터너의 색채 표현에 나타난 양극성 연구

孫賢貞 미술사연구회 2004 미술사연구 Vol.- No.18

This paper mainly deals with the characteristics of Joseph Mallord William Turner (1775~1851)'s use of colors, expecially in his later works. It is well known that Turner was deeply interested in optical effects and colors throughout his later period Therefore, most studies on Turner's paintings usually focus on a creative use of light and colors perfectly harmonized on his canvases, and understood Turner's light and colors as a "Romantic Revelation," "Emotional Empathy," or "Forerunner of Impressionism." However, I have found that Turner, particularly, in his later works, consciously experimented with the use of the polarity of colors m order to represent the contrasting subject matters in two companion works. Therefore, this article attempts to discuss anti-Newtonians' thought as one of the influential integrals to Turner's use of colors, and to understand it in relationship with the development of science during that period. In 1704, Isaac Newton published Opticks and discussed that all colors in the spectrum exist in white light Afterwards, many studies began to understand colors in relation to the sunlight. Opposed to Newton's and his followers' hypotheses, Johann Wolfgang van Goethe published a series of articles to argue that colors were not light, but entitles to be experienced in reality In 1810, Goethe published Farbenlehre and discussed that color could be both active and passive to light, and employed this concept as an inspiration for his literary works. Reminded in the image of a magnet, Goethe believed that a natural phenomenon had its own opposing poles like evil and good, and dark and light. This conception of "a pair of opposition" had been already referred in Stoicism, mysticism, magic and alchemy. To Goethe, this conception was both a kind of religion and a logical conclusion. In fact, the anti-Newtoman attitude was not Goethe's own particular Opinion, but rather was a sort of intellectual rebels commonly shared among philosophers during that period against the positivist and mechanistic philosophy that were developing toward a scientific and materialistic point of view throughout the eighteenth and nineteenth century Turner was also fascinated with this anti-Newtoman thought and became deeply indulged with It through the intellectual interactions with his contemporaries such as David Brewster, George Field, J D. Passavant and P J de Loutherbourg Although Turner had been familar with Goethe's theories, his anti-Newtoman attitude became more strengthened after reading Farbenlehre. In addition, the interactions with English scientists like Michael Feraday and Mary Somerville, and photographer J J. E. Mayall, gave him a strong conviction for the polarity of primitive light and dark. Goethe, in his Farbenlehre, perceived yellow and blue as primary colors coming from the two poles of light and dark. Then, according to the color circle, he classified red, yellow and green as plus colors, while blue, blue-green, and purple as minus colors. He characterized plus colors as action, light, brightness, force, warmth, proximity, repulsion, affinity with acids, while minus colors, as negation, shadow, darkness, weakness, coldness, distance, attraction, affinities with alkalis. Turner's works on which the polarities of colors are represented do not only display the contrast of colors, but also intentionally display their contrasting features mentioned in Goethe's Farbenlehre. I believe that it was established as one of Tuner's later stylistic elements. It is found that Turner's interest in light during the 1810s and 1820s developed into an interest in the contrast of light and dark. During 1828~31, his works show that he experimented with a polarity of colors. In 1830s, he contrasted merely yellow and blue, however, after 1840s, he experimented with a broader range of colors and contrasted plus colors such as orange and red with minus colors such as blue, navy and purple. In addition, Turner's works after 1840 share in common to have a octagonal form and circular composition. Such visual elements affirm that Turner intentionally represented the polarity of colors in his later works as I pointed out in this article I believe that this study will provide an opportunity to understand the originality in Tuner's use of colors, and to give a concrete idea about what is "a representation of the polarity of colors."

터너의 <난파선>과 낭만주의적 해양재난

전동호 한국미술이론학회 2012 미술이론과 현장 Vol.14 No.-

Joseph Mallord William Turner (1775-1851) has been widely regarded as the most original and brilliant English landscape painter in the 19th century. Admitted to the Royal Academy Schools in 1789, Turner was a precocious artist and gained the full membership of the prestigious Royal Academy in 1802 at the age of 27. Already in the 1800s he was recognised as a pioneer in taking a new and revolutionary approach to the art of landscape painting. Among his early works made in this period, The Shipwreck, painted in 1805, epitomizes the sense of sublime Romanticism in terms of its dramatic subject-matter and the masterly display of technical innovations. Of course, the subject of shipwreck has a long standing history. Ever since human beings first began seafaring, they have been fascinated as much as haunted by shipwrecks. For maritime societies, such as England, shipwreck has been the source of endless nightmares, representing a constant threat not only to individual sailors but also to the nation as a whole. Unsurprisingly, therefore, shipwreck is one of the most popular motifs in art and literature, particularly during the 18th and 19th centuries. Yet accounts, images and metaphors of shipwreck have taken diverse forms and served different purposes, varying significantly across time and between authors. As such, Turner’s painting registers a panoply of diverse but interconnected contemporary discourses. First of all, since shipwreck was an everyday occurrence in this period, it is more than likely that Turner’s painting depicted the actual sinking in 1805 of the East India Company’s ship ‘The Earl of Abergavenny’ off the coast of Weymouth. 263 souls were lost and the news of the wreck made headlines in major English newspapers at the time. Turner’s painting may well have been his visual response to this tragedy, eyewitness accounts of which were given in great quantity in every contemporary newspaper. But the painting is not a documentary visual record of the incident as Turner was not present at the site and newspaper reports were not detailed enough for him to pictorially reconstruct the entire scene. Rather, Turner’s painting is indebted to the iconographical tradition of depicting tempest and shipwreck, bearing a strong visual resemblance to some 17th-century Dutch marine paintings with which he was familiar through gallery visits and engravings. Lastly, Turner’s Shipwreck is to be located in the contexts of burgeoning contemporary travel literature, especially shipwreck narratives. The late 18th and early 19th century saw a drastic increase in the publication of shipwreck narratives and Turner’s painting was inspired by the re-publication in 1804 of William Falconer’s enormously successful epic poem of the same title. Thus, in the final analysis, Turner’s painting is a splendid signifier leading the beholder to the heart of Romantic abyss conjoing nightmarish everyday experience, high art, and popular literature.