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Edvard Munch의 木版畵 作品 硏究
- Edvard Munch의 木版畵 作品 硏究
- Other Titles
- Woodcuts of Edvard Munch
- Issue Date
- 교육대학원 미술교육전공
- 목판화; 뭉크; 표현주의
- 이화여자대학교 교육대학원
- In this treatise, I studied about the woodcut which is suitable for Oriental people who have a characteristic, that is, they are likely to unite nature, and we use matier or medium in woodcut comparing with other parts of printmakings and also woodcut has a various feature that it has drawing sensibility of artist himself and simplicity which is well expressed.
Besides watching such woodcut's history, it is important for us to observe about Edvard Munch (1863-1944), who had an effect on indication times, something like turning point, of changing precedented reproducing pictures into imitiated printmaking, and art's view of his creative woodcut works.
For these research, this treatise is based on many booklet and works, and throughout the booklet I came to know about theoretical background of woodcut, the E. Munch's life, his spiritual view, and also we observed well expressed artistic and creative shape in woodcut by background of his art. We compared with and analysed other printmaking such etching, lithograph, oil-painting works which are involved in his new technical way of woodcut and his profound shapes, according to classifying Munch's woodcut into two parts, one is content part, another is technical way part.
When we watch the process of printmaking development in each times. E. Munch was from Norway, who had a lacked recognition about the printmaking, and it is the main factor for him to come into confronting a new printmaking works which is completed by P. Gauguin, F. Valloton through his long period of foreign's living.
In 1894, Owing to having Exhibits in Berliner Kunstler by inviting of Berline artist association, he stayed there, in Deutch, began to etching, and in 1886 began to manufacture of lithograph, woodcut.
Thanks to his corporal, health he could make many great works, But because of his too much long period of foreign's living and spiritual illness, he came to ill in a bed in 1908 and after he recovered his body, he came back to Norway, and then, he set up his works's form and changed the content-part drastically and then, according to his printmakings are decreased gradually, manufacturing of works were ended about 1930.
When we look over his works, Contentment of printmaking appeared affection of his works and he tried to begin to surmount drawing motal of special preson's possession, but he came to abserve in manufacturing of printmaking by attracting and art's view of printmaking itself, step by step. So, there are many frames which are reproducing by taking a some motive or by using only different colors, and also, thanks to his infancy's bad memory that is, suffer of death and illness, shrewed concerning of emotion and expression of profounding mind, he became a first leader of expressionism. In technical way part of woodcuts, As E. Munch made best of moulding of printmaking by doing original subject freely and creative printing way, woodcut was estimated as a not lower part of printmaking. As his works of woodcuts had a great effect on German expressionism artists about first 20th century, they manufactured woodcuts which have a strong and abundant characteristic, and also, influenced to the movement of Creative Printmaking in Japan, it was given a position as a modern creative printmaking, firmly.;본 연구는 Edvard Munch (1863-1944)의 작품 중에서 목판화를 중심으로 연구하여 E. Munch 목판화의 의의와 예술성, 그리고 현대 목판화 발달의 기여를 고찰하고자 한다.
목판화는 원래 木版의 자연적인 질감에 板刻하여 제작되는 관계로 독특한 표현성을 지니고, 板目에 따른 무늬는 자연과 合一하는 점과 특히 동양인에게 적성이 맞는 版法이다. 또한 다른 版種보다 중간 매체를 덜 사용하는 직접적인 版刻은 작가 자신의 회화적 감수성, 소박함이 잘 표현되는 특성을 지녔다.
이러한 목판화가 예술적 창작 판화로 인식되어진 것은 19세기말에서야 비롯된다. 1860년경 일본 우키요에(浮世繪)판화의 유럽 화단 진출과 P.Gauguin의 창작판화로 목판화에 대한 인식이 새로워 졌다.
19세기말 현대 목판화의 태동기에 회화의 주관성과 內面세계의 강렬한 표현으로 표현주의의 선구자가 된 노르웨이 화가 E.Munch는 독창적인 주제와 자유롭고 창의적인 版法을 구사하여 우수한 판화를 제작했다. 또한 E.Munch는 재료의 조형성을 최대한 활용한 화가로, 순수한 나뭇결을 살린 자연적인 板刻의 목판화 제작을 하여 從來의 목판화에서 탈피하여 동판화나 석판화에 못지 않는 판화의 장르로 평가받게 했다.
20세기초 그의 목판화가 독일 표현주의 화가들에게 끼친 영향은 직접적이고 자극적인 것으로 풍부하고 개성이 강한 흑백 목판화를 제작케 하였으며, 일본의 창작판화운동(反浮世繪운동)에도 영향을 끼쳤다.
근래에 들어서 판화에 대한 재인식으로 판화제작 활동이 활발히 진행되고 있으나 미술교육과정에서의 판화 교육에는 더욱 새로운 연구의 필요성을 희망한다.
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