라파엘 전파에 나타난 ‘타락한 여성’의 신화: 로제티(D. G. Rossetti), 헌트(W. H. Hunt),브라운(F. M. Brown)을 중심으로 (The Representation of ‘Fallen Women’: in Pre-Raphaelites Paintings - In the works of Rossetti, Hunt and Brown)

서지정보

· 발행기관 : 미술사연구회
· 수록지 정보 : 미술사연구 / 25호 / 489 ~ 527페이지
· 저자명 : 조예인

초록

Pre-Raphaelite artists had interests in the modern city life of England in 1850s.
They portrayed various subjects and issues that reflect the era and the society. One of the important motifs among them is the ‘fallen woman,’ which mean women existing outside the confines of legal wedlock in the society. These women were prostitutes, mistresses, women who committed adultery and unwed mothers. In Pre-Raphaelite works of art, fallen women were mostly depicted alone unaccompanied by men.
However, this paper will go through the images of a couple portrayed together in three works: Dante Gabriel Rossetti’s 〈Found〉(1853), William Holman Hunt’s 〈Awakening Conscience〉(1853~4) and Ford Madox Brown’s 〈Take Your Son, Sir!〉(1851~2). This study will examine the represented images of fallen women in these three works. Previously, research on these paintings centered on the painters’ biographic features, narratives or symbolic motifs of the works. These studies were helpful in understanding the artwork within the context of 19th century and further clarifying detailed information on the works. However, they failed to reach the fundamentals in the representation of fallen women in those works.
The criticism of Deborah Cherry and Griselda Pollock toward ‘The Pre-Raphaelites’ exhibition in Tate Gallery in 1984 enabled feminist perspective approaches toward the works of Pre-Raphaelites. This paper adopts this approach and will examine the feminist aspect on the representation of fallen women in Pre-Raphaelites to provide a basis for further discussion.
This paper will first go through Pre-Raphaelite works in 1850s that portrayed images of fallen women. After that, this study will relate these images with the sexual ideology in the Victorian era. Particularly, the Victorian attitudes toward sex will be examined by applying Michel Foucault’s theory. Foucault refuted previously dominant arguments that Victorian society oppressed sex and relevant discourses. Foucault insisted that active sex relevant discourses were present in the Victorian society, and artists adopted representations of such matter. This interpretation enables the discussion of sex difference in the society and explains the dichotomy of women’s images produced by the bourgeois class. Also, his theory provides a theoretical basis for the representation of fallen women images and social discourses on the matter of prostitutes and gender studies.
Based on these arguments, the three Pre-Raphaelite works, Rossetti’s 〈Found〉,Hunt’s 〈Awakening Conscience〉, and Brown’s 〈Take Your Son, Sir!〉 will be examined. All these paintings show a couple, the fallen woman and a man together. These works depict the agony and misery of fallen women along with the hypocritical and split status of men. The images of fallen women in these three works show conflicted female subjects who go through emotional and psychological conflicts between the corruption and the state of innocence. This reflects men’s dilemma of sexual desire and restraints. All these elements represent men’s hypocritical attitudes of having concurrent compassion and aversion toward these women.
This paper provides a new light on the Pre-Raphaelites’ representations of fallen women which were neglected in the aspect of art history. In particular, this study put together the three works of Rossetti, Hunt, and Brown to thoroughly examine the represented images of fallen women in the aspect of social context, 19th century sex ideology and feminist discourses, endowing further profundity to the discussion.

영어초록

Pre-Raphaelite artists had interests in the modern city life of England in 1850s.
They portrayed various subjects and issues that reflect the era and the society. One of the important motifs among them is the ‘fallen woman,’ which mean women existing outside the confines of legal wedlock in the society. These women were prostitutes, mistresses, women who committed adultery and unwed mothers. In Pre-Raphaelite works of art, fallen women were mostly depicted alone unaccompanied by men.
However, this paper will go through the images of a couple portrayed together in three works: Dante Gabriel Rossetti’s 〈Found〉(1853), William Holman Hunt’s 〈Awakening Conscience〉(1853~4) and Ford Madox Brown’s 〈Take Your Son, Sir!〉(1851~2). This study will examine the represented images of fallen women in these three works. Previously, research on these paintings centered on the painters’ biographic features, narratives or symbolic motifs of the works. These studies were helpful in understanding the artwork within the context of 19th century and further clarifying detailed information on the works. However, they failed to reach the fundamentals in the representation of fallen women in those works.
The criticism of Deborah Cherry and Griselda Pollock toward ‘The Pre-Raphaelites’ exhibition in Tate Gallery in 1984 enabled feminist perspective approaches toward the works of Pre-Raphaelites. This paper adopts this approach and will examine the feminist aspect on the representation of fallen women in Pre-Raphaelites to provide a basis for further discussion.
This paper will first go through Pre-Raphaelite works in 1850s that portrayed images of fallen women. After that, this study will relate these images with the sexual ideology in the Victorian era. Particularly, the Victorian attitudes toward sex will be examined by applying Michel Foucault’s theory. Foucault refuted previously dominant arguments that Victorian society oppressed sex and relevant discourses. Foucault insisted that active sex relevant discourses were present in the Victorian society, and artists adopted representations of such matter. This interpretation enables the discussion of sex difference in the society and explains the dichotomy of women’s images produced by the bourgeois class. Also, his theory provides a theoretical basis for the representation of fallen women images and social discourses on the matter of prostitutes and gender studies.
Based on these arguments, the three Pre-Raphaelite works, Rossetti’s 〈Found〉,Hunt’s 〈Awakening Conscience〉, and Brown’s 〈Take Your Son, Sir!〉 will be examined. All these paintings show a couple, the fallen woman and a man together. These works depict the agony and misery of fallen women along with the hypocritical and split status of men. The images of fallen women in these three works show conflicted female subjects who go through emotional and psychological conflicts between the corruption and the state of innocence. This reflects men’s dilemma of sexual desire and restraints. All these elements represent men’s hypocritical attitudes of having concurrent compassion and aversion toward these women.
This paper provides a new light on the Pre-Raphaelites’ representations of fallen women which were neglected in the aspect of art history. In particular, this study put together the three works of Rossetti, Hunt, and Brown to thoroughly examine the represented images of fallen women in the aspect of social context, 19th century sex ideology and feminist discourses, endowing further profundity to the discussion.

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