제프 월의 <여성을 위한 그림>에 나타난 ‘화가와 모델’주제에 관한 연구

Abstract

This study examines the mutual dialogue between painting and photography by analyzing a Canadian Artist Jeff Wall's <Picture for Women> where he staged his photographs by using strategies of pictorial fiction. In 1977, Wall encountered with <Las Meninas> by Diego Velásquez and the paintings of Francisco de Goya during a trip to Barocelona where he learned how he could use pictorial references and gestures from historical paintings to convey that his works were not intended to document reality. In that time Wall was likely to be the artist who not only was fascinated with dealing phenomena of contemporary life but also tried to apply the earlier master's pictorial method of to his own works. He was the first major contemporary photographer to reconsider the meaning of a theatrical tableaux vivants. From the mid 70s Wall's work has been dominated by confirming influence of the theatrical tableaux vivants. Using a composition and arrangement of staged objects and models, often posing out by the photographer, Wall emphasized the importance of dealing with the pictorial fiction. What Wall found in the Velásquez's painting was understanding of their meaningful ideas about how to represent reality and to reveal the artist and model. Because of the coincidence that Wall has been able to adapt his understanding of Velásquez's art and the theatrical tableaux vivants to his own very different representational problems and experiments over several years, they are very well suited to see the developments of his style. Very much under the influence of Velásquez and tableaux vivants, Wall tried various artistic experiments to demonstrate artist and model at the same time. Thus, this study can expand the art historical scope of Wall's work to include the intellectual and artistic affirmation between Velásquez's painting and tableaux vivants and the tension between painting and photography.