지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Sickert(Walter Richard Sickert, 1860-1942), is a painter who positioned himself in modern British painting circles through figurative paintings apart from of formalist modernism toward abstraction of the times. However, as British painting circles of the times accepted gradually Fry"s post-impressionist interpretation toward abstraction, mainstream opinion tended to judge that Sickert"s painting with strong figurative characteristics would be difficult to settle down in development of British painting. And Sickert examined the theme of music hall and theater in his lifetime, which is similar to French Impressionist painting in that he took the theme of music hall and theater, contemporary spectacles of modern society developing figurative paintings. However, Sickert" painting, in spite of having similar characteristics as French Impressionists, emanate obscure mood through ambiguous forms unlike them.
This study tried to shed new lights on the value of Sickert paintings through his paintings with the theme of music hall and theater and confirm the significance in British painting circles of the times. Sickert was under the influence of Pre-Raphaelite and whistler when he started painting but soon he rebuilt his kingdom of art as he met Degas coming and going to Paris. Since Fry who influenced greatly British painting circles when Sickert was active also thought about developing British arts accepting new trend, it seemed Sickert and Fry headed the same direction. However, Fry"s attiude having been busy to absorb the trend of Freach art so that he seemed to lose the national identity of paintings came to divert from Sickert. Consequently, Sickert searches for another modern art for the development of British paintings unlike Fry"s tendency that dominated British painting circles at the time.
Sickert approached the public, drawing both the visual reality of entertainment in the music halls and theaters of modern British society and the society and the social features behind the reality through his paintings with the theme of music hall and theater. Sickert drew the music halls and theaters that were developed for political purposes in the modern British society taking spectators as the object of observation. Because of this, sickert"s paintings with the theme of music hall and theater as historical records were able to be positioned authentic in modern British painting circles though he belonged to nonmainstream group in the history of art. Such Sickert"s paintings with the theme of music hall and theater also suggested the social role of painting for the originality and permanence of culture.
Sickert"s intent to deliver social sapect of the times in music hall and theater paintings also appeared in representing forms. He created a space by converging painting space on canvas with actual space.
Sickert"s paintings with the theme of music hall and theater is the base on which his painting can root in Britain and shows the new expression of paintings of the times to represent the moment of the real world to be the permanent connecting actual space to that of painting. There wasn"t only the stream of modernism toward abstraction in modern Britich painting circles. There existed a unique inquiry on the modern art of Britain that would excite another modernism and Sickert played the role. Sickert paintings are worth noticing newly from the various angles of postmodern perspective accepting diversity.
This study tried to shed new lights on the value of Sickert paintings through his paintings with the theme of music hall and theater and confirm the significance in British painting circles of the times. Sickert was under the influence of Pre-Raphaelite and whistler when he started painting but soon he rebuilt his kingdom of art as he met Degas coming and going to Paris. Since Fry who influenced greatly British painting circles when Sickert was active also thought about developing British arts accepting new trend, it seemed Sickert and Fry headed the same direction. However, Fry"s attiude having been busy to absorb the trend of Freach art so that he seemed to lose the national identity of paintings came to divert from Sickert. Consequently, Sickert searches for another modern art for the development of British paintings unlike Fry"s tendency that dominated British painting circles at the time.
Sickert approached the public, drawing both the visual reality of entertainment in the music halls and theaters of modern British society and the society and the social features behind the reality through his paintings with the theme of music hall and theater. Sickert drew the music halls and theaters that were developed for political purposes in the modern British society taking spectators as the object of observation. Because of this, sickert"s paintings with the theme of music hall and theater as historical records were able to be positioned authentic in modern British painting circles though he belonged to nonmainstream group in the history of art. Such Sickert"s paintings with the theme of music hall and theater also suggested the social role of painting for the originality and permanence of culture.
Sickert"s intent to deliver social sapect of the times in music hall and theater paintings also appeared in representing forms. He created a space by converging painting space on canvas with actual space.
Sickert"s paintings with the theme of music hall and theater is the base on which his painting can root in Britain and shows the new expression of paintings of the times to represent the moment of the real world to be the permanent connecting actual space to that of painting. There wasn"t only the stream of modernism toward abstraction in modern Britich painting circles. There existed a unique inquiry on the modern art of Britain that would excite another modernism and Sickert played the role. Sickert paintings are worth noticing newly from the various angles of postmodern perspective accepting diversity.
목차
Ⅰ. 서론
Ⅱ. 시커트와 영국 모더니즘 미술의 흐름
Ⅲ. 시커트의 회화
Ⅳ. 결론
참고문헌
Abstract
참고문헌 (71)
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UCI(KEPA) : I410-ECN-0101-2013-609-001267418