성녀에서 귀부인으로: 음악의 수호성인 체칠리아의 모습을 한 초상화
From Saint to Lady: Allegorical Portraits of Women as Cecilia, the Patron Saint of Music
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
본 논문은 여성의 초상화에 나타난 성녀 체칠리아의 이미지 분석이다. 초기 기독교의 순교자로 알려진 성녀 체칠리아가 음악의 수호성인으로 추앙을 받게 된 데에는 수많은 화가들이 남긴 회화가 큰 역할을 했다. 체칠리아는 결혼을 했지만 평생 순결을 지켰고 귀족 출신으로 미모와 교양을 갖춘 신앙심 높은 여성이었다. 초상화에 나타난 성녀 체칠리아의 이미지는 상류층 여성뿐만 아니라 당시 화가나 음악가 등 경제적 부나 교양 면에서 열세였던 여성들의 사회적 지위를 돋보이게 해주는 역할을 했다. 성녀 체칠리아로 분장한 초상화가 일반 초상화와 다른 점은 아마추어 악기로 어울리지 않는 오르간과 하늘과 지상을 오가며 노래하는 천사가 등장한다는 사실이다. 여주인공의 시선이 하늘을 향하고 있고 하늘에서는 한 줄기 빛이 내려온다. 천상과 지상 사이에 놓인 구름은 초상화의 여주인공을 실내 공간으로부터 해방시켜 가정이라는 굴레에서 벗어나게 하는 장치다. 성녀 체칠리아의 이미지는 소포니스바 앙귀솔라, 라비니아 폰타나, 아르테미시아 겐틸레스키 같은 여성 화가의 자화상은 물론 몽테스팡 부인, 맹트농 부인, 엘리자베스 크롬웰 부인, 리처드 크라우닌실드 더비 부인 등 귀부인의 초상화에 등장한다. 라파엘로, 루벤스, 가브리엘 메추가 그린 성녀 체칠리아 회화의 실제 모델은 화가의 부인 또는 애인이었다. 초상화라는 제목을 내걸진 않았지만 사실상 실존 여성의 초상화였다. 바르바라 스트로치, 빌링턴 부인, 세리던 부인, 마리아 린리, 해밀튼 부인, 작곡가 파니 헨젤, 소프라노 주디타 파스타 등도 성녀 체칠리아의 모습으로 포즈를 취한 초상화의 주인공이다.
Abstract
This article explores what made women in their portraits pose as St. Cecilia, the patron saint of music who was early Christian martyr. The virtues of Lady such as chastity, nobility, beauty, independence, high cultivation and power of self-control upon their body flattered the status of upper classes. They also were used to present the image of women like painters and musicians, who were less favoured by wealth or breeding, and helped them to be socially acceptable. Most distinctive feature in Cecilian portraits is angels between heaven and musical instruments such as organ, harp and clavichord. The sitter's gaze up somewhere beyond the top left-hand corner of the painting and the illumination of her face by an unseen source of light also remind us St. Cecilia. Paintings of St. Cecilia resurrected in the portraits of ladies as a secular genre. Sofonisba Anguisola, Lavinia Fontana, and Artemisia Gentileschi posed as St. Cecilia in their self-portraits. The models in St. Cecilia paintings by Raphael, Peter Rubens and Gabriel Metsu were painter's wife or mistress. In addition, the noble ladies like Mmes. Montespan and Maintenon, Lady Elizabeth Cromwell and Mrs. Richard Crowninshield Derby had their portraits in the guise of St. Cecilia. Female musicians like Barbara Strozzi, Mrs. Billington and Mrs. Sheridan, Maria Linley, Lady Hamilton, Fanny Hensel and Juditta Pasta were depicted in the role of St. Cecilia.
참고문헌 (51)
- Austern, Linda Phylis, "Portrait of Artist as (Female) Musician", In Musical Voices of Early Modern Women: Many-Headed Melodies", pp.15~59 (2005), Ashgate
- Bohn, Babette, "Female Self-portraiture in Early Modern Bologna", Renaissance Studies, 18(2), pp.239~286 (2004)
- Bowron, Edgar Peters, "An Artist's Best Friend: Dogs in Renaissance and Baroque Painting and Sculpture", In Best in Show: The Dog in Art from the Renaissance to Today", pp.1~38 (2006), Museum of Fine Arts
- Boydell, Barra, "Music and Paintings in the National Gallery of Ireland" (1985), The National Gallery of Ireland
- Butler, Nicholas Michael, "Votaries of Apollo: The St. Cecilia Society and the Patronage of Concert Music in Charleston", pp.1766~1820 (2007), South Carolina University Press
- Byerly, Alison, "Realism, Representation and the Arts in Nineteenth-Century Literature" (1997), Cambridge University Press
- Chadwick, Whitney, "Women, Art, and Society, 4th ed." (2007), Thames and Hudson
- Chamberlain, Arthur, "George Romney" (1910), Charles Scribner's Sons
- Cheney,Liana De Girolami, "Self-Portraits by Women Painters" (2000), Ashgate
- Connolly,Thomas, "Mourning into Joy: Music, Raphael, and Saint Cecilia" (1994), Yale University Press
- "Cecilia, In The New Grove Dictionary of Music and Musicians"[URL]
- Dubois, Pierre, "Profession: Siren―The Ambiguous Status of Professional Women Musicians in Eighteenth-Century England, In The Invisible Women: Aspects of Women's Work in Eighteenth-Century Britain" (2005), Ashgate
- Ennis, Luna May, "Music in Art" (1903), Colonial Press
- Fehl, Philipp, "Access to the Ancients: Junius, Rubens and Van Dyck", In Francis Junius F. F. and His Circle" (1998), Edition Rodopi B. V.
- Garrard, Mary, "'Here's Looking at Me': Sofonisba Anguissola and the Problem of the Woman Artist", Renaissance Quarterly, 47(3), pp.556~622 (1994)
- Giltaji, Jeroen, "Senses and Sins: Dutch Painters of Daily Life in the Seventeenth Century" (2004), Hatje Cantz Verlag
- Giorgi, Rosa, "성인(聖人)이야기, 명화를 만나다" (2006), 도서출판 예경
- Hanning, Barbara Russano, "From Saint to Muse: Representations of Saint Cecilia in Florence, Music in Art", International Journal for Music Iconography, 29(1), pp.91~103 (2004)
- Hedquist, Valerie, "Dutch Genre Painting as Religious Art: Gabriel Metsu's Romantic Imagery", Art History, 31(2), pp.159~186 (2008)
- Holland, Henry Scott, "Memoir of Madame Jenny Lind―Goldschmidt: Her Early Art-Life and Dramatic Career", pp.1820~1851 (2011), Cambridge University Press
- Hughes, Jessica, "The Myth of Return: Restoration as Reception in Eighteenth-Century Rome", Classical Receptions Journal, 3(1), pp.1~28 (2011)
- Impelluso, Lucia, "자연과 상징, 그림으로 읽기" (2010), 도서출판 예경
- Leppert, Richard, "Music and Image: Domesticity, Ideology and Socio-Cultural Formation in the Eighteenth-century England" (1988), Cambrdige University Press
- Leppert, Richard, "The Theme of Music in Flemish Paintings of the Seventeenth Century II, Musik und Musiker im Bild: Ikologischen Studien I, Salzburg and München" (1977), Emil Katzbichler
- Levine, Stuart, "Edgar Allan Poe: Thirteen Two Stories" (2000), Hackett Publishing Company
- Lindley, Mark, "Helene Fourment as St. Cecilia Playing the Virginals", RIdIM, 1990, pp.15(2), 13~20
- Luckett, Richard, "St. Cecilia and Music", Proceedings of the Royal Musical Association, 99(1), pp.15~30 (1972)
- Marshall, Kimberly, "Symbols, Performers, and Sponsors, In Rediscovering the Muses: Women's Musical Traditions", pp.140~168 (1993), Northeastern University Press
- McIver, Katherine A., "Lavinia Fontana's Self-Portrait Making Music", Woman's Art Journal, 19(1), pp.3~8 (1998)
- Moore, Robert E., "Reynolds and the Art of Characterization", In Studies in Criticism and Aesthetics 1660-1800: Essays in Honor of Samuel Holt Monk", pp.332~357 (1967), University of Minnesota Press
- Nicholson, Kathleen, "The Ideology of Feminine 'Virtue': the Vestal Virgin in French Eighteenth-Century Allegorical Portraiture, In Portraiture: Facing the Subject", pp.52~72 (1997), Manchester University Press
- Olive, S. Glynn B., "'Zum Fest der heiligen Caecilia' by Fanny Mendelssohn Hensel: A Performing Edition", 박사, pp.2009
- Peakman, Julie, "Emma Hamilton" (2005), Haus Publishing
- Percival, Melissa, "Sentimental Poses in the Souvenirs of Élisabeth Vigée le Brun", French Studies, 57(2), pp.149~165 (2003)
- Pieiller, Evelyne, "Musique Maestra: Le suprennat mais néanmoins véridique récit de l'histoire des femmes dans la musique du XVIIe au XIXe siècle" (1992), Editions Plume
- Pointon, Marica R, "Strategies for Showing: Women, Possession, and Representation in English Visual Culture", pp.1665~1800 (1997), Oxford University Press
- Robin, Diana, "Encyclopedia of Women in the Renaissance" (2007), ABC-CLIO
- Rogers, Francis, "Some Prima Donnas of the Latter Eighteenth Century", Musical Quarterly, 30(2), pp.147~162 (1944)
- Rosand, Ellen, "The Voice of Barbara Strozzi", In Women Making Music: The Western Art Tradition", pp.168~190 (1986), University of Illinois Press
- Ross, Sarah Gwyneth, "The Birth of Feminism: Woman as Intellect in Renaissance Italy and England" (2009), Harvard University Press
- Schuetze, George C., "Convergence in Music and Art: A Bibliographic Study" (2005), Harmonie Park Press
- Todd, R. Larry, "Mendelssohn: A Life in Music" (2003), Oxford University Press
- Todd, R. Larry, "Fanny Mendelssohn: The Other Mendelssohn" (2010), Oxford University Press
- Tolly,Thomas, "Painting the Cannon's Roar: Music, the Visual Arts and the Rise of An Attentive Public in the Age of Haydn" (2001), Ashgate
- Tyler, James, "A Guide to Playing the Baroque Guitar" (2011), Indiana University Press
- Woods-Marsden, Joanna, "Renaissance Self-Portraiture:The Visual Construction of Identity and the Social Status of the Artist" (1998), Yale University Press
- Wright, Thomas, "Historical and Descriptive Account of the Caricatures of James Gillray" (1851), Henry G. Bohn
- "Citizens and Kings: Portraits in the Age of Revolution", Royal Academy of Arts, 1760~1830 (2007)
- "Pracht und Pathos: Meisterwerke der Barockmalerie aus dem Palazzo Bianco in Genua, Gemäldegalerie Staatliche Museen zu Berlin", Silvana Editoriale Spa, ~ (2004)
- "Gender in Visual Arts"[URL]
- "Anguissola and the Problem of the Woman Artist"[URL]
