• Korean Institute of Interior Design Journal
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• v.13 no.3
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• pp.84-92
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• 2004

This study concentrates on a new idea that is formulated as a creative spatialization in contemporary architecture and painting. It is stimulated from the classical baroque, which is expressed with the conceptual instruments, 'excessive', 'decorative', 'accidential' Suggested from that, this study tries to open the actual sense area of 'the baroque' by analysing the architectural ideas of wrenching and folding by Frank O. Gehry and in the same context by elucidating the dynamic deformalising of the figures by Francis Bacon. The redefined 'new baroque' operates in the chain of the transformable and flexible images that must be recognized as 'the real' in the sense of 'the most empirical' and are vulnerable to dispersal. The typical instrument of Gehry's 'new baroque architecture' is the enclosing of the space and its folding, and Bacon, whose painting can be called as the modern baroque, takes as the expressing methods a wrenching of the figures, a relieving of the colored background against the figure and a disappearing of figures into the background. These different ideas meet in the theoretical gravitation field of the philosophy of Deleuze, in which the reconstituted baroque conception means the tension between the folds, on expansion and contraction of which the variable space is dependent, Through the general principle of 'the new baroque', a free dispersal of power, to architect and painter is offered the possibility, not only to make the real world intimate to the real life, but also to produce from there a vivid new space. Finally it brings to enjoyer and viewer the possibility, to perceive the operating power in and around oneself.

• Korean Institute of Interior Design Journal
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• v.17 no.6
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• pp.21-29
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• 2008

Baroque period was fundamentally different from the previous ages in terms of various aspects. Not only the social, economical, and cultural changes, but also ways of experiencing architectural space were essentially changed. Space in Baroque architecture was no more confined in the strict medieval order and proportions, but it became more flexible and dynamic by applying many interesting spatial concepts as well as design methods. That is why Baroque architecture somehow has been re-considered in the present time. Various contemporary architects and theorists attempt to apply ideas in the Baroque architecture to enhance and rich spatial experience. This thesis aims to study the methods of constructing spatial depth in some of Baroque architecture. First of all, theoretical research on the Baroque art in terms of depth expressions compared to the previous ages based on Heinrich $W{\ddot{o}}lfflin$ was mentioned. After explaining the general concepts and methods of spatial depth in Baroque architecture, two case buildings were selected to be further analyzed. They are San Carlo alle Quattro Fontane and Cappella di Santissima Sindone. They have unique ways of expressing the spatial depth in which people experience particular spatial feelings. Based on the case analysis, this study was concluded that the ideas as well as design methods for spatial depth can be applied in contemporary architectural designs in various ways.

• Cartoon and Animation Studies
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• s.51
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• pp.59-82
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• 2018

This study notes that the concept of painterliness, as defined by Heinrich $W{\ddot{o}}lfflin$, can apply to represent features in $Micha{\ddot{e}}l$, Dudok de Wit's animated short film Father and Daughter. It intends to examine the animated film's visual representation and narrative features in terms of painterliness. Comparing the Renaissance art style of the 16th century to the Baroque art style of the 17th century, $W{\ddot{o}}lfflin$ conceptualized the features of painterly style. In respect to this animated film, the images drawn by drawing tools are represented are represented by irregular and ambiguous shapes and meet $W{\ddot{o}}lfflin^{\prime}s$ conditions for painterly representation. Such a representation method in this animated film effectively functions as a double entendre or ambiguous narrative, while playing a key role in representing lyricism. In this animated film, painterliness contrasts with clarity, which commercial animated films provide, and plays a critical role in the representation methods utilized by auteurist animation directors. Painterliness in animated films is an element that should be highlighted, especially in the contemporary world where the forms of representation are becoming increasingly monolithic due to digital techniques. Continued research is greatly needed on this subject matter. Based on Father and Daughter, this study aims to examine the method of painterly representation that can be used in animation films, to explore its meaning and to underscore the importance of diversity in the forms of representation in animated films.

• Archives of design research
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• v.12 no.1
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• pp.133-142
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• 1999

Light is an essential element which make it possible for men to see things, and its important for painter cannot be too much emphasized. light has significant meanings in the history of painting as well as in human life. light playa an essential role in creating three- dimentional objects. Light has not only spiritural, psychological , and formative meanings but also in. itself in the field of drawing. In general, a study of light and colors should be understood not merely as visible effects but as something unconscious involving psychological experiences and spiritual symbols, thus, as a very subjective phenomena. The article analyzes new meanings and roles of light in modern area, examining ways in which studies of light has been performed. It also deals with the meaning and effects of light revealed in the history of oriental and western paintings, and their influence on modern illustrations through case studies in order to provide an opportunity to have a new understanding of light.

• Journal of Fashion Business
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• v.14 no.5
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• pp.128-144
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• 2010

The purpose of this study is to define the origin of name 'Watteau gown' which is controversial by analyzing a Watteau gown, represented in the paintings by Jean Antoine Watteau, an artist in the Rococo era, and clarify the shape and composition of a Watteau pleats which characterizes the Watteau gown and the morphological characteristic of the silhouette of the Watteau gown. Theoretical review and empirical research was simultaneously conducted. The theoretical review considered social backgrounds from late 17th century to early 18th century when Watteau actively worked and a background of forming the style of Fete galante. The empirical research was conducted by sampling 106 pieces of costume from Watteau's 65 paintings collected and classifying according to morphological shapes and composition. Based on this result, it is suggested that the Watteau gown was very prevalent as women's costume early in the 18th century. The Watteau gown, robe volante, robe battante, sack gown and robe a la Francaise were developed and modified from one gown which started from the same source in some connection. This study has significant meaning that it defines the origin of Watteau gown and Watteau pleats found in women's costume in the Rococo era. Furthermore this study will contribute to the practical use of costume elements of 18th century which are beautiful and artistic in aesthetics as the source of contemporary fashion.