앙리 마티스의 포비즘(Fauvism)에 관한 연구 : 원시주의와 오리엔탈리즘의 수용과 변용을 중심으로
A Study on Fauvism of Henri Matisse : - Focused on Adaption and Transformation of Primitivism and Orientalism -
- 발행기관 강릉원주대학교 대학원
- 지도교수 김한국
- 발행년도 2015
- 학위수여년월 2015. 2
- 학위명 석사
- 학과 및 전공 일반대학원 미술학과
- 세부전공 서양화
- 원문페이지 iv, 65
- 실제URI http://www.dcollection.net/handler/kangnung/000000007057
- 본문언어 한국어
초록/요약
The purpose of this study aims to illuminate the development of Henri Matisse’s Fauvism, why it became known as the ‘Fauvism’, how it reflects the Zeitgeist of the era, and what kind of meaning this has in an art historical context. It is rare to find an artists more passionate about expressing the relationship between the society and the arts than Henri Matisse. Thus, this dissertation is mainly concerned with how Matisse’s view on the Fauvism embraced and overcame both the late 19th century to early 20th century North African Primitivism and the Western political ideology Orientalism; which, predominated the Islamic culture during this period. The objective is to reveal how Matisse’s Fauve artworks have represented the art and culture of the East, meanwhile, considering also the fact that he was the ‘western other’. In doing so, this dissertation demonstrates that Matisse’s Fauve works rejected Academicism and fulfilled the prevailing anti-aesthetics movement called déformation. These findings also lend support to the reasons why Matisse’s Fauvism is considered an anti-modernist movement that aspired to achieve ‘discordia concors'. Thus, ‘les Fauves’, for Matisse, could be viewed as his painterly sign to define this period. Likewise to the ‘Indépendant’ exhibition that tried to manifest an indépendance from the tradition, the fact that Matisse and his fellow artists chose ‘les Fauves’ derives from the similar line as those who seek déformation styles as a means of anti-academism; such as, the Expressionist or the Cubists. During this period, even the German Expressionists, emphasized the need for ‘les Fauves’ to propel the revolution in the arts. German born architect, Ludwig Hilberseimer also claimed that, “what we need right now are savages. The era of passion has begun. Fauvism became the means for the revival of the the arts”. Accordingly, Matisse believed that only the ‘Fauves’ could become the icon of a revolution, as it stood for untamed and unfamiliar, hence more vigorous and primal. In February 1907, the poet, Guillaume Apollinaire had an interview with Matisse, and he described Matisse as the Fauvist of the Fauvists because Matisse was a “revolutionary who is guided by his own instinct”. On the basis of the results of this research, it can be concluded that: first, amid the international order of this period, the premise of Matisse’s Fauve artworks were deeply focused on the late 19th century to early 20th century’s primal Fauvist expression, aspiring for the rebirth of ‘artistic inspiration and intuition’; second, within the art historical context, by ‘devoting to the crude beauty’ rather than sophistication, his Fauve artworks actively pursued anti-modernism and anti-aesthetics; third, his Fauve artworks also reflected the ‘collective unconsciousness’ to color.
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국문초록
I. 서 론
1. 연구목적과 연구방법
2. 선행연구와 연구내용
Ⅱ. 본 론
1. 마티스의 야수주의와 원시주의
1) 야수주의와 마티스
(1) 시대적 배경
(2) 야수주의와 야수주의자들
① 야수주의 선구(Proto-Fauve)
② 모색에서 진로의 선언
③ 야수주의의 부각
2) 야수주의의 시원성으로서 원시주의
(1) 시원에의 향수와 원시주의자들
(2) 마티스의 원시주의: 고갱의 발견
① 정중동의 원시주의
② 원시주의적 야수주의
③ 원시적 종합예술로서 춤
2. 마티스의 오리엔탈리즘: 수용에서 극복까지
1) 오리엔탈리즘과 현대미술
(1) 유럽이 만든 오리엔트
(2) 오리엔탈리즘과 초문화적 이식작용
2) 마티스의 오리엔탈리즘과 야수주의
(1) 오리엔탈리즘의 영향과 수용
(2) 극복되지 않는 오리엔탈리즘
3. 원시주의와 오리엔탈리즘의 이중주로서 야수주의
1) 예술적 에너지로서 영감과 계시
(1) 인상파에서 야수파에로
(2) 야수주의의 새로운 영감과 원시주의
(3) 야수주의의 새로운 계시와 신비주의
2) 이중주로서 마티스의 야수주의
(1) 야누스적 역동성
(2) 춤과 음악: 완전한 통일
Ⅲ. 결 론
참고문헌
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