엘 그레코 El Greco의 후기작품 연구

서지정보

ㆍ발행기관 : 동아시아문화학회 ㆍ수록지정보 : 동아시아문화와예술
ㆍ저자명 : 최지현

목차

I. 서론
II. 화가의 형성배경
III. 후기작품 분석
IV. 결론
참고문헌

한국어 초록

This is a study on El Greco’s Late Works and Byzantine Painting.
El Greco is a Cretan-born painter who settled in Spain. He was
known as El Greco (the Greek) but his real name was Domenikos
Theotokopoulos (Δομίνικος Θεοτοκόπουλος) and it was thus that he
signed his paintings throughout his life, always in Greek characters.
Although little is known of his youth, a few works survive by him in
the Byzantine tradition of icon painting, notably the <Dormition of
the Virgin> discovered in 1983.
El Greco was trained in the prevailing post-Byzantine style
of Crete, and, though he subsequently adapted and ‘transformed’
what he had learned on moving to Italy, this background remained
fundamental to him and it almost certainly influenced the unique style
that he forged in the later part of his career in Spain. He occasionally
continued to use compositional schemes and formal or iconographic
motifs that originated in Byzantine painting in his mature work. In
such art there is no concern with optical observation, either empirical
or scientific. Its purpose is to convey the transcendental world of the
figures represented, rather than natural phenomena as perceived by
the senses.
El Greco’s interests in theology, liturgy and hagiography,
combined with philosophy, history and literature, are reflected by
the inventory of his library. The treatises on painting, sculpture and
architecture to which Pacheco refers are lost, but further important
evidence has been discovered which vividly conveys El Greco’s
ideas, at least at one particular period of his development. This is
the annotations on his copies of Vasari’s Lives and Daniele Barbaro’s
edition of Vitruvius’ Ten Books on Architecture. It becomes clear that
El Greco held trenchant opinions about style and the nature of art and
architecture. He is actually a learned painter and a theorist.
Surely, while he stayed in Italy, Venice and Rome, at most for 9
years(1567-1576), he rapidly assimilated into artists of Renaissance
and Mannerism, especially Titian, Tintoretto, Michelangelo. But El
Greco’s late works gradually turn into stylistic development after 1580’
s mid. Remarkably, the brushwork is more vigorous ; light is bleached
white and fitful, colours are pure, luminous and vibrant. As they glow
with unearthly beauty, figures are more elongated, dematerialised
and dynamically charged. There is a new spiritual energy. These
metaphysical light and abstracted form reveal unequivocally that the
mystical imagery of his late style was personal to him and Byzantine
painting. Moreover, the image that emerges in his work is illuminated,
dematerialized and flame-like. Occasionally, his treatment of light,
colour and form reflected the concepts of Christian Neo-Platonism.

영어 초록

This is a study on El Greco’s Late Works and Byzantine Painting.El Greco is a Cretan-born painter who settled in Spain. He wasknown as El Greco (the Greek) but his real name was DomenikosTheotokopoulos (Δομίνικος Θεοτοκόπουλος) and it was thus that hesigned his paintings throughout his life, always in Greek characters.Although little is known of his youth, a few works survive by him inthe Byzantine tradition of icon painting, notably the <Dormition ofthe Virgin> discovered in 1983.El Greco was trained in the prevailing post-Byzantine styleof Crete, and, though he subsequently adapted and ‘transformed’what he had learned on moving to Italy, this background remainedfundamental to him and it almost certainly influenced the unique stylethat he forged in the later part of his career in Spain. He occasionallycontinued to use compositional schemes and formal or iconographicmotifs that originated in Byzantine painting in his mature work. Insuch art there is no concern with optical observation, either empiricalor scientific. Its purpose is to convey the transcendental world of thefigures represented, rather than natural phenomena as perceived bythe senses.El Greco’s interests in theology, liturgy and hagiography,combined with philosophy, history and literature, are reflected bythe inventory of his library. The treatises on painting, sculpture andarchitecture to which Pacheco refers are lost, but further importantevidence has been discovered which vividly conveys El Greco’sideas, at least at one particular period of his development. This isthe annotations on his copies of Vasari’s Lives and Daniele Barbaro’sedition of Vitruvius’ Ten Books on Architecture. It becomes clear thatEl Greco held trenchant opinions about style and the nature of art andarchitecture. He is actually a learned painter and a theorist.Surely, while he stayed in Italy, Venice and Rome, at most for 9years(1567-1576), he rapidly assimilated into artists of Renaissanceand Mannerism, especially Titian, Tintoretto, Michelangelo. But ElGreco’s late works gradually turn into stylistic development after 1580’s mid. Remarkably, the brushwork is more vigorous ; light is bleachedwhite and fitful, colours are pure, luminous and vibrant. As they glowwith unearthly beauty, figures are more elongated, dematerialisedand dynamically charged. There is a new spiritual energy. Thesemetaphysical light and abstracted form reveal unequivocally that themystical imagery of his late style was personal to him and Byzantinepainting. Moreover, the image that emerges in his work is illuminated,dematerialized and flame-like. Occasionally, his treatment of light,colour and form reflected the concepts of Christian Neo-Platonism.

참고 자료

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