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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.
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초록· 키워드
오류제보하기
Fougita Tsuguharu moved to Paris in 1913 after he has graduated from Tokyo Academy of Fine Arts in 1910. Fougita joined cole de Paris and after the World WarⅡ then he became well recognized. His milky colored nude paintings done in the traditional Japanese painting style was shockingly unfamiliar with Parisians and they were exuberated by his eccentric actions.
Fougita painted the most war campaign documentary paintings among the Japanese artists after he came back to Japan. Furthermore following the defeat, since Fougita was cooperating with the Japanese military as the president of Japanese Military Art Association, he was caught up in the middle of war responsibility controversy.
After the US military occupation in Japan, GHQ classified War Campaign Documentary Paintings as propaganda, not as art paintings and shipped 153 pieces to the United States of America. Initially, GHQ had appointed Fougita to be in charge of collecting these paintings but after these war propaganda campaign documentary paintings became the main controversy in the Japanese art world, Fougita passed on the responsibility to Yamada Shinichi and left to go to the US and then France.
Fougita, who was beloved by the Japanese Military for his war campaign documentary paintings during the WWⅡ, purchased diamonds from the money he made by selling paintings to US military officers and their wives. Instead of accepting his war responsibility, he avoids all blame and claims his legitimacy. In 1949, with the aid from the US military, he was left for New York. After one year in New York, he moved to Paris. Fougita became naturalized as a French citizen and ended his life in a hospital in Switzerland in 1968.
From the facts above, Fougita’s war campaign documentary paintings were the result of his ambition of success, not just an outcome of Japanese military’s order. The reason he wanted to escape from Japan after the WWⅡ was to recreate his success which he already had in Paris earlier his life. In conclusion, the paintings show us what Fougita’s consciousness was like the horrendous war scenes of his paintings show that he considered war as a mere theatrical experience and bloody slaughter as a spectacle.
Fougita painted the most war campaign documentary paintings among the Japanese artists after he came back to Japan. Furthermore following the defeat, since Fougita was cooperating with the Japanese military as the president of Japanese Military Art Association, he was caught up in the middle of war responsibility controversy.
After the US military occupation in Japan, GHQ classified War Campaign Documentary Paintings as propaganda, not as art paintings and shipped 153 pieces to the United States of America. Initially, GHQ had appointed Fougita to be in charge of collecting these paintings but after these war propaganda campaign documentary paintings became the main controversy in the Japanese art world, Fougita passed on the responsibility to Yamada Shinichi and left to go to the US and then France.
Fougita, who was beloved by the Japanese Military for his war campaign documentary paintings during the WWⅡ, purchased diamonds from the money he made by selling paintings to US military officers and their wives. Instead of accepting his war responsibility, he avoids all blame and claims his legitimacy. In 1949, with the aid from the US military, he was left for New York. After one year in New York, he moved to Paris. Fougita became naturalized as a French citizen and ended his life in a hospital in Switzerland in 1968.
From the facts above, Fougita’s war campaign documentary paintings were the result of his ambition of success, not just an outcome of Japanese military’s order. The reason he wanted to escape from Japan after the WWⅡ was to recreate his success which he already had in Paris earlier his life. In conclusion, the paintings show us what Fougita’s consciousness was like the horrendous war scenes of his paintings show that he considered war as a mere theatrical experience and bloody slaughter as a spectacle.
목차
I. 서론
Ⅱ. 에콜드파리의 후지타 쓰구하루와 전쟁기록화가 후지타 쓰구하루
Ⅲ. 패전 전후의 후지타 쓰구하루
Ⅳ. 전쟁화 수집과 후지타 쓰구하루의 행적
Ⅴ. 결론
참고문헌
Abstract
참고문헌 (26)
참고문헌 신청
[학술지(정기간행물)] - 김용철 / 2005 / 후지타 쓰구하루(藤田嗣治)의 전쟁화 / 한국근대미술사학 15
[학술지(정기간행물)] - 김용철 / 2012 / 아시아태평양전쟁기 일본 역사화 속의 국가주의 / 한림일본학 (구 한림일본학연구) (20) : 105 ~ 130
[학술지(정기간행물)] - 김용철 / 2014 / 총력전시기 재조선일본인 미술가의 역할과 위상 / 일본학보 (100) : 401 ~ 415
[학술지(정기간행물)] - 김태경 / 2014 / 후지타 쓰구하루와 요코미쓰 리이치의 ‘전쟁’ － 전전 미술과 문학에 있어 ‘일본회귀’의 한 방식－ / 일본문화연구 (49) : 93 ~ 112
[학술지(정기간행물)] - 최태만 / 2011 / 아시아 태평양전쟁기 일본의 전쟁화에 대한 연구 후지타쓰구하루의 전쟁기록화를 중심으로 / 예술논총 (14)
[학술지(정기간행물)] - 김용철 / 2012 / 아시아태평양전쟁기 일본 역사화 속의 국가주의 / 한림일본학 (구 한림일본학연구) (20) : 105 ~ 130
[학술지(정기간행물)] - 김용철 / 2014 / 총력전시기 재조선일본인 미술가의 역할과 위상 / 일본학보 (100) : 401 ~ 415
[학술지(정기간행물)] - 김태경 / 2014 / 후지타 쓰구하루와 요코미쓰 리이치의 ‘전쟁’ － 전전 미술과 문학에 있어 ‘일본회귀’의 한 방식－ / 일본문화연구 (49) : 93 ~ 112
[학술지(정기간행물)] - 최태만 / 2011 / 아시아 태평양전쟁기 일본의 전쟁화에 대한 연구 후지타쓰구하루의 전쟁기록화를 중심으로 / 예술논총 (14)
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UCI(KEPA) : I410-ECN-0101-2016-600-002370879