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HENRI LAURENS의 彫刻에 關한 考察

Title
HENRI LAURENS의 彫刻에 關한 考察
Other Titles
The Study on Henri Laurens' Sculpture : With special reference to the developed process of cubism
Authors
權泰姬
Issue Date
1980
Department/Major
대학원 순수미술과
Publisher
梨花女子大學校 大學院
Degree
Master
Advisors
姜泰成
Abstract
Henri Laurens made a personal cubistic sculpter having three-dementional mode of expression by applying pictorial movement of Cubism to sculpture. He got varied according to the trend of the fine arts with the basic mode of expression and the consistency of originality, so it is essential to contemplate how much do his works have relation to Cubism and play a important role between modern sculpture and ancient one. The purpose of this study lie in perceiving his idea and mode of the plastic arts and illuminating the importance of his plastic works through artistic history by studying the general features of his works. The content of this study deals with perception of the meaningfulness which his works contain in the variable trend of the fine arts by illuminating his idea and mode of the plastic arts which shows step by step, in the point of the developed process of Cubism The method of this study is attempted to analyze H.Laurens' work's backgound of the times tn the basis of the volumes of precedented study on him and the catalogue of his exhibitions and analyze comparatively his wonds and works in the point of the developed process of Cubism. The result of this study identifies that he went though all his personal developed process, that 1910's is his imported period of Cubiom and 1920's is his applied period of creating new mode by importing neo-classicism and surrealism to Cubism, then 1930's is a turning Point of obtaining vitality by the dynamic extention to the space, and 1940's is his synthetic period of synthesizing all his works of the precedented time. His idea of the plastic arts is such a sound spirit that he overcomes the reality for the sake of permanent happiness and loves nature and human. And he persuied conceptional metaphor not by using simple conventional symbol but variable things. His significance of the artistic history is that he played a important role in building a bridge between modern sculpture and ancient one and he connected with two scuptural features, moving and solidity, and extended expressional possibility of Cubism.;Henri Laurens는 繪畵運動의 Cubism을 彫刻에 적용하여 獨自的인 表現樣式의 Cubism 彫刻家가 되었다. H.Laurens는 一括된 創作意識과 基本的 表現樣式을 가지고 Cubism 展開過程에서 여러 美術思潮에 따른 多樣한 樣式의 表現實驗을 거쳐 많은 變化를 가져왔는데 이러란 그의 作品이 Cubism과 어떤 관계를 지니며, 古代彫刻과 現代彫刻 사이에 어떤 意味를 지니는지 檢討해야 할 必要가 있다. 本 硏究의 目的은 H.Laurens 作品의 전반적인 特性을 考察하여 그 造形理念과 樣式을 把握하므로 그 造形이 意味하눈 美術史的 重要性을 糾明함에 있다. 硏究內容은 立體主義 展開過程을 中心으로 단계적으로 지니는 造形樣式과 造形理念을 糾明하여 現代의 多樣한 美術思潮 속에 그의 作品이 지니는 意味를 把握하였다. 硏究方法은 先行된 硏究文獻과 展示會의 catalogue를 根據로 H.Laurens 作品의 時代的 背景을 考察하고 그의 말과 圖版으로 수록한 作品을 立體主義 展開過程을 中心으로 比較 分析하였다. 硏究結果 1910年代는 立體主義의 導入期이며, 1920年代는 新古典主義와 超現實主義를 立體主義에 導入하여 새로운 樣式을 形成해낸 應用期이며, 1930年代는 空間을 向한 力動的인 확장으로 生體的 力動性을 획득한 轉換期이고. 1940年代는 前時代의 全作品을 총합하는 綜合期라는 獨自的인 展開過程을 거쳤다. 그의 造形理念은 첫째, 영원한 幸福을 위해 現實을 극복하며, 自然과 人間을 사랑하고 生을 찬미하는 健康한 精神이며, 둘째 單純한 慣習的 象徵이 아니라 多樣한 事物로 槪念的 은유를 追求하고 있다. 美術史的 意義는 첫째, 古代彫刻과 現代彫刻 사이의 橋梁의 역할을 하였으며, 둘째 움직임과 確固不動함 이라는 分離된 彫刻的 特性을 結合시켰으며, 셋째 立體主義의 表現 可能性을 확장시켰다.
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