• 출판저널
• /
• 통권332호
• /
• pp.110-111
• /
• 2003

• 출판저널
• /
• 통권332호
• /
• pp.112-113
• /
• 2003

• 한국실내디자인학회:학술대회논문집
• /
• 한국실내디자인학회 2003년도 춘계학술발표대회 논문집
• /
• pp.160-165
• /
• 2003

Art of today is expressed in various images incorporated in industrial development and visible in industrial parks, modern cities. Avant garde art and modernism brought abstract and conceptual art into conflict in the early 20th century and they absorbed elements of each other and grew into post modernism, which emerged in the 1960s and is still current. The avant garde challenged what was lofty and sometimes opposed modernism and sometimes fed it in cycles until post modernism was established. 'Trans avant garde', which, unlike modernism asserted individual expression, also appeared in the 1970s. Trans avant garde is spiritual art in which the artist's conversation with his soul returns. This study examines the readjustments the trans avant garde is making in its relationship with the dominant ethos of different values and offers the world art with important spiritual beauty. Trans avant garde art takes many forms, from thing to huge, which are manifested every where in architecture, interior design and everyday life.

• 미술이론과 현장
• /
• 제10호
• /
• pp.7-23
• /
• 2010

In this paper I examine Cesare Cattaneo and Mario Radice's Camerlata Fountain in northern Italy, focusing on the work's relation to the urban environment and its "mobility" over several decades. As I demonstrate, the design of Cattaneo and Radice's work relates to the circular layout of a traffic intersection and was intended to be viewed from the window of a moving automobile. In this way it continues a tradition, begun by the Futurists and continued by Le Corbusier, who saw the car as central to modern art and architecture. Moreover, the work relates to the concept of mobility in so far as it was in itially built in 1936 in Milan and subsequently destroyed and reconstructed during 1962 in its current location near Como. As the history of the work's conception, production and reception demonstrates, Cattaneo and Radice's work not only responds to the experience of vehicle-generated mobility in modern society but also reveals the tensions and anxieties associated with an increasingly dynamic urban environment.

• 미술이론과 현장
• /
• 제7호
• /
• pp.165-188
• /
• 2009

In the development of linear perspective, Brook Taylor's theory has achieved a special position. With his method described in Linear Perspective(1715) and New Principles of Linear Perspective(1719), the subject of linear perspective became a generalized and abstract theory rather than a practical method for painters. He is known to be the first who used the term 'vanishing point'. Although a similar concept has been used form the early stage of Renaissance linear perspective, he developed a new method of British perspective technique of measure points based on the concept of 'vanishing points'. In the 15th and 16th century linear perspective, pictorial space is considered as independent space detached from the outer world. Albertian method of linear perspective is to construct a pavement on the picture in accordance with the centric point where the centric ray of the visual pyramid strikes the picture plane. Comparison to this traditional method, Taylor established the concent of a vanishing point (and a vanishing line), namely, the point (and the line) where a line (and a plane) through the eye point parallel to the considered line (and the plane) meets the picture plane. In the traditional situation like in Albertian method, the picture plane was assumed to be vertical and the center of the picture usually corresponded with the vanishing point. On the other hand, Taylor emphasized the role of vanishing points, and as a result, his method entered the domain of projective geometry rather than Euclidean geometry. For Taylor's theory was highly abstract and difficult to apply for the practitioners, there appeared many perspective treatises based on his theory in England since 1740s. Joshua Kirby's Dr. Brook Taylor's Method of Perspective Made Easy, Both in Theory and Practice(1754) was one of the most popular treatises among these posterior writings. As a well-known painter of the 18th century English society and perspective professor of the St. Martin's Lane Academy, Kirby tried to bridge the gap between the practice of the artists and the mathematical theory of Taylor. Trying to ease the common readers into Taylor's method, Kirby somehow abbreviated and even omitted several crucial parts of Taylor's ideas, especially concerning to the inverse problems of perspective projection. Taylor's theory and Kirby's handbook reveal us that the development of linear perspective in European society entered a transitional phase in the 18th century. In the European tradition, linear perspective means a representational system to indicated the three-dimensional nature of space and the image of objects on the two-dimensional surface, using the central projection method. However, Taylor and following scholars converted linear perspective as a complete mathematical and abstract theory. Such a development was also due to concern and interest of contemporary artists toward new visions of infinite space and kaleidoscopic phenomena of visual perception.

• 영상문화
• /
• 제23권
• /
• pp.329-368
• /
• 2013

본 논문은 근대 풍경화와 과학(영상)도구와의 연관성을 탐구하고자 한다. 18세기 유럽의 풍경화가들이 자연경관과 인공적 설치물(건물 등)을 그리는 작업에서 근대 과학의 도움으로 만들어진 영상기구들인 카메라 옵스쿠라와 카메라 루시다 등을 사용했던 사실에 근거하여, 이 논문에서는 당시에 유명한 풍경화가들이자 증거자료들이 비교적 분명히 남아있는 이탈리아의 안토니오 카날레토(Antonio Canaletto/Canal 1697-1768)와 영국의 토마스 샌드비(Thomas Sandby 1721-98), 과학자 윌리엄 H F 탈보트(Willian Henry Fox Talbot 1800-77)의 경우를 중심으로 과학적 영상도구를 사용한 이유와 작업과정에 대해 알아보고, 그 사용에서 장단점들과 더불어 미학적인 문제들을 분석하고자 한다. 당대의 풍경화가들이 카메라 옵스쿠라/루시다 같은 기구를 이용했을 때의 장점들은 빠른 스케치 작업으로 인한 시간 절감, 자연/현실의 충실한 묘사, '정확한' 원근법적 구도의 구현에 있다. 그러나 이 기구들이 사용된 스케치들은 부분적으로 부정확하거나 단순화된 묘사가 보이기도 한다. 또 과학적 영상기구를 사용해서 예술작업이 기계의 메카니즘에 종속 문제가 있는데, 이 기구들은 스케치/드로잉에 사용되었고, 화가의 본격적인 그림작업, 즉 자연 해석과 채색·질감·명암 배합 같은 조형적 과정이 남아있으므로, 이들은 '회화작업에 도움을 주는 보조도구'일 뿐이었고, 화가의 창조적인 작업과정에 전혀 지장이 되지 않는다.