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섬세한 방종-라클로의 「위험한 관계」와 프라고나르의 ‘페트 갈랑트’ 회화에 나타난 사랑
이미혜 한국프랑스어문교육학회 2022 프랑스어문교육 Vol.79 No.-
본 연구는 로코코 시대로 불리는 18세기 프랑스 사회와 예술을 이해하기 위한 것이다. 귀족사회의 성 풍속을 다루는 소설과 회화를 분석해 예술과 당대 사회가 어떤 관련을 맺고 있고 서로 다른 장르 간에 어떤 연관성이 있는지 알아보았다. 이를 위해 18세기에 나타난 다양한 이야기체 형식 가운데 리베르탱 소설에 주목했다. 특히 리베르탱 소설의 집약이라 할 수 있는 라클로의 「위험한 관계」를 통해 이 시기 사랑의 형태를 분석했다. 연구의 두 번째 단계로 동시대의 회화를 분석했다. 18세기 귀족들의 풍속을 묘사한 ‘페트 갈랑트’ 회화를 통해 사랑과 에로티시즘이 어떤 방식으로 다루어지고 있는지 분석했다. 이를 통해 서로 다른 장르인 소설과 회화가 18세기 귀족사회의 성 풍속을 표현하는 데 있어 어떤 공통점이 있고 어떤 차이점이 있는지 접근해보았다. 또 사랑에 대한 귀족사회의 관점과 표현방식이 새롭게 부상하는 시민사회의 관점과는 어떻게 다른지 차후 연구 방향을 설정해보았다.
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18세기 프랑스의 전원 문화와 목가적 사랑 : 장-오노레 프라고나르의《사랑의 과정》을 중심으로
박지혜 미술사학연구회 2008 美術史學報 Vol.- No.30
This study attempts to analyze the meaning and function of the series of The Progress of Love, namely The Pursuit, The Meeting, The Lover Crowned and Love Letters(1771-1773) painted by Jean-Honoré Fragonard(1732-1806). The Progress of Love was commissioned by Madame du Barry(1743-1793), the last official mistress of Louis XV for the decoration of the salon en-cul-de-four in the pavilion at Louveciennes. This thesis then aims to provide a new interpretation of these works within the context of the taste for pastoral life among the French upper classes in the 18th century, particularly taking into consideration the spatial conditions of the pictures. Contrary to the implications of the title, The Progress of Love seems to illustrate “the four ages of love” in which any pair of lovers could find themselves, and each age is distinctively represented by means of diverse kinds of plants, sculptures and the motifs of courtly love of the Middle Ages. Hence, it could not be said that the 4 works of the series should form a single narrative, as some scholars have asserted. The garden landscapes in the series of The Progress of Love are depicted as closed spaces with densely overgrown trees. It is quite different from the ideal ones with open structure of the fête galante paintings in the previous period. This unique feature of the landscape should have had particular relevance to the picturesque garden which had in turn a close connection with the landscape paintings of the 18th century. Fragonard, too, tried to express the emotional experience of strolling in a picturesque garden throughout his paintings, and uniquely applied an image of nature’s luxuriance and fertility to The Progress of Love in order to heighten the mood for love. The Progress of Love, representing romantic love in a garden, seems to visualize the upper classes’ admiration for the pastoral life and their desire to pursue love in nature, that reached its peak in France during the 18th century. Members of the upper class had not just their own private gardens constructed but enjoyed themselves strolling in public gardens as well. In addition to these, they also visited the countryside and experienced the pleasures of rural life. It is likely that they actually played the role of shepherds there. The location of The Progress of Love on the salon walls of the pavilion built in the garden should also have effectively supported and conveyed this trend of the period. The pavilion, including the one at Louveciennes, was traditionally the place where the privileged class spent their leisure time, and especially functioned as a place of “la vie galante” in the 18th century. The Progress of Love in the salon of the pavilion which was called the “sanctuaire de volupté” could have created an open space toward the outdoor garden, and the salon walls on which this series was displayed could have appeared to be another garden of love. The picturesque scenes of the series and its theatrical features, such as the strong contrasts of light and dark and dramatic poses of the figures, could have had the effect of stimulating the passion of love. Those who might have looked at the paintings in the salon would have been thus inspired and moved by the emotion of romantic love represented in the illusionistic space created by The Progress of Love. In summary, The Progress of Love by Fragonard, the beautiful decoration in the pavilion at Louveciennes, should have visualized the upper classes’ pursuit of the pastoral love and culture from mid to late 18th century France.
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