폴리크롬 조각의 논쟁을 통해 살펴본 폴 고갱의 도자 및 목조 조각
Paul Gauguin’s Ceramics and Sculpture Seen through the Debates on Polychromy
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Throughout his career, Gauguin defended his use of color and form in the context of debates about the use of polychromy in the nineteenth century. My paper scrutinizes his ceramics and sculpture, which are relatively neglected in Gauguin scholarship, in order to understand why so many critics were hostile to the artist’s colored reliefs and sculptures in both stoneware and wood. Polychrome sculpture was often relegated to various ethnographic institutions, and when exhibited in art museums it was usually segregated from what was considered actual works of art. In addition, this paper looks at aspects of the feminine and the savage in polychrome sculpture while I discuss primary historical materials. By examining the historiography of these debates, I would like to situate Gauguin’s ceramics and sculpture in their historical context, namely the institutional segregation of fine art and primitive art. This paper also explicates unpublished Belgian materials which contribute to our understanding of the cultural milieu in which Gauguin operated. In the end of my paper, I investigate how Gauguin’s fresco-like paintings are derived from his ceramics and sculpture, specifically his use of brown matte and opaque texture. My intention is to reevaluate the originality of Gauguin’s ceramics and sculpture in the aesthetic and cultural development of modern art.
Abstract
Throughout his career, Gauguin defended his use of color and form in the context of debates about the use of polychromy in the nineteenth century. My paper scrutinizes his ceramics and sculpture, which are relatively neglected in Gauguin scholarship, in order to understand why so many critics were hostile to the artist’s colored reliefs and sculptures in both stoneware and wood. Polychrome sculpture was often relegated to various ethnographic institutions, and when exhibited in art museums it was usually segregated from what was considered actual works of art. In addition, this paper looks at aspects of the feminine and the savage in polychrome sculpture while I discuss primary historical materials. By examining the historiography of these debates, I would like to situate Gauguin’s ceramics and sculpture in their historical context, namely the institutional segregation of fine art and primitive art. This paper also explicates unpublished Belgian materials which contribute to our understanding of the cultural milieu in which Gauguin operated. In the end of my paper, I investigate how Gauguin’s fresco-like paintings are derived from his ceramics and sculpture, specifically his use of brown matte and opaque texture. My intention is to reevaluate the originality of Gauguin’s ceramics and sculpture in the aesthetic and cultural development of modern art.
참고문헌 (28)
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