터너의 <난파선>과 낭만주의적 해양재난

다국어 초록 (Multilingual Abstract)

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.

목차 (Table of Contents)

• I. 들어가며
• II. <난파선>과 당대 반응
• III. <난파선>과 당대의 해양재난
• IV. 난파이미지의 도상 전통
• V. 당대 난파문학
• VI. 나오는 말
• 참고문헌 Bibliography
• Abstract

참고문헌 (Reference)

1 Gage, John. J. M. W., "Turner: ‘A Wonderful Range of Mind.’" Yale University Press 1987

2 Butlin, Martin, "The Paintings of J. M. W. Turner" Yale University Press 1984

3 Sawers, Larry, "The Navigation Acts revisited" 45 (45): 262-284, 1992

4 Thornbury, William, "The Life of J M W Turner R.A" 1862

5 Quilley, Geoff, "The Imagery of Travel in British Painting: with Paticular Reference to Nautical and Maritime Imagery, c. 1740-1800" University of Warwick 1998

6 Clayton, Timoth, "The English Print 1688-1802" Yale University Press 1997

7 Floud, Roderic, "The Economic History of Britain since 1700" Cambridge University Press 1994

8 Garlick, Kenneth, "The Diary of Joseph Farington" Yale University Press

9 Goedde, Lawrence Otto, "Tempest and Shipwreck in Dutch and Flemish Art" The Pennsylvania State University Press 1989

10 Hall, Douglas, "Tabley House Papers" 38 : 59-122, 1962

11 Boase, T. S. R., "Shipwrecks in English Romantic Painting" 22 : 332-346, 1959

12 Dalyell, John, "Shipwrecks and Disasters at Sea" George Ramsay & Company 1812

13 Lincoln, Margarette, "Shipwreck Narratives of the Eighteenth and Early Nineteenth Century: Indicators of Culture and Identity" 20 (20): 155-172, 1997

14 Brown, David Blayney, "Romanticism" Phaidon 2001

15 Chun, Dongho, "Public Display, Private Glory: Sir John Fleming Leicester’s Gallery of British Art in Early Nineteenth-Century England" 13 (13): 175-189, 2001

16 Colley, Linda, "Britons: Forging the Nation 1707-1837" Yale University Press 5-18, 1992

17 Venning, Barry, "A Macabre Connoisseurship: Turner, Byron and the Apprehension of Shipwreck Subjects in Early Nineteenth-Century England" 8 (8): 303-319, 1985

18 Chun, Dongho, "A History of the Leicester Family, Tabley House, and its Collection of Paintings" University of Manchester 2000

19 Finberg, A. J., "A Complete Inventory of Drawings in the Turner Bequest vol. 1" National Gallery 1907