부르디외의 문화이론에 나타난 예술사회학적 함의 - 살롱전과 앙데팡당을 중심으로 -

Abstract

This article started from the question of ‘how an artist is established in the National Art Exhibition academism of France?’ For the study, the ‘competition in a field’ theory mentioned by P. Bourdieu in ‘Les régles de l'art’ (1992) was substituted to the ‘National Art Exhibition vs. anti-National Art Exhibition’ frame. This study confirmed that the power mechanism of the rulers and the challenge theory of the newcomers are the driving forces in creating new art. The main study subject is the hierarchical structure of the artist groups toward the style struggle. The researcher attempted a relation analysis among the doers, system/style debates and the field of art to resolve the issue. This study is the reinterpretation of the National Art Exhibition genealogy through the aesthetic theory of Bourdieu by paying attention to the National Art Exhibition academism as a social entity. This study suggested that the comprehensive condition premising it is the concept of ‘habitus’ and ‘field’ and there are objective elements (press, critics, art market, exposition and others) moving them between an artwork and an artist. The salon exhibition, which was the beginning of the National Art Exhibition, was the only passage, where the French artists could meet people. It was a system assembled of the influence of a state by giving reward and encouragement. The privilege of the Academy gave ostentation and honor to the award winners. However, in the 19th century, the power went to the newcomers due to the change in buyers by the art brokers, the critiques of Manet, Zola and Flaubert, the intervention of state in the art market and the appearance of impressionism in response to it. Like this, there always has been a struggle in a new field between the newcomers, who try to break the bar, and the rulers, who want to protect the monopoly, and it was possible to find the ‘relative autonomy’ covered by the National Art Exhibition academism. Consequently, the competition logic in a field became the driving force in creating new art by being replaced of the ‘dynamic action which is structured and structuralizes’.