정신으로 살다 16세기 초 북유럽 인문주의자의 초상화

전한호(全漢鎬) 한국미술연구소 2013 美術史論壇 Vol.- No.36

A popular subject in art has been the portrait, which many painters have dealt intensively for a long time. Generally, people in the high classes, such as Kings, Popes, Emperors, Cardinals or the rich, made their images in order to show off their status and wealth through their portraits. The images of their portraits show precisely a resemblance, with which the people tried to maintain their social system. In due course, the resemblance or the outer similarity let the people play an important role for justifying the hierarchical system as an idealistic way, even sacred way. In the early 16th Century a new form of representation was developed in accordance with the increasing interests for human beings. Especially, we can see the new form of the representation in the characteristics of the portraits of the Renaissance humanists in Northern Europe, who believed the immortality of the souls in spite of the human mortality. So, the portraits of the Northern Renaissance humanists were mainly expressed the life motto of the portrayed person, or their personal mission in life, not the physical similarities. In doing so, the portraits of the humanists did not create the archetypal image within the persons’ faces. Rather, the Renaissance humanists were usually portrayed as writers or thinkers, focusing on the importance of the mental activities. This essay presents the "portraits of the Northern Renaissance humanist" such as 〈Conrad Celtis〉 by Hans Burgkmair and 〈Erasmus〉, 〈Melanchton〉, 〈Pirckheimer〉 by Albrecht Durer. The portraits of the Renaissance humanist seem to pursue the “spiritual appearances” for the purpose of expressing the perpetuation of individuals, who were aware of their self-esteem in accordance with the teaching of Renaissance humanism as well as Christian Doctrine: 〈For if you live according to the flesh, you will die; but if by the Spirit you put to death the misdeeds of the body, you will live〉(Romans 8, 13). According to the teachings of Renaissance humanism, the human is not miserable creature any more (Innocent III, De miseria hominis), but a dignified being (Giannozzo Manetti, De dignitate et exellentia hominis), which means that the teachings on human being had been changed from Medieval worldview to Renaissance worldview. Because the human was referred to as a spiritual being, “the spiritual life” became greatly important as the theme of portraiture from the 16th Century.

라비니아 폰타나의 자화상에 나타난 르네상스 미학과 도상

여은희 유럽문화예술학회 2016 유럽문화예술학논집 Vol.7 No.2

The purpose of this research is to show the correlation between aesthetics and iconology, and to begin with the inference that the aesthetics of Italian Renaissance appeared in the self-portrait of Lavinia Fontana as the iconology of universal symbolic form. To analyze the iconology of the self-portrait of Fontana, the methodology of Panofsky is applied. The methodology of Panofsky trying to understand the epistemic world view changed in the time moving from Medieval to Renaissance as the symbolic form of picture is due to corresponding with showing the relationship between aesthetics and iconology. The iconology is analyzed by applying the form theory of Panofsky that image shows the fundamental principle, concept, and symbol of certain culture to the self-portrait of Fontana, and through this process, the spirit of the age put in her art world is understood. The symbolic forms appearing in the self-portrait of Fontana are classified into ‘restructuring reproduction’, ‘symbol of social status’, and ‘reflection of ego’, and by using the methodology of Panofsky, the artwork is analyzed through the process of recognition and analysis. Fontana shows his image effectively by using perspective, light and shade, and the expression form of realistic description, which are universal art forms of Italian Renaissance. Penetrating perspective is the aesthetics starting from the thought of Cusanus that is universal and accepts diversity that objects remain each identity and achieve unity with vanishing point in infinite space. Thus, in the self-portrait of Fontana, not only visible motive but also the art theory like perspective and thought itself appeared as symbolic form. This iconology plays the key role to understand the artist and the spirit existing in the comtemporary deep consciousness. Like this, aesthetics and iconology form the inevitable relationship and can be clearly investigated as the symbolic form in the self-portrait of Fontana.

르네상스기 프랑스의 아시아 인물 전기: 앙드레 테베의 명사초상록 제8부를 중심으로

이혜민 한국세계문화사학회 2024 세계 역사와 문화 연구 Vol.0 No.71

16세기 중엽 이탈리아와 프랑스에서는 인문주의자들을 중심으로 유명 인사들의 ‘초상’을 수집하고 이를 바탕으로 헌사나 전기류 작품을 저술하는 유행이 나타났다. 그 대표적인 사례로 이탈리아에는 파올로 조비오와 조르조 바사리가, 그리고 프랑스에는 앙드레 테베가 있었다. 이 시대의 초상은 중세의 정형화된 표현에서 벗어나 개인의 용모를 현실적으로 묘사하고자 했으며, 이와 동시에 인물의 외면 묘사를 통해 내면적 특징을 드러내고자 하였다. 이 시기 프랑스에서 일어난 종교동란기의 전쟁과 정치적 혼란은 정치와 군사에 대한 독자들의 관심을 증폭시켰으며, 해외 식민지 개척의 경험을 담은 책들이 서적 시장에서 인기를 누렸다. 프란체스코회 수도사이자 탐험가 앙드레 테베(André Thevet)가 1584년에 출간한 전기 그리스, 라틴, 이교도 명사들의 진본 초상화와 생애(Les Vrais Pourtraicts et vies des hommes illustres, grecs, latins et payens) 는 바로 이러한 시대적인 상황과 밀접한 관련이 있는 책이다. 특히 이 책의 제8부는 유럽뿐만 아니라 아시아, 아프리카, 아메리카의 이교도 명사들의 전기를 주로 다루고 있으며, 그중에서 타메를랑(Tamerlan), 즉 아미르 티무르는 유일한 타타르인으로 르네상스기 유럽인들이 그에게 지니고 있었던 공포와 경외라는 양가적인 감정이 그의 초상 이미지 및 전기 텍스트에서 드러난다. 이와 더불어, 타메를랑 전기에는 이국적인 종족과 지리, 언어 등에 대한 르네상스 오리엔탈리즘과 더불어 인문주의적인 관심도 함께 나타나고 있다. In Italy and France in the mid-16th century, a novel trend arose to collect “portraits” of famous people and write elogies and biographies based on them, with authors such as Paolo Giovio and Giorgio Vasari in Italy and André Thevet in France as prime examples. The portraits of this period broke away from medieval stereotypes and sought to depict individuals realistically while revealing their inner characteristics through their outward appearance. In the second half of 16th century, French readers were interested not only in the experiences of overseas colonization but also in politics and the military matters, due to the religious conflicts and political turmoil during the French Wars of Religion. The biography written by André Thevet, Les Vrais Pourtraicts et vies des hommes illustres, grecs, latins et payens, published in 1584 reflects the historical context of this period. In particular, Book VIII of Thevet’s work is devoted to biographies of pagan celebrities from Asia, Africa, the Americas, as wells Europe. Among them, Tamerlane (Amir Timur), is the unique historical figure from the Tatars. His portrait and biographical text reveal the complex ambivalence of fear and reverence that Renaissance Europeans held toward him. Additionally, Tamerlane’s biography exemplifies Renaissance Orientalism and humanistic interests in exotic ethnicities, geography and language.

소포니스바 앙귀솔라의 초상화에 나타나는 여성상 표현 연구

신영래 유럽문화예술학회 2021 유럽문화예술학논집 Vol.12 No.1

이 논문에서는 르네상스 미술의 여성 화가 소포니스바 앙귀솔라(Sofonisba Anguissola)의 초상화에나타나는 여성의 이미지가 어떻게 표현되고 있는가에 대해 알아보았다. 르네상스 미술의 거장 미켈란젤로와 르네상스 미술사가 조르조 바사리가 극찬했던 화가인 앙귀솔라는 자신만의 특색 있는 초상화를 만들어내는 데 성공했음을 확인할 수 있었다. 그녀는 여성으로서 사회적 한계와 그녀만의 범주내에서 주체적인 여성의 이미지를 구현해냈으며, 르네상스 시대의 또 다른 여류작가 라비니아 폰타나와 후에 바로크 미술의 아르테미시아 젠틸레스키 등의 다음 세대 여성 화가들의 진보에 많은 영향을미쳤다. 지금도 미술사가들에 의해 편견의 동굴에서 발굴되고 재평가되고 있는 앙귀솔라의 작품은르네상스의 인본주의적 사상과 문화를 담고 있으며, 당대 사회문화의 보편적 이념을 함축하고 있다는점에서 의의가 있다. The thesis examined how the image of a woman is expressed in the portraits painted by Sofonisba Anguissola who was a female painter in the Renaissance period. It was evident that Anguissola—the painter who was highly praised by one of the masters of Renaissance, Michelangelo, and the art historian, Giorgio Vasari—succeeded in painting her own authentic portraits. She was able to realize the autonomous female image on her own terms despite social limitations as a woman. She has made a significant influence on the advancement of female painters in the next generations, including Lavinia Fontana from the same Renaissance era and Artemisia Gentileschi in the Baroque period. Anguissola's paintings have been continuously rediscovered in the sea of prejudice, and reevaluated by art historians. Her works carry humanistic ideas and the culture of the Renaissance and it is significant that her works contain popular social and cultural ideologies of that period.

아키발트 모틀리(Archibald Motley, 1891-1981)의 흑인 여성 초상화 연구: 1920-1930년대 작품을 중심으로

최예름 미술사문화비평학회 2019 미술사문화비평 Vol.10 No.-

본 논문은 아키발트 모틀리(Archibald J. Motley Jr, 1891-1981)의 흑인 여성 초상화 연작에 나타난 ‘신 흑인’ 도상을 통해 탈식민주의적 성격을 밝히는 연구이다. 모틀리는 동시대 ‘신 흑인’의 모습을 자신만의 독특한 양식으로 구현하며, 할렘 르네상스시기를 대표하는 화가로 미술계의 주목을 받았다. 하지만 당시 모틀리의 명성과 달리 국내에서 그에 관해 이루어진 연구는 미비한 실정이다. 따라서 모틀리의 전반적인 작업경향의 시작되는 흑인 여성 초상화 연작을 연구하는 것은 모틀리에 작업 전반에 대한 이해를 제공할 수 있다. 모틀리의 흑인 여성 초상화 연작은 획일적인 흑인의 이미지에서 벗어나 다양한 아프리카계 미국인의 도상을 연구하는 작업임을 발견할 수 있다. 모틀리는 미국 사회의 인종개념에 이데올로기를 해체하고 진실한 아프리카계 미국인의 이미지를 알릴 수 있기를 바랐다. 그렇기 때문에 흑인 인종 내부에 존재하는 다양한 신체적, 문화적, 경제적 조건을 가진 아프리카계 미국인의 모습을 포착하는데 주목했다. 또한 다양한 피부색과 개성 을 가진 아프리카계 미국인의 모습은 정형화된 흑인의 모습을 전복시킬 뿐만 아니라 인 종차별에 관한 관념 및 사고들에 관해 재해석을 요구한다고 볼 수 있다. 이렇듯 모틀리의 흑인 여성 초상화 연작은 인종구분이 사회적 환경에 따라 유동적일 수 있다는 담론을 시사한다. 이러한 점에서 볼 때 모틀리의 흑인 여성 초상화 연작은 인종구분에 대항 하는 탈식민주의적 성격을 갖는다고 볼 수 있다. This thesis is a study on the postcolonial character through the “New Black” icon in the series of negro women’s portraits by Archibald J. Motley Jr. (1891-1981). Motley embodies the contemporary “New Black” in his own unique style and attracts the attention of the art world as a painter representing the Harlem Renaissance. Unlike Motley’s reputation at the time, however, little research has been done on it in Korea. Thus, studying a series of portraits of negro women at the beginning of Motley’s overall work trend can provide an understanding of Motley is overall work. Motley’s series of portraits of African American women can be found to be a study of various African-American figures out of the uniform black image. Motley intended to break the ideology of the racial conception of American society and inform the true image of African Americans. For this reason, he focused on capturing the appearance of African-Americans with various physical, cultural and economic conditions within the black race. In addition, the appearance of African-Americans with various skin colors and personalities subverts the shape of the formal black and also causes a reinterpretation of the ideas and thoughts of racism. Thus, Motley’s series on portraits of negro women suggests that discourse can be fluid, depending on the social environment. In this sense, Motley’s series of portraits of negro women has a postcolonial character against racial distinction.

두 세계의 만남: 15-16세기 오스만 술탄 초상화

박정호 ( Jeongho Park ) 미술사와 시각문화학회 2017 미술사와 시각문화 Vol.20 No.-

오스만 왕조의 술탄 초상화는 술탄의 권위와 정통성을 대변하는 이미지이다. 오스만 제국에서 궁정 초상화 제작의 전통은 15세기 중반 메흐메드 2세의 초상화에서 시작되었으며, 1579년 오스만 왕가의 공식 역사서인 채색 필사본, 『셰마일나메』의 완성으로 확립되었다. 이 시기에 술탄의 이미지는 유럽에서도 유행했다. 술탄의 초상을 담은 회화와 메달이 명망있는 인사들의 초상화들을 모은 유럽의 미술 컬렉션에 포함되었고, 이 이미지들은 다시 책으로 출판되어 널리 유통되었다. 술탄을 대면할 기회가 극히 제한된 상황에서 화가들은 유럽과 오스만 제국에서 제작되었던 이전의 작품들을 모사했다. 이 논문은 15-16세기 오스만 술탄 초상화의 기능과 그것이 제작되고 유통, 복제된 과정을 살펴보고, 이를 통해 이 이미지들이 오스만 제국과 유럽 사이에서 증대된 정치, 예술 그리고 지적 교류의 산물임을 밝히고자 한다. Ottoman sultans’ portraits represented the authority of individual sultans and the legitimacy of their rule. The tradition of court portraits in the Ottoman Empire began with the commissions of Mehmed II’s portraits in the midfifteenth century and was firmly established by 1579, with the creation of the first Sema’ilname, the official illustrated history of the House of Osman. During this period, images of Ottoman sultans gained popularity in Europe as well. Paintings and medals made their way into European portrait collections featuring illustrious men. The images were also reproduced in widely circulated, printed books. As access to the sultans was extremely limited, artists found models for the portraits in earlier art works from both European and Ottoman traditions. By tracing the production, function, circulation, and reproduction of Ottoman imperial portraits in the fifteenth and sixteenth centuries, this paper argues that these likenesses were a product of the intensified political, artistic, and intellectual interaction between the Ottoman Empire and Europe.

르네상스 시대의 회화작품 속에 나타난 장신구 디자인 연구

이윤령(Lee, Yun-Ryoung) 한국조형디자인학회 2009 조형디자인연구 Vol.12 No.1

Personal jewelry - one of the execution of art reflecting their way of living or traditions of a tribe-reflects the cultural characteristic of the contemporary period and they are shared as a part of human living. However, for many reasons, most of the jewelry have come to disappear with the passage of several periods. However, fortunately, it is possible to make an inference and do research on the painting of the jewelry once existing during the by-gone days through paintings drawn by the contemporary artists. Particularly, the art works created from the 15-16C which is Renaissance mostly expressed things with an accurate descriptive strength, so artist created portrait and accurate realistic expression give much help to understanding the characteristic of the times related to the jewelry. In the painting works showing the characteristic of the 15-16C European ornaments, this thesis is looking into the jewelry design using precious metals and stones, which can be seen in the paintings, and its characteristics aiming at a contributor to jewelry design in modern times by comparing and analyzing the characteristics of ornaments by that period.

15세기 플랑드르 제단화에 나타난 봉헌자 초상화

박성은 서양미술사학회 2002 서양미술사학회논문집 Vol.17 No.-

The Donor Portrait in the Fifteenth Century Flemish Altarpiece Sung-eun Park This thesis proposes to study the donor portrait appeared on the (panel) altarpiece in the Flemish Painting of the fifteenth century. It was Italy in the thirteenth century that the donor came out on the altarpiece for the first time. That is human being as the secular cut into the sphere of the altarpiece with care which was considered to be allowed only to the Biblical figure. But, in the stylistic point of view, the figure of human being that appeared in the same space with the sacred as the form of the donor who worshiped for the sacred group, was a kind of sign-image which prays with bent knee under the feet of the huge sacred group. However, about a century later, the imposing figures of rich Bourgeoisie as the form of individual portrait which was represented realistic and as big as the sacred group appeared in the Flemish Painting. And this phenomenon became an important and interesting element that determined the characters of Flemish Painting at 15th century. We are attempt to regard this kind of peculiar phenomenon at that time as the collision of the mentality(the way of thinking) about Christianity of Middle and Modern age. Namely, it is considered to be the reflection of the mentality about Christianity of the Western that was presented in the transitional period from the theocentrique christian society to society centered on the human being. Moreover, in the social, economic and religious point of view, we’ll try to focus on the form and context of the portrait of the bourgeois donor appeared on the altarpiece. These analysis limit the period and object to the 15th century and Nicolas Rolin whose birth was bourgeoisie but had great wealth, political power and honor as the chancellor of Burgundy Court.

Understanding the Ideal Female Beauty on Advertisement Images in Modern Korean Society through the Iconological Comprehension of Renaissance Portraits

Kim, Sunwoo The Korean Society of Costume 2016 International journal of costume and fashion Vol.16 No.2

This study investigated the ideal female beauty in advertisement images through the iconological comprehension of Renaissance portraits and explored the longitudinal change of the ideal female beauty in modern Korean society. A total of 146 cover images on Hyang-Jang magazine, which is the company magazine of AMORE PACIFIC Group, from 1972 to 2012 were selected as the data. These images were divided into 10-year units for analysis using iconological criteria, which were pose, shape of eyes and lip, and hairstyle. The way presenting the cover images on Hyang-Jang magazine had changed in order to emphasize female body, self-satisfaction and independence of female, and sexual attractiveness of female. The results of this study implied that the change of ideal female beauty had been affected by socio-cultural contexts of modern Korean society that has industrialized and democratized in a short period of time.

Understanding the Ideal Female Beauty on Advertisement Images in Modern Korean Society through the Iconological Comprehension of Renaissance Portraits

Sunwoo Kim 한국복식학회 2016 International journal of costume and fashion Vol.16 No.2

This study investigated the ideal female beauty in advertisement images through the iconological comprehension of Renaissance portraits and explored the longitudinal change of the ideal female beauty in modern Korean society. A total of 146 cover images on Hyang-Jang magazine, which is the company magazine of AMORE PACIFIC Group, from 1972 to 2012 were selected as the data. These images were divided into 10-year units for analysis using iconological criteria, which were pose, shape of eyes and lip, and hairstyle. The way presenting the cover images on Hyang-Jang magazine had changed in order to emphasize female body, self-satisfaction and independence of female, and sexual attractiveness of female. The results of this study implied that the change of ideal female beauty had been affected by socio-cultural contexts of modern Korean society that has industrialized and democratized in a short period of time.