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.
이용수
초록· 키워드
오류제보하기
Mourning pictures were a representative art form of women in nineteenth century America. They depict the bereaved visiting graves, and were done by young girls among the bereaved by watercolor or stitch. Standard motifs of a mourning picture include a gravestone with an urn, women in deep sorrow, and a symbolic weeping willow.
The source of the first mourning design was a European painting titled ‘Fame decorating the Tomb of Shakespeare’ by Angelica Kauffman, the eighteenth century painter. The mourning scene had appeared before the death of America’s first hero, George Washington, however, his death served as the momentum that make mourning pictures became popular in America. The great numbers of prints and pottery with mourning designs depicting him were copied and sold in both Europe and America.
Mourning pictures gained considerable popularity among young ladies and they were often taught in the female boarding schools by the painting and needlework teachers, Although the subject of mourning pictures, the death, is not pleasant, their popularity reveals that death was always in the minds of people of that period. One statistical report estimates that about 19 percent of marriages in the 1850s shattered by death within ten years and 47 percent within twenty-five years. Therefore, people must have felt a certain inevitability about death.
Mourning pictures were usually hung on a wall in the living room strengthen family ties. Mourning pictures had the function of a group portrait, as seen in the mourning picture done by Lucretia Carew in 1800. They often represent very personal detail such as people on crutches or people with thin hair. Moreover, beholders can read the people’s emotional conflict or status in the picture.
A mourning picture was a record of the social history as well as a family history. One made in the East Coast America, around 1810 records the death of five children. All of them were under seven years old, three of them died in October 1802. It suggests that an epidemic was widespread among children at that time. Such facts correspond with tile statistical report mentioned above.
Mourning pictures also supply crucial information concerning the fashions of the period. Between 1795 and 1797, a definite change can be noted in American women’s dress. The aftermath of the ‘Classical Revival’ created a new style. Dresses were made with a short bodice accentuating a high waistline, that was in fashion, and narrow skirts were made of soft clinging materials. The women’s mourning costumes represented in many mourning pictures reflect this fashion.
The mourning pictures were not only made for one’s own family members, but for friends. A mourning picture was a kind of heartfelt gift to the dead. The maker must have benefited from peace of mind and mental consolation whilst making the work. Therefore, through producting mourning pictures, the maker could heal the mental pain from the loss of a close friend or a family member.
One more significant social function of a mourning picture is educational benefit. One may consider the advance of the girls’ skills in embroidery. Apart from the visible aspect, it involves ethical and moral functions in education. According to a letter written by a father in 1806, in which the father made his daughter embroider a mourning picture for her young brother who died seven years before, a mourning picture could be a discipline, demonstrating obedience and piety to parents, rather than personal expressions of deep sorrow.
In addition, since an embroiderer’s personality was believed to be displayed by the form, content and act of embroidery, a mourning picture was the means of revealing a young girls’ good manners and noble nature through school education. What were the girls’ attitudes on the making of mourning pictures? The sentimental and romantic element of mourning pictures was correspondent to young girls’ sensibility. Many girls followed the vogue since they found the mourning pictures themselves quite simply beautiful.
In the nineteenth century, the Victorian domestic interior became a space for the representation of family memories. The mourning pictures were the most appropriate objects for the space. However, after 1840, mourning pictures have gradually disappeared. Probably, the production on a large scale of mourning prints, such as those from Curriers and Ives or the invention of daguerreotype from 1840, brought about the decline. These new mechanical works seem to have rendered mourning pictures out of date. Moreover, even embroidery itself became secondary to music or literature in women’s school education.
Although the mourning pictures were in vogue for very short time, they were not just small- scale works of art by anonymous women. As explained above, they had
various sociocultural functions, and were the synthesis of the current religious, social, aesthetic idea and the source of information on early nineteenth century America.
The source of the first mourning design was a European painting titled ‘Fame decorating the Tomb of Shakespeare’ by Angelica Kauffman, the eighteenth century painter. The mourning scene had appeared before the death of America’s first hero, George Washington, however, his death served as the momentum that make mourning pictures became popular in America. The great numbers of prints and pottery with mourning designs depicting him were copied and sold in both Europe and America.
Mourning pictures gained considerable popularity among young ladies and they were often taught in the female boarding schools by the painting and needlework teachers, Although the subject of mourning pictures, the death, is not pleasant, their popularity reveals that death was always in the minds of people of that period. One statistical report estimates that about 19 percent of marriages in the 1850s shattered by death within ten years and 47 percent within twenty-five years. Therefore, people must have felt a certain inevitability about death.
Mourning pictures were usually hung on a wall in the living room strengthen family ties. Mourning pictures had the function of a group portrait, as seen in the mourning picture done by Lucretia Carew in 1800. They often represent very personal detail such as people on crutches or people with thin hair. Moreover, beholders can read the people’s emotional conflict or status in the picture.
A mourning picture was a record of the social history as well as a family history. One made in the East Coast America, around 1810 records the death of five children. All of them were under seven years old, three of them died in October 1802. It suggests that an epidemic was widespread among children at that time. Such facts correspond with tile statistical report mentioned above.
Mourning pictures also supply crucial information concerning the fashions of the period. Between 1795 and 1797, a definite change can be noted in American women’s dress. The aftermath of the ‘Classical Revival’ created a new style. Dresses were made with a short bodice accentuating a high waistline, that was in fashion, and narrow skirts were made of soft clinging materials. The women’s mourning costumes represented in many mourning pictures reflect this fashion.
The mourning pictures were not only made for one’s own family members, but for friends. A mourning picture was a kind of heartfelt gift to the dead. The maker must have benefited from peace of mind and mental consolation whilst making the work. Therefore, through producting mourning pictures, the maker could heal the mental pain from the loss of a close friend or a family member.
One more significant social function of a mourning picture is educational benefit. One may consider the advance of the girls’ skills in embroidery. Apart from the visible aspect, it involves ethical and moral functions in education. According to a letter written by a father in 1806, in which the father made his daughter embroider a mourning picture for her young brother who died seven years before, a mourning picture could be a discipline, demonstrating obedience and piety to parents, rather than personal expressions of deep sorrow.
In addition, since an embroiderer’s personality was believed to be displayed by the form, content and act of embroidery, a mourning picture was the means of revealing a young girls’ good manners and noble nature through school education. What were the girls’ attitudes on the making of mourning pictures? The sentimental and romantic element of mourning pictures was correspondent to young girls’ sensibility. Many girls followed the vogue since they found the mourning pictures themselves quite simply beautiful.
In the nineteenth century, the Victorian domestic interior became a space for the representation of family memories. The mourning pictures were the most appropriate objects for the space. However, after 1840, mourning pictures have gradually disappeared. Probably, the production on a large scale of mourning prints, such as those from Curriers and Ives or the invention of daguerreotype from 1840, brought about the decline. These new mechanical works seem to have rendered mourning pictures out of date. Moreover, even embroidery itself became secondary to music or literature in women’s school education.
Although the mourning pictures were in vogue for very short time, they were not just small- scale works of art by anonymous women. As explained above, they had
various sociocultural functions, and were the synthesis of the current religious, social, aesthetic idea and the source of information on early nineteenth century America.
목차
Ⅰ. 서론
Ⅱ. 애도화의 기원과 전개(History)
Ⅲ. 애도화의 제작(Construction)
Ⅳ. 애도화의 기능
참고문헌
Abstract
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