초기 르네상스 미술에서의 공간 변화와 프라 안젤리코의 원근법 활용 방식

Abstract

This article reexamines the Gothic‚Renaissance transition in religious painting by comparing three Annunciations by Fra Angelico, with particular attention to conceptions of pictorial space. The corpus comprises the altarpiece now in the Museo del Prado (Madrid), the altarpiece in the Museo Diocesano di Cortona, and the fresco in the Dominican convent of San Marco (Florence). Through close formal, iconographic, and spatial analysis, the study shows how each work negotiates between abstract, allegorical, and polyscenic structures (including symbolic programs) and the mimetic illusion predicated on perspective, calibrating content and style to its social function and to the beholder presupposed by its liturgical and architectural setting. Crucially, Angelico did not apply perspective as a uniform “scientific” system; rather, he deployed it selectively and situationally, adapting the degree and mode of its use to the demands of narrative focus, devotional address, and site. Read together, the three Annunciations demonstrate that perspective in this period operated less as a teleological engine of stylistic change than as an artist’s strategic option. They thus exemplify the co-presence of medieval iconographic space and early Renaissance illusionism and, in so doing, illuminate the complex stylistic hybridity that characterizes art of the transitional era.