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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.
초록· 키워드
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Katsushika Hokusai, the Ukiyo-e printmaker and craftsman of the Edo period, was born in 1760. He is best-known as author of the woodblock print series Thirty-six Views of Mount Fuji (富嶽三十六景 Fugaku Sanjuroku-kei, c. 1831).
Hokusai was the most eminent Japanese painter in France. Felix Bracquemond is said to have discovered in 1856 a volume of Hokusai’s Manga (twenty-eights drawing books) and he delighted in showing to friends, Impressionists. His reputation owes mainly to the interpretations of French avant-garde art critics and avant-garde artists. Philippe Burty compared Hokusai’s Manga to Watteau in its elegance, to Daumer in its energy, to Goya in its fantasy, to Delacroix in its movement and to Rubens in its brush strokes. Louis Gonse, the chief editor of Gazette des Beaux-Arts, offered the judgment that Hokusai bears comparison to such European artists as Rembrandt, Corot, Goya, and Daumier.
Hokusai was related to liberal republican criticism. French avant-garde critics praised Hokusai’s‘vulgarite’in order to attack the conservative, academie that then predominated in the French art. Hokusai’s reputation was solidified in a process related to the Impressionism. Camille Pissaro called‘Japanese impressionists’to Japanese artists for Ukiyo-e.
The impressionists had reduced the three-dimensional space into two dimensions by geometrical operations. Paul Cezanne seems to have some resemblance to Hokusai in his transgression of linear perspective, reinvented during the Italian Renaissance. Joachim Gasquet’s report of a conversation with Cezanne pointed that Cezanne read two books on Utamaro and Hokusai by the Edmond de Goncourts. Pierre Francastel had criticized the studies of John Rewald who ignored the possibility of Japanese influences on Cezanne. Hidemichi Tanaka insisted that Cezanne’s La Montagne Sainte-Victoire series were influenced and stimulated by Hokusai’s landscape Thirty-six Views of Mount Fuji. Cezanne’s decision to embark on a series of paintings of Montagne Sainte-Victoire was partly prompted by Claude Monet’s Paintings series and by Hokusai’s landscape series.
A remarkable feature of the Japanese woodcut is the grille motif and diagonal composition. The grille device was adopted as early as the 1860s and 1870s by European painters who had initially been influenced by the Japanese woodcut. Hokusai’s landscape, for example Mount fuji in a bamboo grove, provide a good example of the grille-like straight lines. Monet made use of the grille motif in Poplars series as a device for structuring his picture composition. He divided the picture surface into vertical sections with Poplar’s trunks. In this way he offered us‘filtered’vision and achieves a closeness of perspective that renders the impression of distance both convincing and dramatic.
Gustave Caillebotte’s Le Pont de l’Europe (1876) depicted Parisians of the day and the modernisation Paris during the Second Empire of Napoleon III. The oblique perspective of the bridge, however, have its origin in an unexpected source. It is Cottongoods Lane , Odenma-cho, a colour woodcut of 1858 by Hiroshige from his series One hundred famous views of Edo. The role of Japanese woodcut in Caillebotte’s art has previously been explored in his affinity for oblique perspectives, bird’s-eye views.
The relationship between European avant-garde art and Ukiyo-e has come to be more widely recognized. The‘Japonisme’represented a synthesis of current research into the influence exerted by Japanese art on Western modern art.
Hokusai was the most eminent Japanese painter in France. Felix Bracquemond is said to have discovered in 1856 a volume of Hokusai’s Manga (twenty-eights drawing books) and he delighted in showing to friends, Impressionists. His reputation owes mainly to the interpretations of French avant-garde art critics and avant-garde artists. Philippe Burty compared Hokusai’s Manga to Watteau in its elegance, to Daumer in its energy, to Goya in its fantasy, to Delacroix in its movement and to Rubens in its brush strokes. Louis Gonse, the chief editor of Gazette des Beaux-Arts, offered the judgment that Hokusai bears comparison to such European artists as Rembrandt, Corot, Goya, and Daumier.
Hokusai was related to liberal republican criticism. French avant-garde critics praised Hokusai’s‘vulgarite’in order to attack the conservative, academie that then predominated in the French art. Hokusai’s reputation was solidified in a process related to the Impressionism. Camille Pissaro called‘Japanese impressionists’to Japanese artists for Ukiyo-e.
The impressionists had reduced the three-dimensional space into two dimensions by geometrical operations. Paul Cezanne seems to have some resemblance to Hokusai in his transgression of linear perspective, reinvented during the Italian Renaissance. Joachim Gasquet’s report of a conversation with Cezanne pointed that Cezanne read two books on Utamaro and Hokusai by the Edmond de Goncourts. Pierre Francastel had criticized the studies of John Rewald who ignored the possibility of Japanese influences on Cezanne. Hidemichi Tanaka insisted that Cezanne’s La Montagne Sainte-Victoire series were influenced and stimulated by Hokusai’s landscape Thirty-six Views of Mount Fuji. Cezanne’s decision to embark on a series of paintings of Montagne Sainte-Victoire was partly prompted by Claude Monet’s Paintings series and by Hokusai’s landscape series.
A remarkable feature of the Japanese woodcut is the grille motif and diagonal composition. The grille device was adopted as early as the 1860s and 1870s by European painters who had initially been influenced by the Japanese woodcut. Hokusai’s landscape, for example Mount fuji in a bamboo grove, provide a good example of the grille-like straight lines. Monet made use of the grille motif in Poplars series as a device for structuring his picture composition. He divided the picture surface into vertical sections with Poplar’s trunks. In this way he offered us‘filtered’vision and achieves a closeness of perspective that renders the impression of distance both convincing and dramatic.
Gustave Caillebotte’s Le Pont de l’Europe (1876) depicted Parisians of the day and the modernisation Paris during the Second Empire of Napoleon III. The oblique perspective of the bridge, however, have its origin in an unexpected source. It is Cottongoods Lane , Odenma-cho, a colour woodcut of 1858 by Hiroshige from his series One hundred famous views of Edo. The role of Japanese woodcut in Caillebotte’s art has previously been explored in his affinity for oblique perspectives, bird’s-eye views.
The relationship between European avant-garde art and Ukiyo-e has come to be more widely recognized. The‘Japonisme’represented a synthesis of current research into the influence exerted by Japanese art on Western modern art.
목차
Ⅰ. 머리말
Ⅱ. 자포니즘과 호쿠사이
Ⅲ. 신성한 승리의 산, ‘생빅투아르(St. Victoire)’
Ⅳ. 민중의 나무, ‘포플러(le Peuplier)’
Ⅴ. 모더니즘 미술로 건너가는‘다리(le Pont)’
Ⅵ. 맺음말
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