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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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Matisse's Odalisque has been inherited from that of Ingres, Delacroix and Renoir who were Orientalists. The meaning for Odalisque which had meant a place originally is distorted and meant Harem's women today due to the European's own reading.
Matisse's sensual Odalisque is connotating both conventional and modern sense of values. Matisse was deeply interested in traditional theme such as allegorical figure, the Night and the Dawn, reclining at the feet of Lorenzo de'Medici produced by Michelangelo and Titian's 'Venus of Urbino'. Conflicts between object and background, and tensions between substance and surface, however, reflect his expectations for the Modernism. Matisse contrasted Three-dimensional Odalisque's bodies in movement with a two-dimensional decorative background.
Matisse's Odalisque coincides with the apogee of French colonialism in 1920s when the French Government high-pitched the colonial benefits. Matisse projected colonial ideology on his canvas and consequently Matisse's Odalisque had a function to concrete the colonial ideology. Matisse shared not only the prevalent male sense of the intellectual superiority over woman but also the general European sense of intellectual superiority over the Orient. Accordingly Matisse treated Odalisque's bodies with two ways. One is man's power over the woman and the other is Western's power over the Orient which were thought inferior. It suggests that the ownership over the territory extend to woman which lives in it.
He treated his Odalisque as a multiple Otherness such as gender, ideology and race. Besides he presented Odalisque inferiorly even compared to French woman which he painted at the same time. He engaged two ways of distancing mechanism. One is a distancing from the method of painting between French woman and Odalisque. And the other is that he eliminated his self-portrait from the motif 'painter and his model' which he had frequently represented from his early.
Meanwhile Matisse and his assumedly male viewer dominate the space of Odalisque. But Matisse tried to make a spectator who observe the odalisque Other by letting the Odalisque observe the spectator vice versa. Accordingly his Odalisque deserves that we should appreciate their great potential to switch relationships between man and woman, the West and the Orient, the self and the other, and the conscious and the subconscious.
Matisse's Odalisque as a professional model also would be evaluated as the origin of professional model. Henriette Darricarrere was one of the major model for Matisse's Odalisque and was a former working model and actress which means it is possible that her pose comes from her internal instead of from external painter's direction. Consequently it suggests that network is constructed among painter, model, and spectator. This rearrangement for models was c1early based on the financial relationship between painter and model. And it is possible that painters do not govern models any more but that painters and models discuss what the adequate pose is. Moreover it means that female models negate male painters as a creator and that they are being with the man from the process of the work. So they come to redefine the conception for the creative process of art.
Matisse's sensual Odalisque is connotating both conventional and modern sense of values. Matisse was deeply interested in traditional theme such as allegorical figure, the Night and the Dawn, reclining at the feet of Lorenzo de'Medici produced by Michelangelo and Titian's 'Venus of Urbino'. Conflicts between object and background, and tensions between substance and surface, however, reflect his expectations for the Modernism. Matisse contrasted Three-dimensional Odalisque's bodies in movement with a two-dimensional decorative background.
Matisse's Odalisque coincides with the apogee of French colonialism in 1920s when the French Government high-pitched the colonial benefits. Matisse projected colonial ideology on his canvas and consequently Matisse's Odalisque had a function to concrete the colonial ideology. Matisse shared not only the prevalent male sense of the intellectual superiority over woman but also the general European sense of intellectual superiority over the Orient. Accordingly Matisse treated Odalisque's bodies with two ways. One is man's power over the woman and the other is Western's power over the Orient which were thought inferior. It suggests that the ownership over the territory extend to woman which lives in it.
He treated his Odalisque as a multiple Otherness such as gender, ideology and race. Besides he presented Odalisque inferiorly even compared to French woman which he painted at the same time. He engaged two ways of distancing mechanism. One is a distancing from the method of painting between French woman and Odalisque. And the other is that he eliminated his self-portrait from the motif 'painter and his model' which he had frequently represented from his early.
Meanwhile Matisse and his assumedly male viewer dominate the space of Odalisque. But Matisse tried to make a spectator who observe the odalisque Other by letting the Odalisque observe the spectator vice versa. Accordingly his Odalisque deserves that we should appreciate their great potential to switch relationships between man and woman, the West and the Orient, the self and the other, and the conscious and the subconscious.
Matisse's Odalisque as a professional model also would be evaluated as the origin of professional model. Henriette Darricarrere was one of the major model for Matisse's Odalisque and was a former working model and actress which means it is possible that her pose comes from her internal instead of from external painter's direction. Consequently it suggests that network is constructed among painter, model, and spectator. This rearrangement for models was c1early based on the financial relationship between painter and model. And it is possible that painters do not govern models any more but that painters and models discuss what the adequate pose is. Moreover it means that female models negate male painters as a creator and that they are being with the man from the process of the work. So they come to redefine the conception for the creative process of art.
목차
Ⅰ. 머리말
Ⅱ. 오달리스크의 유래
Ⅲ. 관능적 자세에 대한 이중적 인식: 전통과 모더니즘
Ⅳ. 오리엔탈리즘의 반영
Ⅴ. 오달리스크와 모델
Ⅵ. 맺음말
참고문헌
Abstract
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