• Korean Architects
• /
• no.5 s.218
• /
• pp.24-29
• /
• 1987

기능주의하면 「바우하우스」그룹과 「르꼬르뷔지에」가 선두주자처럼 되어 있으나 그들이 없었더라도 기능주의는 어차피 탄생할 운명이었다. 그 까닭은 건축사조는 독단적으로 생기는 것이 아니라 그 시대를 주름잡는 사회의 사조에서 비롯되는 것이며 20세기란 바로 산업혁명의 기운이 무르익어 과학만능의 풍조가 팽배해지기 시작한 시대이기 때문이다.

• Science of Emotion and Sensibility
• /
• v.19 no.3
• /
• pp.15-26
• /
• 2016

This study was performed to investigate whether aesthetic preference is related to the personality of an individual or not. Even though prior studies have reported that aesthetic preference for a certain style of art is associated with a personality factor, it is more important to focus on impressions and feelings about paintings than the style of art. The present study tried to examine how positive, negative, and neutral feelings about paintings are related to a personality factor, and that familiarity has an effect on aesthetic preference. After participants answered a Big-Five personality questionnaire, they then rated the preference for and familiarity about paintings which implied emotions. The results showed that individuals with higher scores of neuroticism preferred negative paintings. A preference for negative paintings is hard to explain, but this could be explained by results of this study. A hypothesis that familiar paintings would be more preferred is supported by the data. Aesthetic preference has both objectivity and the subjectivity. This study explained subjectivity through individual differences, and investigate art from a psychological point of view rather than conservative methods that sort paintings into art history.

• Archives of design research
• /
• no.16
• /
• pp.65-74
• /
• 1996

It IS of great significance that russian artists created their own avant- gard arts, based on russian traditional culture comprehending new artistic trend from the Western Europe. After ttle Russian Revolution, russian artists participated voluntarily to the change of sOCIety. They were heading for the reach of socia 1st's utopia in the field of culture (painting, movie, architecture, play etc) Therefore , new socialist's society needed artistic Institution like the Vchutemas. The aim of thiS school IS to prepare highly educated artists to Instruct and direct In professional and technic education. RUSSian avant-gard artists gave lessons about the new didactics of the Vchutemas on the principals of ConstructiVism and Functlonlsm. They Influenced the Bauhaus school and western european designs.

• The Research Journal of the Costume Culture
• /
• v.3 no.2
• /
• pp.261-275
• /
• 1995

This paper analyzes the parallelism between the art trend and the fashion. As a representative case, we consider the Modernism and the Flapper look. The Modernism rejected the tradition of the past and pursued something new. This trend was in parallel with the fashion called flapper look which was against the tradition and made drastic change. The factors which represent the spirit of the age the Modernism are the simplicity, the rejection of the tradition, the individualism and the subjectivity, the functionalism, the fragmentation of the self, and the straight line. We discuss the fashion style of the flapper look in terms of these factors.

• The Journal of the Korea Contents Association
• /
• v.22 no.5
• /
• pp.611-619
• /
• 2022

This thesis is about body language of Tao Dance Theater by combining Schuster's body aesthetic concept with the aesthetic characteristics of early dancers in modern dance. The body aesthetics of Tao Dance Theater were analyzed from the perspectives of minimalism and abstract aesthetics as they expressed and conducted overall research. Therefore, this study intends to analyze the elements such as the creative intention, content, body aesthetic, and costume stage of Tao Dance Theater's work <10>. Accordingly, it is meaningful in that it understands the aesthetic concept of the body asserted by Lee through the work, and analyzes the current state of development of modern dance art according to the change of the artistic trend.

• Archives of design research
• /
• v.15 no.4
• /
• pp.47-56
• /
• 2002

The purpose of this study is to clarify how modern formative art reflects surrealism and propose a Art Make-up expressed based on the trend. The study also aims at demonstrating the part that the Make-up based on surrealism is also an artistic being keeping pace with the trend of art. For the purpose, the study reviewed related theoretical backgrounds and works as manufactured. Based on these theoretical backgrounds, the author anufactured works of his own, realizing the combination between theoretical and practical aspects. Those works were motivated from existing surrealistic paintings or otherwise made surrealistically through creation by the author for himself. The works included , (Work 2-MAGRITTE's Expression>, , , and . Results of the study, which were obtained through manufacturing the works, can be described as follows. First, senses of modern formation and line were emerged by applying the materials and images frequently shown in surrealistic paintings to human bodies. Second, characteristics of the Art Make-up for artistic image were revealed, not limited to colors, expressions, subjects, techniques and materials. Third, an unlimited, interesting expression of the Make-up using a variety of materials became possible by applying extremely subjective, surrealistic paintings and images in various ways. This paper proposed that the Make-up should be a artistic image itself, not as a secondary means for an obvious expression of personal beauty which has been maintained since the ancient times. The researcher tried to put the Art Make-up into our daily life by making creative works which viewed and psychologically enjoyed by people and by proposing the works as sort of image theme to the spectators.

• Archives of design research
• /
• v.15 no.1
• /
• pp.15-26
• /
• 2002

Contemporary visual art is characterized by a systematic study of the irrational. This trend was largely a reaction to the rationality of Modernism, which felt out of fair in the post-industrial society. This new trend against Modernism is represented by Deconstructivism. However, the appeal of irrationality has a deeper root. In this article, we examine the historical roots0 of this interest in the irrational. In doing so, we focus tour attention on the effect of Freud's theory of the subconscious on the growth of Surrealism in modern art. In particular, we explore how this same tendency is reflected in modern. floral art & design. By doing so, we are able to relate the developments in floral art & design with the developments in other areas of modern art. Finally, we show that it is possible for floral art & design to be in the vanguard of contemporary art because of its unique characteristics.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.31 no.12
• /
• pp.1761-1771
• /
• 2007

The artificial exaggeration of stage costumes is thought to be one of the major techniques of enhancing dramatic expression on stage, whichever for visual impact or symbolic effect of dramatization. In the history of stage dressing, a variety of styles has been tried using different materials and production techniques. This may be reviewed as an effort to express dramatic effects more effectively. As this trend became obvious in Europe after the Second World War, this study analyzes the stage costume to deepen our understandings of the role of costumes in expressing dramatic effects. To accomplish this, we first summarized the history of stage costume materials and technical advance and chose five major cases representing the history of stage costume since the Second World War in Europe based on aesthetic and creative aspects: 1) Simplified stage of Jacques Copeau, 2) Stylized stage of Bertolt Brecht, 3) Essential stage of Grotowski, 4) Measured stage of Robert Wilson the Master, and 5) Post-dramatic stage of Philippe $Decoufl\'{e}$. In each of particular case, the historical, material and dramatic contexts were examined as well as different material-effects. The results are as followings: 1) Costume for Copeau's simplified stage: its simplicity plays a supporting role to the gesture of actors(intensifying effect). 2) Costume for Brecht's stylized stage: the artificial stylization integrates into the play with the importance approximately equal to the actors's acting. 3) Costumes for Grotowski's essential stage: costumes disappeared to emphasize only actor's presence on stage. 4) Costumes for Robert Wilson's measured stage: costumes made concrete impression to the extent of obtaining the same importance of actor's body among other stage art elements(lighting, sound, props, actor, text, etc). 5) Costumes for Decoufle's post-dramatic stage: costumes in the era of multi technology possess multi functional aspects that surrogate actors' body. This study suggests that stage costumes take an important part in dramaturgy to the extent that the intent of dramaturgy can be induced enough from stage costume. Thus, costume makers are expected to incorporate the appropriate dramatic factor more than before.

• The Journal of the Korea Contents Association
• /
• v.15 no.12
• /
• pp.61-72
• /
• 2015

The capitalistic resistance movement attempted in most modern art areas was carried out through a complete convergence of the art and skill, which was the new formation of the symbolic boundary. Although this resistance movement was aimed at restoring artisan art through the revival of tbe work of handicraftsmen, it consequently caused the stratification of the art and became a de-artisan art excluding the autonomous labor. Hereupon, this study would focus on Bauhaus which attempted to dismantle the symbolic boundary through the convergence of the technology and art which actively used the condition the great industry brought only as an effort for the restoration of artisan labor, and would examine the actor-network of Bauhaus. Therefore, this study would examine the Bauhaus' artistic trend, the 16C Renaissance art promotion movement, and the 19C art crafts movement in the network-oriented relation, and would analyze the Bauhaus' ideological source which expressed design democracy through the bridging role of and analyze the artisan art and the mechanism that had the new technology fused. Furthermore, the convergence possibility of the 'collaboration spirit' being embodied as a philosophy of the democracy in the design continues with the tremendous influence of the new technology.

• Proceedings of the Korea Contents Association Conference
• /
• 2006.05a
• /
• pp.259-264
• /
• 2006

Some appearances of the result images from the researches on NPR(Non Photorealistic Rendering) look like contrary to the attributes of the real painting. As they are based on only the technical approach rather than the aesthetic and accurate analysis of the real painting which they modeled. Therefore the purpose of this paper is the abstraction of the exact features from the related real painting, the redefine of them applicable to the process, and the embodiment of the painterly NPR algorithms. This paper modeled the Impressionism which were originated in the France at the late nineteenth century. Accordingly, at first, I analyzed the general features of oil paintings and Impressionism paintings, and according to this analyses, I adjusted them to engineering elements(the direction, length, width, texture and speed of stroke, the edge and region of object, depth information and color etc) and programmed. I emphasize the importance and potentiality of the collaboration of artist and technician in the NPR research through the results in this paper.