실증주의, 기억, 그리고 알레고리: 쿠르베의 풍경화 (Positivism, Memory, and Allegory: Courbet’s Landscape Paintings)

서지정보

· 발행기관 : 한국미술이론학회
· 수록지 정보 : 미술이론과 현장 / 12호 / 91 ~ 121페이지
· 저자명 : 정샤오치엔

초록

庫爾貝的風景畫佔其畢生作品三分之二，主要創作於1855年之後直到他放逐於瑞士的最後四年歲月，對於畫家形塑主體性、美學、商業策略極為重要，然而學界卻對其特殊意義理解不足。許多當時藝評和現代藝術史論述，認為庫爾貝從農村生活的主題轉向風景畫，即背叛了寫實主義的社會關懷，迎合市場品味。本文將討論庫爾貝的風景畫如何達成寫實主義忠於自我和忠於自然的雙重目標，抽離農業勞動紀實，注入情感依附和美感經驗，並且構成其環境認同和表現遷徙異地的旅行觀感。庫爾貝的風景畫採用三種主要再現方式：以實證主義觀察紀錄物質現象和自然演化的動態過程，從視覺記憶喚起自然中的身體經驗和地方意識，以及將自然演繹為人類境況的寓言，代表著慾望無盡和生命無常。

영어초록

Courbet’s landscape was mostly created from 1855 to the four-year period of his exile in Switzerland and occupied the two third of his entire oeuvre. Landscape is important for shaping the artist’s subjectivity, aesthetic, and commercial strategy, but its rich significance has received insufficient attention in scholarship. Many critics and scholars consider Courbet’s turn from rural subjects to landscape as a betrayal of the Realist causes of social concerns and as tailoring to the market demand. This article discusses how Courbet’s landscape paintings achieve the dual goals of “truth to self” and “truth to nature” by departing from the depiction of rural labors and instilling emotional and aesthetic experience and environmental identity. There are three chief modes of representation at work: a positivist observation of material phenomenon and natural evolution; a visual recollection of body experience and local consciousness; an allegory of human condition derived from an understanding of nature as unbound desire and transient existence.

참고자료

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