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
In the 1890’s the Neo-Impressionist painters Signac and Cross sought the vision of the future utopian society in the region of the Mediterranean France. It was not only because that region’s natural environment was harmonious but because that region was thought to preserve the tradition of free and harmonious communal society. Their Mediterranean landscapes present themselves as images representing the utopian vision by contrasting the geographical, cultural and political differences between northem France and southem France. For them the Mediterranean coast region became the altemative space to the capitalist society represented by the urbanized space of Paris. The notion of the Mediterranean region as the altemative model reflected the anarchist idea of utopian society. Late 19th century French anarchists divided France into two geographically, culturally and politically contrasted regions. In their political geography they presented the Mediterranean coast as the ideal space for realization of their anarchist ideal.
The Neo-Impressionist in 1890’s represented the Mediterranean coast as the space where the anachist political ideal was realized. Cross’s 〈Les Iles d’ Or〉(1891-1892) presented the image of the Mediterranean sea as the space for the expansion of freedom and harmony. In Signac’s 〈Jeunes Provencales au Puits〉(1892) the anarchist idea that sought the alternative in the social culture of the small Mediterranean community where the tradition of mutual aid was maintained. In 〈l’ Air du Soir〉(1894) and 〈Au Temps d’ Harmonie〉(1894-1895), Cross and Signac represented their Mediterranean image of utopia in the scale of decorative wall painting Cross’s representation of utopia is more abstact and symbolic than Signac’s which shows anarchist utopian vision more directly. 〈Au Temps d’ Harmonie〉 shows future utopia where indivisual freedom and harmony among the indivisuals are fulfilled and where the leisure and the work are not two divided activities. The utopia here, is represented as modem one which would be realized in near future. It refers to 〈Un Dimanche Apres-midi a l’iie de la Grande Jatte〉(1884-1886) of Seurat which represented the image of Parisian suburb, of which it was meant to be the counter image. The Neo-Impressionist Mediterranean landscape’s meaning as the political vision of utopia is realized by the comparison with the urban space of capitalist society.
The Neo-Impressionist in 1890’s represented the Mediterranean coast as the space where the anachist political ideal was realized. Cross’s 〈Les Iles d’ Or〉(1891-1892) presented the image of the Mediterranean sea as the space for the expansion of freedom and harmony. In Signac’s 〈Jeunes Provencales au Puits〉(1892) the anarchist idea that sought the alternative in the social culture of the small Mediterranean community where the tradition of mutual aid was maintained. In 〈l’ Air du Soir〉(1894) and 〈Au Temps d’ Harmonie〉(1894-1895), Cross and Signac represented their Mediterranean image of utopia in the scale of decorative wall painting Cross’s representation of utopia is more abstact and symbolic than Signac’s which shows anarchist utopian vision more directly. 〈Au Temps d’ Harmonie〉 shows future utopia where indivisual freedom and harmony among the indivisuals are fulfilled and where the leisure and the work are not two divided activities. The utopia here, is represented as modem one which would be realized in near future. It refers to 〈Un Dimanche Apres-midi a l’iie de la Grande Jatte〉(1884-1886) of Seurat which represented the image of Parisian suburb, of which it was meant to be the counter image. The Neo-Impressionist Mediterranean landscape’s meaning as the political vision of utopia is realized by the comparison with the urban space of capitalist society.
목차
Ⅰ. 머리말
Ⅱ. 신인상주의의 유토피아 추구와 아나키즘
Ⅲ. 신인상주의자들의 남프랑스 이주와 19세기 남프랑스의 위상
Ⅳ. 아나키즘의 이상적 대안공간으로서의 지중해 지역
Ⅴ. 신인상주의 지중해 풍경화에 나타난 유토피아적 공간
Ⅵ. 맺음말
참고문헌
Abstract
「신인상주의 풍경화에 나타난 유토피아적 공간」에 대한 질의(마순자)
마순자 선생님의 질의에 대한 답변(전경희)
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
신인상주의에 나타난 색채 이미지에 관한 연구
Archives of Design Research
1999 .05
-
비-장소로서의 유토피아 : 동시대 미술의 유토피아적 조건
서양미술사학회논문집
2014 .08
-
윌리엄 켄트의 정원에 나타난 풍경화적 속성
미술사논단
2007 .12
-
터너의 풍경화의 색채구성
한국색채학회논문집
2006 .08
-
회화유형에 따른 동양적 이상향(理想鄕)의 성격
미술문화연구
2020 .09
-
나혜석의 풍경화
한국근현대미술사학
2005 .08
-
독일 표현주의 풍경화에 그려진 이상세계
현대미술사연구
1992 .08
-
Research on Urban and Rural Landscapes' Adjectives Extraction and Comparison
한국색채학회 학술대회
2011 .10
-
1860-1870년대 프랑스 회화와 관람자
서양미술사학회논문집
2009 .02
-
Landscape composition an 2
International Invitation Exhibition of Color Works
2015 .11
-
「한국 근대의 ‘자연주의적’ 풍경화에 나타난 이중성: 오지호와 김주경의 1930년대 풍경화를 중심으로」
미술사연구
2013 .12
-
「19세기 미국 풍경화에 나타난 미국 역사와 문화」
미술사연구
2013 .12
-
A Landscape in Mind
한국디자인학회 국제초대전도록
2019 .06
-
도시적 관점의 경관계획 및 평가체계에 관한 연구
한국공간디자인학회 논문집
2019 .01
-
Neo POP
International Invitation Exhibition of Color Works
2014 .11
-
현대의상 직물 문양에 조명된 신인상주의 색채 표현에 관한 연구 -1987년부터 1991년까지-
한국의류학회지
1992 .01
-
유토피아와 디스토피아의 건축적 표현에 관한 연구
한국실내디자인학회 논문집
2000 .12
이 논문의 저자 정보
이 논문과 함께 이용한 논문
신인상주의에 나타난 색채 이미지에 관한 연구
정재윤
,
이혜주
Archives of Design Research
1999
.05
바그너의 예술론에 의한 쇠라의 말기회화(1888-1891) 분석 : 쇠라의 <퍼레이드>, <무희>와 <서커스>를 중심으로
최병길
서양미술사학회논문집
2015
.08
버나드 덴버의 『후기인상주의』
전경희
현대미술사연구
2000
.03
문헌소개 Ⅰ: 리챠드 쉽 著, 『세잔과 인상주의의 종말』 : 현대미술의 이론, 테크닉, 그리고 비평적 평가에 관한 연구
강태희
서양미술사학회논문집
1989
.12
산업혁명기 영국의 풍경화와 풍경이론 : 터너의 풍경화
마순영
인간·환경·미래
2008
.12
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-609-017290220