신미술사학의 단초 : S. L. 앨퍼스의 ‘시각 문화’ (Pathbreaking New Art History : S. L. Alpers's 'Visual Culture')

서지정보

· 발행기관 : 현대미술학회
· 수록지 정보 : 현대미술학 논문집 / 14권 / 7 ~ 45페이지
· 저자명 : 김경선

초록

Anglo-American scholars, Svetlana Leontief Alpers brings into focus the heterogeneous nature of art. She place much value on the basic art-historical notion of representation as well as circumstances and visual culture.
She explains pictorial representation as visual self-consciousness,craft, and picture language. Firstly, in Holland the visual culture was central to the life of the society. The eye was a central means of self-representation and visual experience a central mode of self-consciousness. For in defining the human eye itself as a mechanical maker of pictures and in defining 'to see' as 'to picture', Kepler provides the model we need for that particular binding of finding and making, of nature and art, that characterizes the picture in the north. Besides,Representation on the part of craft is techné as a model for art's pursuit of knowledge through experiment or thought of as observations of the natural world. If in the 'representation as visual self-consciousness' the model for pictorial representation was presented by he artifice of sight, in the 'representation as craft' it is presented rather by the skill of craft. Alpers define the new emphasis on the exercise of the traditional representational skills of the Dutch artist. It is an extraordinary display of craft and in particular the contemporary interest in the eye's active use. Attentive looking, transcribed by the hand led to the recording of the multitude of things that make up the visible world. In the seventeenth century this was celebrated as giving basic access to knowledge and understanding of the world. Secondly, Representation as picture language ground directly in a particular kind of image. It related to ways of referring to the world, on the one hand graphic systems such as mapping and on the other the use of words themselves. The general problem here is how picturing transcends its own limitations. In addition, Alpers thinks nowhere is this 'transparent view of art' less appropriate, then she propose to view art circumstantially. Appealing to circumstances mean not only to see art as a social manifestation but also to gain access to images through a consideration of their place, role, and presence in the broader culture.
Alpers has served the art historical community excellently by raising the intellectual stakes of Dutch art in seventeenth century and its European context. It is so persuasive, that it appears an open and shut case, and that gives new horizons for the interpretation of art and the phenomenon of picture making itself. Shortly, Alpers's study is an example of the centrality of art history among current disciplines by replacing a sector of the history of art within its proper context of intellectual history.

영어초록

Anglo-American scholars, Svetlana Leontief Alpers brings into focus the heterogeneous nature of art. She place much value on the basic art-historical notion of representation as well as circumstances and visual culture.
She explains pictorial representation as visual self-consciousness,craft, and picture language. Firstly, in Holland the visual culture was central to the life of the society. The eye was a central means of self-representation and visual experience a central mode of self-consciousness. For in defining the human eye itself as a mechanical maker of pictures and in defining 'to see' as 'to picture', Kepler provides the model we need for that particular binding of finding and making, of nature and art, that characterizes the picture in the north. Besides,Representation on the part of craft is techné as a model for art's pursuit of knowledge through experiment or thought of as observations of the natural world. If in the 'representation as visual self-consciousness' the model for pictorial representation was presented by he artifice of sight, in the 'representation as craft' it is presented rather by the skill of craft. Alpers define the new emphasis on the exercise of the traditional representational skills of the Dutch artist. It is an extraordinary display of craft and in particular the contemporary interest in the eye's active use. Attentive looking, transcribed by the hand led to the recording of the multitude of things that make up the visible world. In the seventeenth century this was celebrated as giving basic access to knowledge and understanding of the world. Secondly, Representation as picture language ground directly in a particular kind of image. It related to ways of referring to the world, on the one hand graphic systems such as mapping and on the other the use of words themselves. The general problem here is how picturing transcends its own limitations. In addition, Alpers thinks nowhere is this 'transparent view of art' less appropriate, then she propose to view art circumstantially. Appealing to circumstances mean not only to see art as a social manifestation but also to gain access to images through a consideration of their place, role, and presence in the broader culture.
Alpers has served the art historical community excellently by raising the intellectual stakes of Dutch art in seventeenth century and its European context. It is so persuasive, that it appears an open and shut case, and that gives new horizons for the interpretation of art and the phenomenon of picture making itself. Shortly, Alpers's study is an example of the centrality of art history among current disciplines by replacing a sector of the history of art within its proper context of intellectual history.

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