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This article is a comparative study on the series paintings of Claude Monet (1840-1926) and the music called ‘Impressionism’ of Achille-Claude Debussy(1862-1918). It compares the concept of nature contained in both arts, which is the most fundamental and relating character of two artists. This study aims to illuminate the true subject of both arts, namely ‘the principle and the harmony of the nature’. It defines Monet’s series paintings and Debussy’s music as having the common character more as Symbolism than as Impressionism.
It is after the last Impressionists’ exhibition of 1886 that Monet’s series paintings and Debussy’s music called Impressionism were planned and made. That means, both arts were produced in a time when the materialistic realism was being substituted for the spiritual symbolism in the art world of Paris. In part Monet’s series paintings are impressionistic as it depicts the impressions of each ‘instantaneite’, but at the same time it gets out of Impressionism because each painting of ‘instantaneite’ has the only partial meaning of the whole series. Here the principle of ‘truth to nature’ of objective Impressionism turns out to be a particular individual experience which only contributes to the complete conception of the series, ‘the perceptive, spiritual or poetical understanding of the whole nature’. As the critic Gustave Geffroy expressed Monet becomes in this sense ‘the pantheist poet’ combining the fugitive and confused senses to the only total whole. In his series paintings Monet describes the mystic principles of the universe as light and colour.
The word Impressionism, originally used for the painting, was first related to the music of 〈Spring〉(1887) of Debussy. It was used for criticizing the music as ‘bizzare’, which deviates from the academic principles, especially in form. For the academicians the music of Debussy seemed obscure in it’s atmosphere and effect of colour as in the Impressionist painting. But Debussy himself denied any relation to the Impressionism. Moreover he declared the essence of music and the value of art as ‘mystical and abstract such as taste’. From this mention we conceive his understanding of music as symbolistic. It was after the 1st world war, especially by some german musicologists, that the music of Debussy was positively evaluated as modern. They praised the free form and the effect of his music as expression of the harmony of the universe and the energy of the life. This understanding of Debussy’s music but corresponds mostly to the conception of nature in series paintings of Monet. In this point we can get the conclusion that Monet’s series paintings and Debussy’s music called Impressionism are more symbolistic as impressionistic, and they share in common the subjective and spiritual atmosphere of the time.
It is after the last Impressionists’ exhibition of 1886 that Monet’s series paintings and Debussy’s music called Impressionism were planned and made. That means, both arts were produced in a time when the materialistic realism was being substituted for the spiritual symbolism in the art world of Paris. In part Monet’s series paintings are impressionistic as it depicts the impressions of each ‘instantaneite’, but at the same time it gets out of Impressionism because each painting of ‘instantaneite’ has the only partial meaning of the whole series. Here the principle of ‘truth to nature’ of objective Impressionism turns out to be a particular individual experience which only contributes to the complete conception of the series, ‘the perceptive, spiritual or poetical understanding of the whole nature’. As the critic Gustave Geffroy expressed Monet becomes in this sense ‘the pantheist poet’ combining the fugitive and confused senses to the only total whole. In his series paintings Monet describes the mystic principles of the universe as light and colour.
The word Impressionism, originally used for the painting, was first related to the music of 〈Spring〉(1887) of Debussy. It was used for criticizing the music as ‘bizzare’, which deviates from the academic principles, especially in form. For the academicians the music of Debussy seemed obscure in it’s atmosphere and effect of colour as in the Impressionist painting. But Debussy himself denied any relation to the Impressionism. Moreover he declared the essence of music and the value of art as ‘mystical and abstract such as taste’. From this mention we conceive his understanding of music as symbolistic. It was after the 1st world war, especially by some german musicologists, that the music of Debussy was positively evaluated as modern. They praised the free form and the effect of his music as expression of the harmony of the universe and the energy of the life. This understanding of Debussy’s music but corresponds mostly to the conception of nature in series paintings of Monet. In this point we can get the conclusion that Monet’s series paintings and Debussy’s music called Impressionism are more symbolistic as impressionistic, and they share in common the subjective and spiritual atmosphere of the time.
목차
Ⅰ. 모네의 연작과 드뷔시 음악의 비교는 가능한가
Ⅱ. 모네의 연작에서의 자연: 지각 대상에서 총체적 조화의 세계로
Ⅲ. 드뷔시의 인상주의 음악: 음악에서의 색채 효과와 자연의 조화
Ⅳ. 자연의 인지와 자연의 조화: 모네의 연작과 드뷔시의 음악 비교
참고문헌
Abstract
「모네의 연작 회화와 드뷔시의 인상주의 음악에서의 자연」에 대한 질의
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