to Fauvists or Cubists and to decorative Fauvists, especially Matisse.
First, right after the defeat of war, because the Occupational principle was centered on the anti-militarism, 'democracy' was interpreted as a broad one, including socialism, and so there happened a series of competitions for which one is more 'democratic' art between Impressionist realism and socialist realism. But with the opening of 'Kokuritsuhakubutsukan' in 1947, in the second place, the meaning of 'democracy' in that institution was changed into anti-communism, and at the same time 'the autonomy of art(art for art's sake)' was underlined as the institutional principle. On the behalf of this principle, art criticisms and artistic discourses also put it that Fauvists or Cubists was more developed ones than Impressionists because the first was closer to 'the autonomy of art' than the last. This interpretation was conscious of the formulation of modern art by Museum of Modern Art in New York regarded as 'center of art world' and the extraordinary Museum of Modern Art was open within the Kokuritsuhakubutsukan in 1948.
And then, from 1949 to 1951, the third aspect of these changes, The GHQ decided to make Japan anti-communist base in Asia, and for the purpose of it to make Japan an independent nation-state was needed. So the Kokuritsuhakubutsukan made a great point of worldliness of Japanese art, and emphasized the superiority of Japanese classics or traditional culture which had been regarded to influence French modern arts. This was the return of Japonism which ha

목차 (Table of Contents)

• 1. 냉전과 근대미술 : ‘수정주의’ 다시 보기
• 2. ‘문화국가’의 ‘근대’미술 열광과 프랑스 미술의 복권
• 3. ‘국립박물관’의 ‘근대’미술전과 ‘미술의 자율성’
• 4. 마티스와 ‘세계성’ : 역전된 ‘고전’혹은 자포니즘의 귀환
• 5. 맺음말 : 근대미술관의 내셔널리즘
• 참고문헌
• Abstract