흑백 매체에서 ‘컬러’의 표현: 19세기 판화와 리스트 편곡의 미학
The Representation of Colors in Black-and-White Media: The Aesthetics of Romantic Reproductive Engravings and Liszt’s Transcriptions
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최근 미술사학자들은 19세기 복제예술에 대한 연구에서 원작을 재현한 작품의 창의성과 독립 성을 조명하였다. 이 글은 판화 복제예술을 바탕으로 프란츠 리스트의 재작업과 편곡을 이해하는 데 도움이 되는 미학적ᆞ문화적 사조를 제시하는 것에 목표를 둔다. 본고는 H가젯 데 자 보르H (Gazette des beaux-arts)와 H라 르뷔 데 듀 몽드H(La revue des deux-mondes) 등 저널의 다양 한 비평과 미술 평론가 찰스 블랑의 저서 H그레메르 데 자르 뒤 데생H(Grammaire des arts du dession)을 분석하며, 복제예술에 대한 담론에서 중요한 쟁점들을 살펴본다. 그 쟁점들은 컬러의 부족, 번역의 개념, 컬러와 윤곽 사이의 이분법을 포함하며, 이들의 담론을 통해 미술의 판화 조 각가와 음악의 편곡자의 관계에 대한 새로운 개념을 조명한다. 리스트 시대 저명한 판화 조각가 가 새로운 기술 장치를 실험하여 원래 색상과 거의 동일한 시각 효과를 재창조 하였듯이, 리스트 와 같은 창의적인 편곡자도 피아노의 흑백 건반에서 다양한 악기의 ‘컬러’를 표현하는 새로운 방 법을 개발했다. 무엇보다 복제예술 세계에서 앵그르와 리스트의 친밀한 관계는 이들이 새로운 것을 재창조하는 수단으로 판화와 편곡을 대하는 태도 및 기존 작품에 대한 나름의 고유한 시각 적ᆞ육체적 경험을 전달하는 방식을 드러낸다. 이러한 분석과 증거는 리스트가 편곡을 원본처럼 생생하게 재현함으로써 결국 음악의 판화 조각가, 번역가 및 컬러리스트로서 자신의 역할을 구축 한 방식을 보여준다.
Abstract
Recent scholarship in the field of art history has begun to recognize the cultural and philosophical importance of art reproduction in the early nineteenth century, acknowledging the executor’s creativity and the work’s independence. Drawing on the discipline of French visual-cultural history, this article relates Liszt’s sonic reproductions to the widespread nineteenth-century interest in visual-art reproduction. Based on a wide array of reviews and critiques from journals such as Gazette des beaux-arts and La revue des deux-monde as well as books such as Grammaire des arts du dessin by the art critic Charles Blanc, I demonstrate the pressing issues with the reproductive arts, including the lack of color, the notion of translation, the dichotomy between color and contour, through which a new conception was emerging of the relationships between visual printmakers and musical transcribers. Just as the eminent engravers and lithographers of Liszt’s time invested heavily in new technical apparatus to control light and shade and thus bring about striking visual effects that would be roughly equivalent to the original colors, so did creative arrangers such as Liszt develop new methods to render the sonic properties of instrumental colors on the black-and-white keyboard. Moreover, Liszt’s little-noticed acquaintance with the influential Parisian painter and engraver Ingres reveals not only their shared attitudes toward the imperative of reproductive arts but also their ability to register their own physical and visual experience of familiar objects in the print and score, respectively. This collective evidence sheds light on how Liszt fashioned his role as a musical engraver, translator, interpreter, and colorist to make the reproduction in “black and white” as vibrant and alive as the original.
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