초현실주의 회화에 나타난 광증의 변용적 수용에 관한 연구 (A Study on the Attitude of Surrealist Application of Insanity on Painting)

서지정보

· 발행기관 : 서양미술사학회
· 수록지 정보 : 서양미술사학회 논문집 / 31호 / 61 ~ 91페이지
· 저자명 : 이은주

초록

Entering the 20th century, artistry created by the insane gained a new perspective. Collecting and researching on works of the insane began in earnest and the attempts to reposition their works by aesthetical issue not as materials for clinical studies, grow rapidly. To Surrealists, who inherited the Dada standpoint, the discourse of the insane became a specific medium that equipped them to confront bourgeois value of rationalism and pragmatism. Due to the very fact that the insanity had been driven out from the realm of rationalistic institutions, it could be utilized as an effective way of denouncing the dominant culture. Surrealists not merely extolled the insanity but adopted it positively as an anti-conventional art methodology. André Breton thought that the dream and the real world would interpenetrate just like in a communicative vessel, and this communication between contradictory worlds could reveal “convulsive beauty”. Breton proclaimed that the mission on Surrealism was to create marvelous reality breaking a wall between imagination and rationality, and insanity could be a substantiated model of the Surrealist goal.
While working at a psychiatric ward during the first World War, André Breton learned about psychiatric theories and was influenced by psychic automatism from the insane’s illogical discourse, which led him to write “the Magnetic Fields(Les champs magnéiques)”, the first work created by the method of automatic writing. The graphic automatism excluding the artist’s rational intervention was attempted in Surrealist paintings. It was medium paintings that Surrealist paintings modeled. Mediums were diagnosed as schizophrenia by psychiatrists and Breton himself saw mediumism as split personality’s monologue rather than communication with souls of the dead. Breton viewed the crucial value of automatism in Surrealism, unlike mediumism, as integrating split personalities. Compared to the mechanical and systemic automatism exhibited in the insane’s works or the medium paintings, automatist images in the works of André Masson or Yves Tanguy evolve into whole new symbolic images through the process of metamorphosis, which integrates confrontational elements. These images manifest intrinsically integral nature of human existence.
Commemorating the 50th anniversary of hysteria in 1928, André Breton and Louis Aragon defined hysteria as “the greatest poetic discovery of the 19th century” An image of a female hysteria patient in Jean Martin Charcot’s Photographic Iconography of the Salpêrièe led Surrealists to acknowledging hysteria as a disease of potential eroticism and it offered them visual symbols on insanity. Max Ernst visualized a hysteria patient’s hallucination in his collage novel(roman-collage), particularly in The Hundred-Headless Woman(La femme 100 têtes) and Dream of a little girl who wanted to enter the Carmelite order(Rêve d’une petite fille qui volut entrer au Carmel), in which they describe a long nightmare-like fantasy world. Through psychology of the female hysteria patient these novels trace out the Ernst’s own frustration and desire to deviation under domineering pressure of bourgeois families representing religiosity and patriarchy.
As the theoretical foundation of Surrealism shifted from psychoanalysis to dialectical materialism after the second Surrealist manifesto, paranoia, a psychotic symptom of self-developed hallucination with its own delusional logic, became a new model replacing automatism and hysteria. Salvador Dali originated the “paranoia-critic” by which he used paranoiac patients’ delusional process in his artworks. Dali’s paranoia-critic was realized effectively by the method of “double image” where a single form connotes complicated concepts. In paranoia-critic applied artworks, a formative outcome itself becomes the result of objectified delusions. In this way paranoiac’s hallucinations are able to revive itself as ongoing vivid illusions through the process of viewers’ visual experiences. By materializing illusions by paintings, Dali tried to create a poetic reality that acquires substantial power.
Surrealists’ interest in insanity evidently began from an aesthetic perspective. They were fascinated by the innovative nature of the expression rooted in a state of madness and interpreted insanity as liberation of imagination rather than a disease. To Surrealists, insanity was a model representing ‘Surreality’, which Breton called “the ultimate point of spirit”, where consciousness and unconsciousness constantly communicate each other and evolve into unification to reveal a whole reality of human nature. Surrealist creation using a symptom of insanity is differentiated from that of the insane in that it aimed to evoke potential source in human spirits and substantialize it on a conscious world. They tried to introduce the part lacking in artistic expressions within the rationalistic context, and integrate it with the mundane world to create a poetic reality standing on their missionary role as “Voyant.”

영어초록

Entering the 20th century, artistry created by the insane gained a new perspective. Collecting and researching on works of the insane began in earnest and the attempts to reposition their works by aesthetical issue not as materials for clinical studies, grow rapidly. To Surrealists, who inherited the Dada standpoint, the discourse of the insane became a specific medium that equipped them to confront bourgeois value of rationalism and pragmatism. Due to the very fact that the insanity had been driven out from the realm of rationalistic institutions, it could be utilized as an effective way of denouncing the dominant culture. Surrealists not merely extolled the insanity but adopted it positively as an anti-conventional art methodology. André Breton thought that the dream and the real world would interpenetrate just like in a communicative vessel, and this communication between contradictory worlds could reveal “convulsive beauty”. Breton proclaimed that the mission on Surrealism was to create marvelous reality breaking a wall between imagination and rationality, and insanity could be a substantiated model of the Surrealist goal.
While working at a psychiatric ward during the first World War, André Breton learned about psychiatric theories and was influenced by psychic automatism from the insane’s illogical discourse, which led him to write “the Magnetic Fields(Les champs magnéiques)”, the first work created by the method of automatic writing. The graphic automatism excluding the artist’s rational intervention was attempted in Surrealist paintings. It was medium paintings that Surrealist paintings modeled. Mediums were diagnosed as schizophrenia by psychiatrists and Breton himself saw mediumism as split personality’s monologue rather than communication with souls of the dead. Breton viewed the crucial value of automatism in Surrealism, unlike mediumism, as integrating split personalities. Compared to the mechanical and systemic automatism exhibited in the insane’s works or the medium paintings, automatist images in the works of André Masson or Yves Tanguy evolve into whole new symbolic images through the process of metamorphosis, which integrates confrontational elements. These images manifest intrinsically integral nature of human existence.
Commemorating the 50th anniversary of hysteria in 1928, André Breton and Louis Aragon defined hysteria as “the greatest poetic discovery of the 19th century” An image of a female hysteria patient in Jean Martin Charcot’s Photographic Iconography of the Salpêrièe led Surrealists to acknowledging hysteria as a disease of potential eroticism and it offered them visual symbols on insanity. Max Ernst visualized a hysteria patient’s hallucination in his collage novel(roman-collage), particularly in The Hundred-Headless Woman(La femme 100 têtes) and Dream of a little girl who wanted to enter the Carmelite order(Rêve d’une petite fille qui volut entrer au Carmel), in which they describe a long nightmare-like fantasy world. Through psychology of the female hysteria patient these novels trace out the Ernst’s own frustration and desire to deviation under domineering pressure of bourgeois families representing religiosity and patriarchy.
As the theoretical foundation of Surrealism shifted from psychoanalysis to dialectical materialism after the second Surrealist manifesto, paranoia, a psychotic symptom of self-developed hallucination with its own delusional logic, became a new model replacing automatism and hysteria. Salvador Dali originated the “paranoia-critic” by which he used paranoiac patients’ delusional process in his artworks. Dali’s paranoia-critic was realized effectively by the method of “double image” where a single form connotes complicated concepts. In paranoia-critic applied artworks, a formative outcome itself becomes the result of objectified delusions. In this way paranoiac’s hallucinations are able to revive itself as ongoing vivid illusions through the process of viewers’ visual experiences. By materializing illusions by paintings, Dali tried to create a poetic reality that acquires substantial power.
Surrealists’ interest in insanity evidently began from an aesthetic perspective. They were fascinated by the innovative nature of the expression rooted in a state of madness and interpreted insanity as liberation of imagination rather than a disease. To Surrealists, insanity was a model representing ‘Surreality’, which Breton called “the ultimate point of spirit”, where consciousness and unconsciousness constantly communicate each other and evolve into unification to reveal a whole reality of human nature. Surrealist creation using a symptom of insanity is differentiated from that of the insane in that it aimed to evoke potential source in human spirits and substantialize it on a conscious world. They tried to introduce the part lacking in artistic expressions within the rationalistic context, and integrate it with the mundane world to create a poetic reality standing on their missionary role as “Voyant.”

참고자료

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