몽타주 너머의 유미주의와 아름다움에 대한 동경—버지니아 울프와 데이비드 호크니 함께 읽기 (Aestheticism and Admiration for Beauty beyond Montage: Reading Virginia Woolf and David Hockney)

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초록

This article explores the montage-style artworks created by Virginia Woolf and David Hockney, and attempts to understand each of their perspectives and visions that lie beyond the surfaces of the texts. Although Woolf and Hockney belong to different time periods, they share the extraordinary qualities as aesthetes who consider beauty and pleasure to be the highest value for art and life. Woolf and Hockney did not lose their passion for observing and exploring beautiful things in the world, even in the midst of various historical events such as World War I/II and the 9/11 terrorist attacks. This admiration for beauty led them to the creation of montage artworks. Woolf invented montage-style novels through interacting with modernist artists during the early 20th century. Meanwhile, Hockney has adopted innovative montage styles through using digital mediums: he began creating photo montages in the early 1980s by assembling multiple Polaroid photos or prints into a single composite image, and later introduced another form of montage works such as multi-canvas paintings, which consist of multiple canvases arranged side by side, creating a unified image across the separate panels. The focus of this paper falls on examining the relationship between the montage forms and their artistic purposes. It also investigates the specific ways in which they developed the montage styles: while Woolf began her montage experiments with very short fictions like “Blue & Green” in the early 1920s and showed an expanded form of montage narrative in the 1930s, Hockney shifted the focus of his montage work from photo montage to multi-canvas paintings in wanting to make larger-scale works. Through the present discussion, this study demonstrates that the aesthetic styles of the two artists reflect their pursuit of beauty and extraordinary yearning for the expression of the beautiful.

영어초록

This article explores the montage-style artworks created by Virginia Woolf and David Hockney, and attempts to understand each of their perspectives and visions that lie beyond the surfaces of the texts. Although Woolf and Hockney belong to different time periods, they share the extraordinary qualities as aesthetes who consider beauty and pleasure to be the highest value for art and life. Woolf and Hockney did not lose their passion for observing and exploring beautiful things in the world, even in the midst of various historical events such as World War I/II and the 9/11 terrorist attacks. This admiration for beauty led them to the creation of montage artworks. Woolf invented montage-style novels through interacting with modernist artists during the early 20th century. Meanwhile, Hockney has adopted innovative montage styles through using digital mediums: he began creating photo montages in the early 1980s by assembling multiple Polaroid photos or prints into a single composite image, and later introduced another form of montage works such as multi-canvas paintings, which consist of multiple canvases arranged side by side, creating a unified image across the separate panels. The focus of this paper falls on examining the relationship between the montage forms and their artistic purposes. It also investigates the specific ways in which they developed the montage styles: while Woolf began her montage experiments with very short fictions like “Blue & Green” in the early 1920s and showed an expanded form of montage narrative in the 1930s, Hockney shifted the focus of his montage work from photo montage to multi-canvas paintings in wanting to make larger-scale works. Through the present discussion, this study demonstrates that the aesthetic styles of the two artists reflect their pursuit of beauty and extraordinary yearning for the expression of the beautiful.

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