• 보존과학회지
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• 제33권5호
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• pp.371-380
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• 2017

근 현대 유화작품에 사용된 안료 연구를 위해 오지호와 구본웅 작품 32점을 분석대상으로 선정하여, 바탕칠층과 물감층에 사용된 백색안료 특성을 확인하였다. 분석 결과 대상작품에 사용된 백색 안료는 lead white(염기성탄산납), zinc white(산화아연), titanium white(아나타제 또는 루틸형의 이산화티탄), calcite(탄산칼슘), barite(황산바륨)로 확인되었으며, 작품에 사용된 안료의 종류는 작가 및 제작시기에 따라 차이가 있는 것으로 나타났다. 하지만 zinc white가 모든 작품에 사용되고 lead white가 titanium white, barite 및 calcite로 대체되는 점은 두 작가 모두 동일한 것으로 확인되었다. 또한 문헌자료로 알려진 국외 안료 및 유화물감 연구와 비교했을 때 안료의 변화 양상은 동일하게 나타났으나, 부분적으로 사용시기가 다른 것으로 확인되었다. 이는 유화의 도입기부터 서구권과의 직접적인 교류가 이루어지지 못하고 일본을 거쳐 재료와 기법이 유입되었던 시대적 배경과 연관이 있는 것으로 보인다. 이에 따라 국내 유화에 사용된 백색안료의 종류는 세계적인 변화 양상과 시기적인 차이를 지니는 것으로 해석된다. 본 연구 결과를 통해 다양한 작품분석이 진행된다면 시기에 따른 유화물감의 재료적 특성과 작가의 표현기법 및 편년 연구 등 향후 보존과학과 미술사 연구에 중요한 근거자료가 될 수 있을 것으로 기대된다.

• 한국의류학회지
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• 제16권3호
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• pp.197-207
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• 1992

Expressionism, is as diverse as the artists invo)ved, in a very broad sense two main tendencies may be noted. The first is that of the Action painters, concerned in different ways with the gesture of the brush and the texture of the paint. It included such major artists as Arshile Gorky, Jackson Pollock, Willem De Keening, and Franz Kline. The other group consisted of the Color Field painters, concerned with the statement of an abstract sign or tranquil image in terms of a large, unified color shape or area. Here must be included Mark Rothko, Barnett Newman, Ad Rdinhardt, as well as, to a degree, Adolph Gottlieb, Robert Motherwell, and Clyf(ord Still. In this paper, 1 selected two artists Arshile Gorky and Jackson Pollock independent charac-teristics and studied the influence of their Action painting on the fabrics of modern fashion. However, it should be noted it was never the intention of the critic Harold Rosenberg, in coining this term, to imply that Action painting was a kind of athletic exercise. Nor is it true that the furious and seemingly haphazard scattering of the paint involved a completely uncontrolled, intuitive act. There is no question that, in the paintings of Jackson Pollock, Arshile Gorky and many of the other Abstract Expressionists, the element of intuition or the accidental plays a large and deliberate part; this was indeed one of the principal contributions of Abstract Expressionism which had found its own inspiration in surrealism's 'psychic automaton'. However, nothing that an experienced and accomplished artist does can be completely accidental. Aside from their intrinsic quality, the spun-out skeins of poured pigments contributed other elements that changed the course of modern painting. There was the concept of the all-over painting, the painting seemingly without beginning or end, extending to the very limits of the canvas and implying an extension even beyond. The feeling of absorption or participation is heightened by the ambiguity of the picture space. The colors and lines, although never punctur-ing deep perspective holes in the surface, still create an illusion of continuous movement, a billowing, a surging back and forth, within a limited depth. To study the influence of Abstract Expressionism on the fabric of modern fashion, 1 selected and examined four fashion magazines: Collezioni published in France, Bazaar in Italy, Gap in Japan and Vogue in the U.S.a. froim January 1989 to June 1991. As a result of this review I found that some fabrics used in modern clothing are printed in a dripping, pouring and splashing style without any meaning or form. Slides included in the presentation show that modern fabrics which are printed in such a style were influenced by Abstract Expressionism. The slides also show that these abstract prints are well suited to modern fashion design.

• 헤리티지:역사와 과학
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• 제57권2호
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• pp.52-78
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• 2024

본 연구는 근대기 한국 불교미술의 주요 인물인 석하시찬(石霞施讚, 1893~1958)의 조각 예술을 분석하여 그의 작품이 한국 불교미술사에서 차지하는 위상과 기여를 재조명하였다. 시찬은 스승 완호낙현(玩虎洛現)으로부터 받은 전통적 조형 기법을 바탕으로 독창적인 양식을 개발하여 근대기 한국 불교미술의 경계를 확장하였다. 시찬의 작품 특징과 조형적 변화를 중심으로 그의 예술적 발전 과정을 규명하였다. 시찬의 초기 작품은 석굴암 본존불을 모델로 한 작품과 스승 완호낙현(玩虎洛現)의 영향이 짙게 드러나는 소형 조각들로 구성되어 있다. 후기 작품에서는 육중한 괴량감이 느껴지는 조형감, 작품의 대형화, 자세의 직립화, 불상과 대좌의 일체화, 그리고 옷주름의 장식화 등의 특징이 두드러진다. 이러한 변화는 시찬이 사회적 변화에 대응하며 자신의 내면적 성찰과 예술적 탐구를 작품에 반영한 결과로 해석된다. 본 연구는 문헌 조사와 새롭게 발견된 시찬의 작품을 통해 스승 완호낙현(玩虎洛現)의 영향, 퇴운원일(退雲圓日)과의 협업, 후원자 김지성화(金至誠華)와의 교류, 계승자 금춘성필(金春性必)과의 사승 관계 등을 밝혀냈다. 시찬의 작품과 그의 예술적 변화 과정은 근대기 한국 불교조각사의 중요한 이정표로, 전통과 근대적 감각을 융합한 독창적인 조형성을 보여준다. 본 연구는 시찬의 예술적 유산이 후대에 어떻게 계승되고 발전했는지를 보여주며, 한국 근대 불교조각사 연구에 중요한 자료를 제공한다.

• 복식문화연구
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• 제10권3호
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• pp.213-235
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• 2002

The purpose of this study was to recognize the meanings of plastic language by analyzing the sign of the Graffiti depicted in western modern costumes. And the scope of this study was focused on analysing the costumes from 1980's when the Graffiti was recognized as one of the plastic arts. Graffiti was an unprofessional and covert desire of self-expression, having a close relation with our lives. It was used in diverse ways with repeating creation, development, and extinction, from expressing liveliness in Old Stone Age through describing symbolic meaning in the modern art. Graffiti means rude, humorous, or political writing and pictures on the walls of buildings. It's different from the delicate letters or pictures to inscript on the tree or rocks. Being introduced as part of Post-modernism in the 1970s, Graffiti was acknowledged as a new artistic action with the culture of hip-hop. In addition the Graffiti, the expression of sign was reflected artist's internal consciousness with boundless sign. The sign is something to transmit message from the nonverbal point of view, the oldest sign was the sign for petition or the expression of something as a primitive form. Sign can be defined as a framework of life inherited as a practice from the primitive age long past. Graffiti was cited as a concrete example of sign, theme of this paper, and general understanding on sign expression was pursued through free work which all artists present with essential and positive ways using signs, their own languages, and life style. The result of this study was summarized as follows: Since the end of the 20th century, a lot of fashion designers have represented symbolic images, such as letter and signs, as purely personal ways of expression through the western costumes. It was found that fashion designers of the Graffiti whose free work style from inherent inner consciousness might provide a basic framework to search for complex signs of modem costumes naturally understood life itself as plastic art, and sublimated human inherent desire and their inner world through their works.

• 건축역사연구
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• 제17권6호
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• pp.87-98
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• 2008

The purpose of this study is ultimately subjected to the Orientalism, even though this deals with some positive effects in the realm of art and architecture as the scope of study, because through which the relationship between two different cultures will be discussed. That is to say, this research focused not only on how the presentation of 'avant-garde' visual art, which is explained as formal 'purity' and 'abstraction' as the characteristics of modern arts, could be made in the transition to the 20th's World, but also on what is the role and meaning of Eastern thoughts, which is popular in that time, for the new philosophical background of the artistic revolution. As a result, this study found that a lot of 'avant-garde' architects such as F. L. Wright, M. Mahony in Prairie School and L. Sullivan, D. Burnham, J. Root in Chicago School, and Lauweriks, H. P. Berlage who introduced Wright's works into the Europe, had possessed the 'Universal Philosophy' including Unitarianism, Transcendentalism, Deism, and Theosophy which are all influenced by Oriental religions and thoughts through historic western philosophers, although it is generally well-known that W. Kandinsky and P. Mondrian were belong to that. Furthermore, they gave attention to the Oriental religions and thoughts in that time, eventually made a historical progressive process of unification of thoughts between East and West. In a word, the new universalism was the philosophical background that made the artist's idea and presentation on 'from Being into Becoming'.

• 디자인학연구
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• 제15권2호
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• pp.71-80
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• 2002

현대의 포스터에에서는 눈의 착각과 트릭을 이용한 표현을 볼 수 있다. 본 연구에서는 포스터에서 볼 수 있는 이러한 개성적 표현을 $\ulcorner$착시적(錯視的)$\lrcorner$이라고 하는 개념으로 파악하였다. 이러한 개념은 현대 그래픽 디자인의 하나의 경향적 표현으로써 부조화(浮彫化)될 것이라고 생각된다 그러나 그것에는 심리학의 $\ulcorner$착시$\lrcorner$ 보다도 넓은 정의와 개념이 필요하다. 현대 포스터에서 볼 수 있는 착시적 표현을 통일화하기 위해서 새로운 $\ulcorner$착시$\lrcorner$의 정의를 시도해 봄으로써 현대 포스터에 영향을 준 과거의 시각예술을 살펴보았다 그 결과 착시적 표현에 대한 관심도는 서구의 여러 나라에서 더욱 많이 있었음을 알수 있었다. 착시를 역사적으로 거슬러 올라가면 르네상스의 원근법을 시작하여 15세기 이후의 유럽에서 유행한 속임수 그림, 알친볼드(Arzhibauld)의 회화, 아나몰포즈(anamolphoses) 등에 귀착되며, 근대와 현대에서는 슈르리얼리즘(surrealism)과 에셔(Escher)의 작품 등이 있다. 이 작품들은 현대 포스터에 많은 영향을 주고 있다는 것을 알았다.

• 미술이론과 현장
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• 제13호
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• pp.35-71
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• 2012

The purpose of this essay is to examine the responses of artists on nuclear experiences through an analysis of the nuclear images represented in contemporary Japanese art. Japan has previously as twice experienced nuclear disaster in 20th century. The first atomic bombs were dropped in 1945 as well as the 5th Fukuryumaru, Japanese pelagic fishing boat, exposed by hydrogen bomb test operated by the US in 1954 nearby Bikini atoll. Due to Tsunami taken place by the great earthquake that caused the meltdown of Fukushima Nuclear Power Plant in March 2010, Japan is being experienced a nuclear disaster again. Despite practical experiences, comtemporary Japanese art has avoided the subject of nuclear disasters since the end of the Asia-Pacific War for a variety of reasons. Firstly, GHQ prohibited to record or depict the terrible effect of atomic bomb until 1946. Secondly, Japanese government has tried to sweep the affair under the carpet quite a while a fact of nuclear damage to their people. Because Japan has produced numerous war record paintings during the Second World War, in the aftermath of the defeated war, most of Japanese artists thought that dealing with politics, economics, and social subject was irrelevant to art as well as style of amateur in order to erase their melancholic memory on it. In addition, silence that was intended to inhibit victims of nuclear disasters from being provoked psychologically has continued the oblivion on nuclear disasters. For these reasons, to speak on nuclear bombs has been a kind of taboo in Japan. However, shortly after the atomic bomb dropped on Hiroshima, the artist couple Iri and Toshi Maruki visited to ruin site as a volunteer for Victim Relief. They portrayed the horrible scenes of the legacy of nuclear bomb since 1950 based on their observation. Under the condition of rapid economical growth in 1960s and 1970s, Japanese subculture such as comics, TV animations, plastic model, and games produced a variety of post apocalyptic images recalling the war between the USA and Japanese militarism, and battle simulation based on nuclear energy. While having grown up watching subculture emerged as Japan Neo-Pop in 1990s, New generation appreciate atomic images such as mushroom cloud which symbolizes atomic bomb of Hiroshima. Takashi Murakami and other Neo-Pop artists appropriate mushroom cloud image in their work. Murakami curated three exhibitions including and persists in superflat and infantilism as an evidence in order to analyze contemporary Japanese society. However, his concept, which is based on atomic bomb radiation exposure experience only claimed on damage and sacrifice, does not reflect Japan as the harmer. Japan has been constructing nuclear power plants since 1954 in the same year when the 5th Fukuryumaru has exposed until the meltdown of Fukushima Nuclear Plant although took place of nuclear radiation exposures of Three Mile and Chernobyl. Due to the exploding of Fukushima Nuclear Power Plant, Japan reconsiders the danger of nuclear disaster. In conclusion, the purpose of this paper may be found that the sense of victim which flowed in contemporary art is able to inquire into the response of artist on the subject of nuclear as well as the relationship between society, politics, culture, and modern history of Japan and international political situation.

• 미술이론과 현장
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• 제2호
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• pp.49-74
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• 2004

It has been frequently pointed out that the established art history with the stylistic and iconographic interpretations and monographic analysis is fallen behind the currency of modern art. Among those who claimed the crisis in the discipline of art history, there is a suggestion that the art historical study should be fostered by other factors in the fields of the humanities. The so called New Art History or 'visual Culture Studies' insists that art history has to be restructured to integrate the broader study of culture and society, and by now, such an opinion is not a novelty at all. One of the most significant yet overlooked elements that induced the new currency of art history is properties of contemporary art that conflict the traditional claim of art historians. Although the idea that art is not purely aesthetic but that it has many other functions has been brought up by the art historians, it was the artists that provoked such a perception. When Arthur C. Danto and Hans Belting proclaimed the End of Art and Art History in the 1980s, the concept of art has been changed radically through the avant-garde tendency of Modernism and a new pluralism of Postmodernism. One dominant concern that strikes art historians is to find a new approach to art, since the traditional method and goal of analysis for past art and past art history seem unavailable. The perplexity arising from the situation is intensified in the field of teaching art, especially for those who teach art history in art school. Basically art history is a pursuit of learning of art in history, and its purpose is to reconcile the present with the past and the future as well. Since Modernism, as it is confusing sometimes because it implies the present state, somehow art became considered 'tradition-less'. It does not mean that a work of art stands aloof from the past attainments, hut modern art imposed itself on a task seeking after the new for its own sake, turning its back on the tradition. And now in the era of Postmodernism, an historians face the requirement to revaluate the whole history of art including modernism. The necessity of art history in art education is indisputable, but methods and contents in the academic courses should he reexamined now. Because artists' concept of history and past art has been altered, and art history as a humanistic discipline can only maintain its identity through incorporation with art itself. Academics teaching art history, or, strictly speaking, past works of art and history, to the student in art school, confront with the need to rethink the object of art history and its meaning to the artists.

• 복식
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• 제55권2호
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• pp.18-32
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• 2005

The purpose of this study is to find out the origin of perpetuity in the fashion design of Soma Delaunay, who was recognized as a unique designer in the 20th century. Her characteristics of fashion design appeared as dynamism in the incline of op-art using geometric pattern designed on the basis of abstract painting, color contrast between strong original colors, and repeated geometric patterns. The modern image can be explained as modernity in modern fashion and is continued in these days. The origins of modernity analyzed as follows. First, Soma Delaunay developed textile design, considering the use of clothing on the basis of scientific idea. Furthermore, she evolved traditional textile design and making process into a practical and rational way through developing new needlework technique. Second, she tried a new style through a straight silhouette in contrast to Art Nouveau style and the test and mixture of different genres. Third, she expressed the simultaneity of Orphism through the parallel structure of various colors. In particular, she used the contrast of strong and clear original colors to express a rhythm of dynamism and give visual interest through color. Finally, Soma Delaunay attempted to approach the public using clothing, furniture, and curtains with the focus on textiles. It may represent her intention to remove a gap between art and life by understanding the public and their life. As examined above, it can be sad that Soma Delaunay's scientific idea with the flow of industrialization, an open attitude not bound by a rule as an artist, an idea of Avant-garde, the comprehension of various colors and the understanding of the public. These factors lie at the bottom of her fashion design.

• 복식문화연구
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• 제6권2호
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• pp.109-126
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• 1998

The purpose of this study was to analyze the expressional characteristics of the machine aesthetics in the fashion design. First, this study was started from analyzing mechanical beauty represented on the early 20th century art style. Machine aesthetics has influenced on the art and fashion design from modern to now. Futurism was grounded in the complete renewal of human sensibility brought about by the great discoveries of science. Especially, Russia avant-garde was inspired by the Futurism, that is Rayonism, Constructivism, Suprematism. Kasimir Malevich moved on immediately to purely abstract paintings of which the first was a black square on a white canvas. He had begun the art he called 'Suprematism'. Malevich's geometry was funded on the straight line, the supremely elemental form which symbolized man's ascendancy over the chaos of nature. The square was the basic suprematist element and was a repudiation of the world of appearances, and of past art. He repudiated any marriage of convenience between the artist and the engineer. Vladimir Tatlin made some of the most revolutionary works of modern art, these were the first works to be called 'construction'. Constructivists believed that the essential conditions of the machine and the consciousness of man inevitably create an aesthetic which would reflect their time. They eulogized simple shapes. That believed that buildings and objects should be freed from the ornamental excrescences and the accumulated barnacles of past art. Consequently, under the theoretical background, the result is as follows. First, The functional formativeness of machine aesthetics was expressed as a geometrical silhouette, construction line, non-ornamental construction, simple color in the 20th century design. Second, The mechanical formativeness of machine aesthetics was expressed as a construction of new material-iron, aluminium, plastic, glass-, geometrical form of material in he 20th century design. That is, machine beauty has more concerned with the expressional ideology of the art style and the formativeness of fashion design by silhouette, construction line, material, form.