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.
초록· 키워드
오류제보하기
The purpose of this paper is to analyze the connection between the materials and production of Heterogenic-Painting from Sigmar Polke(1941-). After 1960, Sigmar Polke and Gehard Richter tried to use paper or plastic fabrics to produce dot-painting due to accepting the American pop art and along with that, they tried to use glittering lack to invent mirror-painting which had the characteristic of a mirror. After 1980, metal-powder and pigment was used instead for paintings to show the possibility of Pigment-painting which was the esthetics of material art. However, as time passed by, finished art works’ generic characters changed and became metamorphic art works. The metal-powder and pigment that Polke used for producing his art works showed chemical reactions which made blowhole and toxicity to occur and made it difficult to include the art work in Heterogenic Painting. The connection between condensation and collapse of the materials and duplication and permeation became an important role of one of his techniques of Heterogenic Painting and his techniques became a key point to analyze Heterogenic paintings.
Sigmar Polke also produced a type of painting called Chameleon-Painting which indicated the change in color due to the temperature, humidity and thermo sensors. Furthermore, Polke applied the theory of an object having two sides to produce transparence screens where one can see through the front and the back side of the screen. This technique of transparence double canvas made the paintings more genuine and through the transparency of the screens, it provided the spectators to have various perspectives by looking at the art work.
Such changing in Polke’s paintings showed not the false and truth but the right and truth of his art and he challenged himself by searching for the truth. To find the truth, he started to look through from the beginning of art, perhaps from multi-media or from nature science or from hermetic, and used a rare repertory that nobody tried before. To show the truth of the paintings, Polke’s first indication was to color lack in many layers on the plastic fabric synthesis-canvas and after the coloring of lack he used metal-powder and cosmetics which made blowholes and permeation to occur and made the process of the painting more vividly visible through the connection of metal-powder, cosmetics, blowholes and permeation. This painting removed the surface of the painting and made it as a chameleon. It also showed metamorphose of the paintings which was Polke’s special feature. Secondly, through the transparency of the double canvas he only showed the truth itself. In the double canvas, everything was moved and it emphasized the change in screens.
Those kinds of methods made one experience the different levels of the paintings time to time as if there were many layers and structures of a skirt in a picture. Additionally, one can appreciate the painting 360 degrees and it avoids having one perspective of a painting but provides various perspectives. Thirdly, the art that Polke titled “object trouve” , because many different kinds of fabrics were used, also showed the usage of real materials of an object not manufactured ones. The truth of a painting means the nature of the material not a reproduction.
In this way, Polke desired to show the truth of the surface of the painting as well as the truth of the perspectives and materials of paintings.
Sigmar Polke also produced a type of painting called Chameleon-Painting which indicated the change in color due to the temperature, humidity and thermo sensors. Furthermore, Polke applied the theory of an object having two sides to produce transparence screens where one can see through the front and the back side of the screen. This technique of transparence double canvas made the paintings more genuine and through the transparency of the screens, it provided the spectators to have various perspectives by looking at the art work.
Such changing in Polke’s paintings showed not the false and truth but the right and truth of his art and he challenged himself by searching for the truth. To find the truth, he started to look through from the beginning of art, perhaps from multi-media or from nature science or from hermetic, and used a rare repertory that nobody tried before. To show the truth of the paintings, Polke’s first indication was to color lack in many layers on the plastic fabric synthesis-canvas and after the coloring of lack he used metal-powder and cosmetics which made blowholes and permeation to occur and made the process of the painting more vividly visible through the connection of metal-powder, cosmetics, blowholes and permeation. This painting removed the surface of the painting and made it as a chameleon. It also showed metamorphose of the paintings which was Polke’s special feature. Secondly, through the transparency of the double canvas he only showed the truth itself. In the double canvas, everything was moved and it emphasized the change in screens.
Those kinds of methods made one experience the different levels of the paintings time to time as if there were many layers and structures of a skirt in a picture. Additionally, one can appreciate the painting 360 degrees and it avoids having one perspective of a painting but provides various perspectives. Thirdly, the art that Polke titled “object trouve” , because many different kinds of fabrics were used, also showed the usage of real materials of an object not manufactured ones. The truth of a painting means the nature of the material not a reproduction.
In this way, Polke desired to show the truth of the surface of the painting as well as the truth of the perspectives and materials of paintings.
목차
Ⅰ. 서론
Ⅱ. 회화 재료의 미술사적 의미
Ⅲ. 변종과 모순의 알레고리
Ⅳ. 회화의 세가지 거짓말
Ⅴ. 결론
참고문헌
Abstract
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