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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Art Museums have been considered the site of art history not only for professionals in the academic field of visual arts but also the general public who encounters visual cultures in ordinary life. This paper examines the development of art history education in the West. Second, the discourses of diverse methodologies of art history education in art museums as well as the academy are examined. From this investigation we can get some hints of art history education as it relates to public education and social education of art museums in Korea.
After the Enlightenment, public museums attempted to visualize artworks under the concept of "art history." By the end of the 19th and early 20th centuries, art history offered art appreciation in public schools in order to enhance the public's moral and social status. The development of technology since the middle of the 19th century created the foundation of mass production for diverse visual images. Louis Prang in Boston paved the way for using the reproduction of artworks in the history of art. This era is called the "picture age," when the topology was developed and various visual images were reproduced. Old masters' artworks were reproduced with lines and colors of black, grey and sepia and used as visual materials in public schools. Such reproductions from real artworks were composed of abstract images, outlines created by the eye and hand of topologists. Teachers in public schools used such reproductions to guide young children's moral education through visits to art museums.
In higher education, art history had been taught at Harvard University during the 1870s as part of art appreciation courses. As art museums such as the Metropolitan Museum of Art in New York, the Museum of Fine Arts in Boston, the City Art Museum in St. Louis, and the Cincinnati Museum were established around the United States, various art history courses were also set up at the college level. Harvard University began to offer art history courses in art appreciation for young people in order to enhance basic knowledge of artworks and connoisseurship of collecting and appreciating works of art.
By the middle of the 20th century, art history education came to be diverse. First, non Western culture, industrial productions, and architecture were studied. Second, as emphasis on creativity in art education decreased, art history education came to be more focused within the context of Discipline-Based Art Education. Finally, during the 1980s art history education focused on social, cultural, and political contexts of artworks rather than individual artists and artworks.
However, art history education is the task of art museums. The notion of art museums as the site of art history education can be traced to the middle of the 18th century. The birth of public museums since 1789 visualized in the space of art museums their collection according to art historical classification, such as schools and chronology. According to Carol Duncan, the British Museum, the Louvre, and the Metropolitan Museum of Art are considered to be 'universal survey museums' because beholders experience the artworks through the concept of art history. German Bazin calls the visitors' experience in art museums the production of modern Enlightenment.
When social and economic problems were prevailing in the U.S. during the 1930s and ‘40s, the social educational mission of art museums was practiced with the support of the New Deal policy. During the Great Depression and World War Ⅱ, the academic background of directors of art museums was art history, focusing on an object-centered approach to artworks. It was the achievement of new art histories that started the visitor (receiver)-centered approach in art museum education. While art historical knowledge was transmitted to the visitor in the space of 'modern' art museums for the purpose of enlightenment and education, the meanings of artworks in 'postmodern' art museums are constructed by the negotiation between the visitors and artworks. Today, artworks in art museums are considered to be the text to be interpreted multiply by the beholders.
After the Enlightenment, public museums attempted to visualize artworks under the concept of "art history." By the end of the 19th and early 20th centuries, art history offered art appreciation in public schools in order to enhance the public's moral and social status. The development of technology since the middle of the 19th century created the foundation of mass production for diverse visual images. Louis Prang in Boston paved the way for using the reproduction of artworks in the history of art. This era is called the "picture age," when the topology was developed and various visual images were reproduced. Old masters' artworks were reproduced with lines and colors of black, grey and sepia and used as visual materials in public schools. Such reproductions from real artworks were composed of abstract images, outlines created by the eye and hand of topologists. Teachers in public schools used such reproductions to guide young children's moral education through visits to art museums.
In higher education, art history had been taught at Harvard University during the 1870s as part of art appreciation courses. As art museums such as the Metropolitan Museum of Art in New York, the Museum of Fine Arts in Boston, the City Art Museum in St. Louis, and the Cincinnati Museum were established around the United States, various art history courses were also set up at the college level. Harvard University began to offer art history courses in art appreciation for young people in order to enhance basic knowledge of artworks and connoisseurship of collecting and appreciating works of art.
By the middle of the 20th century, art history education came to be diverse. First, non Western culture, industrial productions, and architecture were studied. Second, as emphasis on creativity in art education decreased, art history education came to be more focused within the context of Discipline-Based Art Education. Finally, during the 1980s art history education focused on social, cultural, and political contexts of artworks rather than individual artists and artworks.
However, art history education is the task of art museums. The notion of art museums as the site of art history education can be traced to the middle of the 18th century. The birth of public museums since 1789 visualized in the space of art museums their collection according to art historical classification, such as schools and chronology. According to Carol Duncan, the British Museum, the Louvre, and the Metropolitan Museum of Art are considered to be 'universal survey museums' because beholders experience the artworks through the concept of art history. German Bazin calls the visitors' experience in art museums the production of modern Enlightenment.
When social and economic problems were prevailing in the U.S. during the 1930s and ‘40s, the social educational mission of art museums was practiced with the support of the New Deal policy. During the Great Depression and World War Ⅱ, the academic background of directors of art museums was art history, focusing on an object-centered approach to artworks. It was the achievement of new art histories that started the visitor (receiver)-centered approach in art museum education. While art historical knowledge was transmitted to the visitor in the space of 'modern' art museums for the purpose of enlightenment and education, the meanings of artworks in 'postmodern' art museums are constructed by the negotiation between the visitors and artworks. Today, artworks in art museums are considered to be the text to be interpreted multiply by the beholders.
목차
Ⅰ. 들어가며
Ⅱ. 미술사 교육의 전개
Ⅲ. 교육의 장으로서 미술관
Ⅳ. 미술관, 미술사 교육의 장소인가
Ⅴ. 나오면서
참고문헌
Abstract
「미술사 교육의 전통과 담론들: 미술관, 미술사, 그리고 교육」에 대한 질의
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