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This article is a research on the aspect and the meaning of the spectator in relation to the french painting of 1860-1870. It intends to interpret the early impressionist painting in a viewpoint of the spectator, spectator in and out of the paintings.
The Spectator of art is the man who watches artworks. The most active spectators of art are the artist himself, the contemporary art critics and the art historians of later times. They are not only the appreciators of artworks but also the interpreters of them. But in regard to the early impressionist painting an another kind of spectator must be considered, namely the spectators depicted in the painting itself.
The viewers visiting the Paris salon during the years of 1860-1870 were quite plentiful, for the salon was still the only authoritative institution of exhibiting the contemporary artworks. But it was at the same time the period of great change, because the strong resistance against the tradition and the authority of the salon caused the change of art and art world. The modernist painters and the newly appeared private dealers organized the independent exhibitions, which gathered amount of viewers as the first private exhibitions.
The subject of impressionism is modern life: the leisure in city and the amusement in nature. Viewers or spectators of the modern life can be called ‘flaneur’ as the concept of Charles Baudelaire. The ‘flaneur’ is a man of modernity, with the ‘sensation’ of and the ‘curiosite’ to the modern life. He is often depicted in the impressionist painting as a spectator, but more usually the man watching the modernist painting. A typical ‘flaneur’ in later sense is the artist himself with the bourgeois taste.
The recent spectators mentioning the impressionist painting are the art historians like J. H. Rubin. Especially he conceives the impressionist landscape painting as the representation of the total modernity, both in form and in subject. According to him if an art can be modern in real sense, it should be the representation of the total modernity. He considers the early impressionist painting of 1860-1870, above all the impressionist landscape painting, as a proper model of it.
The Spectator of art is the man who watches artworks. The most active spectators of art are the artist himself, the contemporary art critics and the art historians of later times. They are not only the appreciators of artworks but also the interpreters of them. But in regard to the early impressionist painting an another kind of spectator must be considered, namely the spectators depicted in the painting itself.
The viewers visiting the Paris salon during the years of 1860-1870 were quite plentiful, for the salon was still the only authoritative institution of exhibiting the contemporary artworks. But it was at the same time the period of great change, because the strong resistance against the tradition and the authority of the salon caused the change of art and art world. The modernist painters and the newly appeared private dealers organized the independent exhibitions, which gathered amount of viewers as the first private exhibitions.
The subject of impressionism is modern life: the leisure in city and the amusement in nature. Viewers or spectators of the modern life can be called ‘flaneur’ as the concept of Charles Baudelaire. The ‘flaneur’ is a man of modernity, with the ‘sensation’ of and the ‘curiosite’ to the modern life. He is often depicted in the impressionist painting as a spectator, but more usually the man watching the modernist painting. A typical ‘flaneur’ in later sense is the artist himself with the bourgeois taste.
The recent spectators mentioning the impressionist painting are the art historians like J. H. Rubin. Especially he conceives the impressionist landscape painting as the representation of the total modernity, both in form and in subject. According to him if an art can be modern in real sense, it should be the representation of the total modernity. He considers the early impressionist painting of 1860-1870, above all the impressionist landscape painting, as a proper model of it.
목차
Ⅰ. 시작하며
Ⅱ. 미술제도와 관람자: 살롱과 ‘독립작가전’
Ⅲ. 그림 안의 관람자와 관람자로서의 화가
Ⅳ. 해석자로서의 관람자: 역사해석
Ⅴ. 마치며
참고문헌
Abstract
참고문헌 (19)
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