근면혁명의 주체: 17세기 네덜란드 장르화에 재현된 여성의 경제활동
The Main Body of Industrious Revolution: Women’s Labor Represented in the Seventeenth-Century Netherlandish Genre Paintings
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17세기 네덜란드 장르화에 대한 기존연구들은 해당 작품들 속 여성인물들을 당대 네덜란드 주류사회가 옹호하던 여성적 미덕들을 육화시킨 기호로 해석하는 경향이 있다. 이와 같은 상징적 해석은 야콥 카츠의 영향력 있는 저서 『결혼(Houwelick)』(1625)에 기반을 두고 있다. 여기에서 카츠는 여자의 일생을 여섯 시기로 구분하고 각 단계에서 여성이 체현해야 할 미덕들을 설파한다. 가령 어머니가 된 여성이 구현할 미덕은 자녀양육에 헌신하는 것이다. 본 연구는 기존연구들과 관점을 달리하여 동시대 네덜란드 여성들과 그들의 사회적 역할이 결코 가사와 양육에 한정되지 않았던 사실에 주목한다. 오히려 이들은 다방면에 걸친 직업 노동에 적극적으로 참여했다. 방직, 어업, 노점행상과 상점운영은 여성들이 담당했던 직종의 일부에 불과하다. 본 논문은 네덜란드 장르화의 여성인물들 중 가사 이외의 상업 활동에 종사한 캐릭터들에 집중한다. 그리하여 개별 작품들이 가업을 돌보는 아낙들과 유급노동을 수행하는 소녀들, 독립적으로 상점을 운영하는 과부들을 어떤 방식으로 묘사하는지 분석한다. 장르화에 묘사된 여성 직업인들은 또 한편 당대 현실에서는 대규모의 소비자군이기도 했으며 이들은 근면혁명(Industrious Revolution)이라 불리는 17세기 네덜란드의 경제적 번영을 일군 장본인들이었다. 결론적으로 본 연구는 당대 네덜란드 화가들이 여성 직업인들과 여성소비자들을 회화작품이 기록해야 할 또 하나의 여성적 이상향으로 간주했을 수 있다고 추론한다.
Abstract
The existing body of research on the 17th-century Dutch genre paintings tends to view their women subjects as signs that embody female virtues upheld by the mainstream society. Such a symbolic reading is based on Jacob Cats’s influential Houwelick (1625) where the author divides a woman’s life-cycle into six phases, touting cardinal virtues that a lady is obliged to realize at each phase. A mother (Moeder), for instance, should devote herself to child-rearing. This study, however, notes that the Dutch women and their societal roles at the time were by no means confined to housekeeping and child-rearing. Rather, they were actively involved in a broad range of business practices: weaving, fishing, peddling, and store-running to name just a few. This essay draws attention to the female characters of the Dutch genre paintings, particularly those who are engaged in extra-household, commercial activities. It illuminates the ways in which the paintings portray the wives supporting their family businesses, the girls exercising their paid labors, and the widows independently running their stores. The painted ladies also represent the vast number of consumers who gave rise to an unprecedented economic prosperity called the Industrious Revolution in the 17th-century Netherlands. Consequently, this study suggests that the Dutch artists must have found in the female workers and consumers another image of ideal woman to be registered in their paintings.
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