• Title/Summary/Keyword: 피카소

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A Study on the Dance Costume in Picasso's Cubic Works (피카소의 입체주의적 작품에 나타난 무용의상에 관한 연구)

  • 정옥임;김경희
    • Journal of the Korean Society of Costume
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    • v.52 no.3
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    • pp.49-60
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    • 2002
  • This study is to study the peculiar world of work that endeavored the stage setting and costume production in Ballet-russe centered around one of 20th representative artist Pablo Picasso and Diaghilev. Picasso worked four pieces ballets such as parade, Le Tricorne, Puchnella, and Le train bleu with Diaghilev. The originality of costume was well represented without losing the whole work's sense of unity. and designed foreasy movement as well as visual effect. As cubic is most common in parade especially, cubic stave costume were introduced at dancing costume of Paris manager and New York manager flrst time in Ballet's history. Picasso used the Cubism for dancer's beautiful appearance and primary color and decoration for oriental feeling. Picasso pursued the beauty and action at the same tome, and tried to represent the stage setting, impersonation and costume towards units, so the Importance of his work has still been referring.

쌈지길의 'Wake Up Andy Warhol'전

  • Jeong, Myeong-Hyo
    • 주택과사람들
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    • s.199
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    • pp.22-22
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    • 2006
  • 피카소 이후 대중에게 가장 사랑 받아온 현대 미술가 앤디 워홀(Andy Warhol). 액자를 에워싼 엄숙주의를 조롱하며 경쾌한 팝 아트를 선사했던 그가 돌아왔다. 인사동 쌈지길에서 2007년 1월 25일까지 펼쳐지는 전은 1987년 세상을 떠난 워홀과 21세기의 새로운 워홀을 위한 무지갯빛 헌사다.

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몽마르트의 파티시에 예술가 아르노 라레(Arnaud Larher)

  • Kim, Myeong-Ha
    • 베이커리
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    • no.5 s.454
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    • pp.162-165
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    • 2006
  • 피카소, 고흐처럼 이름만 들어도 알만한 화가들의 작품 활동에 큰 영감을 줬던 몽마르트(Montmartre) 언덕. 예술가들의 거리 몽마르트에 터를 잡은 아르노 라레 쉐프는 화가가 자신의 그림에 혼을 쏟아내듯 자신의 예술작품이나 다름없는 초콜릿과 과자에 열정을 담나내는 젊은 파티시에다. 오늘도 쉼없이 이어지는 그의 행복이야기에 귀를 기울여본다.

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A Study on the Theatre Costume Design of Picasso - Focus on Parade - (피카소의 무대 의상디자인에 관한 연구 - Parade를 중심으로 -)

  • 최나영;김문숙
    • Journal of the Korean Society of Costume
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    • v.51 no.4
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    • pp.129-139
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    • 2001
  • Picasso had deep concern at the designs of theatre costumes as well as art. The art of Picasso influenced deeply to the fashion designs in those days. In these study, to analyze the creative theatre costumes of Parade affected by Picasso's cubism, we investigate the documentary records, photos, and sketches of Picasso. The design of theatre costumes in Parade was able to be divided by two categories, general theatre costumes and experimental theatre costumes. The first characteristic of general theatre costumes is that the designs of theatre costumes in Parade were influence by the early stages of Picasso's art. The costumes of the Chinese Conjurer influenced by the Red Era of Plcasso's art and those of the Little American Girl and the Acrobats influenced by the Blue Era of Picasso art may belong to the category of general theatre costumes. The second characteristic of general theatre costumes is the fact that the images of heavenly bodies were used in the costume of the Chinese Conjure and the Acrobats. The characteristic of experimental theatre costumes is the fact that the cubism is introduced to the designs of theatre costumes in Parade. The experimental theatre costumes were presented in the costumes of the Three Managers which were newly created under the influence of Picasso's cubism.

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과기소식

  • Korean Federation of Science and Technology Societies
    • The Science & Technology
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    • no.1 s.404
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    • pp.98-99
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    • 2003
  • 제4차 국제통계계산학회 아시아학술대회개최/ 과학기술인 애로사항 해결할 '고충상담센터' 신설돼/ 삼성전자 진대제 · 터보테크 장흥순 대표 '올해의 테크노 CEO상'/"산학연계 활성화 시급하다" 산자부 조사 결과발표/ 북한산국립공원에서 한국미기록종 발견/ 정통부, 정보화촉진기금 3560억 지원확정/ 피카소정보통신, 정보통신중소기업 '대상'/ 과학기술원 김상돈 · 남수우 교수 제5회 한국공학상 수상

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The extraction and application of the color chip represented in the work of Picasso according to his muses (피카소의 작품에 나타난 뮤즈별 컬러 칩 도출과 적용)

  • Lee, Keum Hee
    • The Research Journal of the Costume Culture
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    • v.23 no.2
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    • pp.193-212
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    • 2015
  • The purpose of this study is to analyze the characters and images of Picasso's muses, to extract the color chip from the works of Picasso, and to apply these results to fashion design. The study includes a literature review, an analysis of visual materials. The results are as follows. Fernande, who was cheerful and voluptuous, was depicted with pink-brown, a few browns, grey, black, white, and green and represents an ethnic and elegant image. Eva, a star-crossed lover, was depicted with a few browns, black, and pale-yellow and represents a gorgeous and natural image. Olga, who was jealous and sickly wife, was depicted with a few blues, browns and neutral-color and represents a classic and dandy image. Th${\acute{e}}$r${\grave{e}}$se, who was innocent and sweet, was depicted with the bright and pastel colors of red, green, violet, and yellow and of white, blue, brown, and black and represents a romantic, pretty, and casual image. Dora, who was intellectually and emotionally- challenging, was depicted with the strong colors of red, yellow, green, and blue, which are in contrast to black and also to white, grey and brown and represents a wild and dynamic image. Gilot, who was strong-willed and prideful, was depicted with the symbolic color of green, a color contrasting with black and white, grey, and pale brown and represents a clear, cool casual and modern image. Jacqueline, the self-giving and reclusive wife, was depicted with deep red, blue, green, black, white, dark brown, grey represents a formal, dandy, and chic image.

A Study on the Production System of Stage Costume for Theatre 'Picasso's Women' (연극 '피카소의 여인들'의 무대 의상 제작 시스템에 관한 연구)

  • Kim, Young-Sam
    • The Research Journal of the Costume Culture
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    • v.19 no.1
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    • pp.83-95
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    • 2011
  • Today, a variety performance premiered in Korea, works of art as an advanced production planning and production system is becoming. Accordingly, the field of stage costume also increased collaboration with foreign producers and production systems and the advancement of the stage costume are required are becoming. The opening performance of the 30th anniversary of the Seoul Theater Festival was selected as Towol Theater Theater in 2009, April 16 to 26 of Picasso's women's costume is the study of production systems. This work directing and stage design by inviting domestic producers from foreign fields, and co-authored the work in the field of stage costumes in collaboration with foreign producers that are worth study and research work. In this study, this work has a practical study of costumes throughout the production system, an advanced stage costumes to contribute to the development of the field. The research methodology book data, collected papers, Internet resources through research and theoretical studies play 'Picasso's women's stage production of the award total to an empirical study was undertaken. The results of this study are as follows. First, the costume director for making a scholarly grasp of the direction of the investigation is ongoing throughout the process of creating the costumes. Second, foreign producers and co-author of the stage when the award, if other than purely domestic producers and create costumes to build production systems. Third, foreign producers and co-costume design and costume making coherent explanation for the processing of the list(Costume Breakdown List) are developed. Fourth, the actual performance over the director's intention to visualize the presentation was good enough, and the idea of the costume crew was taken to the director's idea of directing a play that reflected the will has a big meaning.