구스타프 쿠르베의 모순 : <화가의 작업실>(1855)을 중심으로

다국어 초록 (Multilingual Abstract)

Gustave Courbet was a French painter who led the Realist movement in 19th-century French painting. Since After dinner at Ornans in 1849 Courbet’ s subject had been drawn from the actual life or the living human experience, because he believed that art should reflect the realities in actual life. To represent the hero of today, Courbet used “colossal” dimension required of history painting which the Paris Salon esteemed as painter’s highest calling but rejected as unsuitable for a genre painting. And he employed a larger than life-size which is appropriate for a culture hero. He wanted to give everyday subjects the effect of a monumental history painting. This was to be a transgression of the academic principle.
In 1855, Courbet submitted fourteen paintings for exhibition at the Universal Exposition. His monumental paintings, The Artist’s Studio and The Burial at Ornans which are his major works of Realism are not admitted to the Universal Exposition. So he decided to organize his own show called The Pavilion of Realism which was a temporary structure that he erected opposite to the Exposition Universe of 1855. In short, he challenged the rigid categories of the Academy not only in a series of his paintings but also in his actual life.
The artist disregarded authority and convention of the academy. However, the trace of the academic tradition remains still in Courbet's painting. This means he was not immune from the Salon’s view. In this paper I examine the relation between Courbet and the Paris Salon, focusing on the composition and rhetoric of The Artist’s Studio . As I demonstrate, the composition of the picture relates to the academic history painting’s central composition, especially The Sabine Women of Jacques-Louis David. The Artist's Studio was called allegory by Courbet. Allegory is the principle rhetoric of the academic history painting. In 19th-century salon’s paintings, the purpose of allegory was the personification of an abstract concept. He was interested in the allegory as an indirect or veiled mode of expression rather than the allegorical personifications. He created his own realism simultaneously using the tradition and the difference. In The Artist’s Studio, Courbet's massed figures The Contradiction of Gustave Courbet: on The Painter’s Studio, A Real Allegory Summing up a Seven-Year Phase (1855) Lee, Jaeeun(Sungshin Women's University, Lecturer) locate theirs place in the academic composition and are to be the allegorical personification. The kind of contradiction was due to the Salon’s gaze that controled the mainstream art of 19th-century Paris.

목차 (Table of Contents)

• I. 살롱과 쿠르베
• II. <화가의 작업실, 나의 예술적 생애의 7년에 걸친 한 시기를 정의하는 현실의 알레고리>(1855)
• III. 아카데미 전통의 화면구성
• IV. 살롱의 역사화의 수사학
• V. 살롱의 역사화의 수용과 변용
• 참고문헌
• Abstract

참고문헌 (Reference)

1 자크라캉, "욕망이론" 문예출판사 1994

2 피에르 부르디외, "예술의 규칙: 문학 장의 기원과 구조" 동문선 1992

3 김욱동, "수사학이란 무엇인가" 민음사 2002

4 김연순, "독문학용어사전" 탐구당 1991

5 미셸 푸코, "감시와 처벌" 나남출판사 2003

6 Bryson, Norman, "Tradition & Desire: From David to Delacroix" Cambridge 1984

7 Chu, Petra ten-Doesschate, "The Most Arrogant Man in France" Princeton University Press 2007

8 Fried, Michael, "Painer into Painting: On Courbet’s‘ After Dinner at Ornans’ and ‘Stonebreakers ’" 8 (8): 1982

9 Chu, Petra ten-Doesschate, "Letters of Gustave Courbet" The University of Chicago Press 1992

10 Brookner, Anita, "Jacques-Louis David" Thames and Hudson 1987

11 Nochlin, Linda, "Gustave Courbet’s Meeting : A Portait of the Artist as a Wandering Jew" 49 (49): 1967

12 Faunce, Sarah, "Courbet Reconsidered (exhibition catalogue)" rooklyn Museum 1998

13 Men, Ségolène Le., "Courbet" Abbeville Press Publishers 2008