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Advocating advanced aesthetic concepts, including abstraction, Alfred Stieglitz and the circle of artists and writers based at his 291 Fifth Avenue gallery in New York, played a significant role in directing the early modernist movement in the U.S. during the first decades of the twentieth century. While redefining the nature of art and searching for new artistic forms, the 291 associates examined various emergent ideas embodied in the latest artistic trends and philosophical theories. In spite of several successful studies of the Stieglitz Circle, previous scholarship has rarely examined the circle’s perceptions and utilization of Northeast Asian Art, which found its way into the course of the formation of American modernism.
This article, the seventh part of the writer’s series on the cultural and artistic exchanges between the United States and Northeast Asia, examines the critical writings and artistic endeavors of 291 and reveals that the circle’s interest in the ideas and formal elements of Northeast Asian art was much deeper than has generally been realized. In a search for new art, the 291 associates responded to "Japanese taste", which was widely disseminated throughout the U.S. from 1870s to 1910s.
Writings related to Asian art, published in Camera Work (1903-17), the circle’s quarterly journal, reflected contemporaneous views of Japanese art as the product of a more sophisticated and ideal culture than that of the West, and Japanese artists as highly spiritual individuals who realized the truth and the beauty of life through their art. This study suggests that such perceptions of Japan corresponded to the Japan supremacy ideas, which were based on Japan’s nationalism and proselytized by Japanese Zen Buddhists in the American society in an effort to compete with the Western powers for political, economic, and cultural hegemony.
In tandem with these ideas and with the guidance of Arthur Wesley Dow, an advocate for the aesthetic fusion of the West and the East, such 291 artists as Clarence White, Alvin L. Coburn, Pamela Colman Smith, Georgia O'Keeffe, Marsden Hartley, and Max Weber, among others, explored Northeast Asian art and adopted its various elements and methods in their creation of both representational and non-representational art of early American modernism.
This article, the seventh part of the writer’s series on the cultural and artistic exchanges between the United States and Northeast Asia, examines the critical writings and artistic endeavors of 291 and reveals that the circle’s interest in the ideas and formal elements of Northeast Asian art was much deeper than has generally been realized. In a search for new art, the 291 associates responded to "Japanese taste", which was widely disseminated throughout the U.S. from 1870s to 1910s.
Writings related to Asian art, published in Camera Work (1903-17), the circle’s quarterly journal, reflected contemporaneous views of Japanese art as the product of a more sophisticated and ideal culture than that of the West, and Japanese artists as highly spiritual individuals who realized the truth and the beauty of life through their art. This study suggests that such perceptions of Japan corresponded to the Japan supremacy ideas, which were based on Japan’s nationalism and proselytized by Japanese Zen Buddhists in the American society in an effort to compete with the Western powers for political, economic, and cultural hegemony.
In tandem with these ideas and with the guidance of Arthur Wesley Dow, an advocate for the aesthetic fusion of the West and the East, such 291 artists as Clarence White, Alvin L. Coburn, Pamela Colman Smith, Georgia O'Keeffe, Marsden Hartley, and Max Weber, among others, explored Northeast Asian art and adopted its various elements and methods in their creation of both representational and non-representational art of early American modernism.
목차
Ⅰ. 머리말
Ⅱ. 스티글리츠 서클과 미국 초기 모더니즘
Ⅲ. 동북아 예술에 대한 ‘291’의 시각
Ⅳ. 조형적 해석과 차용
Ⅴ. 맺음말
참고문헌
Abstract
참고문헌 (10)
참고문헌 신청
[학술지(정기간행물)] - / 1997 / Arthur Dove: A Retrospective
[학술지(정기간행물)] - / 2001 / Constructing Theory: The Alfred Stieglitz Circle and American Formalist Aesthetics
[학술지(정기간행물)] - / 1992 / The Influence of Psychological Theories on the Art and Writing of the Stieglitz Circle The University of Delaware
[학술지(정기간행물)] - / 2001 / Democratic Visions: Art and Theory of the Stieglitz Circle, 1924-1934
[학술지(정기간행물)] - / 1997 / A Series of Exercises in Art Structure for the Use of Students and Teachers Reprint of the 13th Edition Introduction by Joseph Masheck University of California Press
[학술지(정기간행물)] - / 2001 / Constructing Theory: The Alfred Stieglitz Circle and American Formalist Aesthetics
[학술지(정기간행물)] - / 1992 / The Influence of Psychological Theories on the Art and Writing of the Stieglitz Circle The University of Delaware
[학술지(정기간행물)] - / 2001 / Democratic Visions: Art and Theory of the Stieglitz Circle, 1924-1934
[학술지(정기간행물)] - / 1997 / A Series of Exercises in Art Structure for the Use of Students and Teachers Reprint of the 13th Edition Introduction by Joseph Masheck University of California Press
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UCI(KEPA) : I410-ECN-0101-2009-609-017290482