“해방된 현대의 프로메테우스”: 월트 휘트먼과 조셉 스텔라의 작품에 나타난 미래주의
“Modern Prometheus Unbound”: Futurism in the Works of Walt Whitman and Joseph Stella
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Futurism has acted as a mediator between Whitman’s poetry and Stella’s paintings. The new plastic language in Whitman’s poems is believed to be derived from his constant interest and understanding in visual arts such as painting, photography, sculpture, etc. Above all, Whitman has been regarded as the foremost pioneer of Futurism since Filippo Marinetti accepted him as one of “the four or five great precursors of Futurism.” However, the importance of Whitman as a Futurist artist has received less attention compared to his profound influence on poetry. Italian-born Stella, who has been considered America’s first and greatest Futurist painter, emphasizes his indivisible connection with Whitman. Referring to Whitman’s profound influence in his paintings, Stella evidently deals with Futurism associated with Whitman. Thus, Stella compares Whitman to “modern Prometheus unbound” that is synonymous with Futurist. Because of its speed, dynamism, machine technological enthusiasms and simultaneity, Stella considers Futurism to be the style best suited to convey modernist ideas. By fusing Whitman, modernity and his Italian soul, he tries to express typically American Futurist ideas. Particularly, Stella immerses himself in modern American subject matters like Coney Island and Brooklyn Bridge of New York. His representative paintings such as Battle of Lights, Coney Island, Mardi Gras and Brooklyn Bridge are the fusion of Futurism and Whitmanic vision. Eventually, through the transforming lens of Whitman’s poetry, Stella could develop his innovative Futurist style beyond Italian Futurism.
Abstract
Futurism has acted as a mediator between Whitman’s poetry and Stella’s paintings. The new plastic language in Whitman’s poems is believed to be derived from his constant interest and understanding in visual arts such as painting, photography, sculpture, etc. Above all, Whitman has been regarded as the foremost pioneer of Futurism since Filippo Marinetti accepted him as one of “the four or five great precursors of Futurism.” However, the importance of Whitman as a Futurist artist has received less attention compared to his profound influence on poetry. Italian-born Stella, who has been considered America’s first and greatest Futurist painter, emphasizes his indivisible connection with Whitman. Referring to Whitman’s profound influence in his paintings, Stella evidently deals with Futurism associated with Whitman. Thus, Stella compares Whitman to “modern Prometheus unbound” that is synonymous with Futurist. Because of its speed, dynamism, machine technological enthusiasms and simultaneity, Stella considers Futurism to be the style best suited to convey modernist ideas. By fusing Whitman, modernity and his Italian soul, he tries to express typically American Futurist ideas. Particularly, Stella immerses himself in modern American subject matters like Coney Island and Brooklyn Bridge of New York. His representative paintings such as Battle of Lights, Coney Island, Mardi Gras and Brooklyn Bridge are the fusion of Futurism and Whitmanic vision. Eventually, through the transforming lens of Whitman’s poetry, Stella could develop his innovative Futurist style beyond Italian Futurism.
참고문헌 (24)
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