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
This paper analyzes Barnett Newman’s works of art with horizontal zips, <Untitled 2, 1949> <Dionysius> <Argos> <Horizon Light> which have deviated from dominant discourse on his artworks, and intends to deploy them in the center of his oeuvre.
Newman’s primary artistic purpose was to make “creative painting”. This conceptually synthesizes his artistic practice and subject-matter. In the next year after finishing <Onement 1> in 1948, an inaugural work of his mature style, Newman was possessed of a derivative condition, “verticality”. With regard to maintain his artistic creativity, the subject-matter of “Creation” of God played an important role.
Newman applied geometrical elements, which had been denounced through his whole artistic life due to the relation to Mondrian, in his artwork with the experiment of horizontal zip paintings. Specifically Newman’s use of “dynamic symmetry” on void canvas parallels the given order in the beginning of the world by God. Furthermore, his use of horizontal works against the fossilized label of “verticalline-painter” demonstrates how he located himself on the state of artist as a creator.
In addition, despite the laudatory criticism from 1940s on Newman, their modernist explanation referring to his pictorial space was merely another condition to be got over. It led him to pursue a “sensation of time” extended from “temporality” firstly implied in his horizontal works .
Newman’s four horizontal artworks were a necessary stage in pursuit of being an artist as a creator in 1949. They granted Newman a significant possibility to secure creativity on his later artistic life.
Newman’s primary artistic purpose was to make “creative painting”. This conceptually synthesizes his artistic practice and subject-matter. In the next year after finishing <Onement 1> in 1948, an inaugural work of his mature style, Newman was possessed of a derivative condition, “verticality”. With regard to maintain his artistic creativity, the subject-matter of “Creation” of God played an important role.
Newman applied geometrical elements, which had been denounced through his whole artistic life due to the relation to Mondrian, in his artwork with the experiment of horizontal zip paintings. Specifically Newman’s use of “dynamic symmetry” on void canvas parallels the given order in the beginning of the world by God. Furthermore, his use of horizontal works against the fossilized label of “verticalline-painter” demonstrates how he located himself on the state of artist as a creator.
In addition, despite the laudatory criticism from 1940s on Newman, their modernist explanation referring to his pictorial space was merely another condition to be got over. It led him to pursue a “sensation of time” extended from “temporality” firstly implied in his horizontal works .
Newman’s four horizontal artworks were a necessary stage in pursuit of being an artist as a creator in 1949. They granted Newman a significant possibility to secure creativity on his later artistic life.
목차
Ⅰ. 서론
Ⅱ. 기하학적 형식과 창조의 주제
Ⅲ. 시간 개념에 대한 접근
Ⅳ. 결론
참고문헌
Abstract
참고문헌 (34)
참고문헌 신청
Anfam, David / 2002 / Barnett Newman. Philadelphia and London / The Burlington Magazine 144(1194):583~585
Bois, Yve-Alain / 1990 / Painting as Model / MIT Press
Bois, Yve-Alain / 2004 / On Two Paintings by Barnett Newman / October 108(6):3~27
Brock, Werner / 1949 / Martin Heidegger: Existence and Being / Henry Regnery co
Cavaliere, Barbara / 1981 / Barnett Newman’s ‘Vir Heroicus Sublimis’: Building the ‘Idea Complex’ / Arts Magazine 55(5):144~152
Bois, Yve-Alain / 1990 / Painting as Model / MIT Press
Bois, Yve-Alain / 2004 / On Two Paintings by Barnett Newman / October 108(6):3~27
Brock, Werner / 1949 / Martin Heidegger: Existence and Being / Henry Regnery co
Cavaliere, Barbara / 1981 / Barnett Newman’s ‘Vir Heroicus Sublimis’: Building the ‘Idea Complex’ / Arts Magazine 55(5):144~152
이 논문의 저자 정보
이 논문과 함께 이용한 논문
‘체험된 환영’을 통한 바넷 뉴먼 회화의 공간적 확장가능성
김자임
서양미술사학회논문집
2017
.02
철학적 담론과 그림이미지−장-프랑수아 료타르, 칸트, 그리고 바넷 뉴먼
이성훈
인문학논총
2010
.02
종묘의 건축 공간에 나타나는 시지각적 인지에 관한 연구
홍순목
,
김진균
대한건축학회 학술발표대회 논문집 - 계획계
2006
.10
바넷 뉴먼의 미국적 숭고: 추상표현주의의 태동기(1946-1950)를 중심으로
이상윤
서양미술사학회논문집
2020
.02
뒤샹의 작품과 그의 일상에 나타난 우연의 문제
김정현
현대미술사연구
2013
.06
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2015-600-000977445