CHOSUN

호앙미로 회화에 나타난 특성연구

Metadata Downloads
Author(s)
조형두
Issued Date
2007
Abstract
Abstract

The Study of characteristics of Joan Miro's painting
- Focused on line-

hyoung-du Cho
Advisor : Prof . Won-Jang Jin
Major in Art Education
Graduate School of Education, Chosun University

Line became the subject of study as a basic factor of art in modern times. This shows the purpose of study on several problems of modern art through the basic characteristics of drawing. Here, line has a dependency and the dependency expresses the spirit of human being.
In this study, I tried to understand the artist Miro who expresses the dependency of line to the modern meaning. Drawing starts from the line factor. The representative modern artists who used line freely in the Western painting history can be Kandinsky and Klee. And in 1924, surrealism came out to the world and the surrealists defined their purpose as the pure and free activity of their spirit, which expresses the true process of their mind in the unrestricted environment. The representative drawing technic of surrealism is d?paysement and automatism. Miro is the representative artist who expressed the world of unconsciousness with free line.
From his hometown Catalonia, Miro travelled a lot of cities and the detailed line, decorative factors and formation was shown in this period. He also expressed his fantasy inside with imagination power and while doing that, he became to prefer line.
From 1920-21, Miro had been affected by Fauvisme and Cubism so used delicate line to express the obsession of the details in the reality.
In 1924, surrealism was created so Miro looked into the inner world of human being rather than factual description of the reality and in this period, he often used automatism technique.
In the middle of 1930th, there was a Spain domestic war so the consciousness of crisis took out his sensitivity and his painting described the cruelty and twisted changes.
However, in 1939 his line is clear and naturally made. Also the phenomenon and symbols were arranged dynamically making rhythm.
During 1940-1941, all his characteristics and language were clearly expressed so the characteristic expression reached to the high level. Here, the shape is contrasted with lings and colors and creates musical rhythm so the shape of beast is purified as the pure symbol. These expression became an important turning point in his work of art so afterwards, all of his work shows same tendency.
We can compare Klee and Miro regarding the expression through line; In Miro's painting, the line is unrestricted and free but Klee's is sharp and direct line with tense which can be seen in etching or glass painting.
In Miro's painting, the nature is heading to the inner world of it and the unfamiliar world has been described with symbol, color and various lines. The language of Miro is personal and has strong meaning so the power of suggestion exists in his creative language. And it's not static; it's moving, dynamic and continuously changed.
Alternative Author(s)
hyoun-du Cho
Affiliation
교육대학원
Department
교육대학원 미술교육
Awarded Date
2008. 2
Table Of Contents
목 차 (目 次)


ABSTRACT................................................................................................... ⅰ

Ⅰ. 서 론(序論).............................................................................................. 1

Ⅱ. 일반회화(繪畵)에서의 선(線).............................................................. 3
1. 선의 개념(槪念).................................................................................. 3
2. 현대회화작품에 선이 나타나는 과정............................................ 4

Ⅲ . 미로회화의 특성별 분류 .................................................................. 7
1 . 초기회화(1917~1922)..................................................................... 7
2 . 초현실주의 경험(1923~1925)....................................................... 10
3 . 성 좌(星座)(1939~1944)................................................................ 17
4 . 서법화 (書法畵)(1949~1968)........................................................ 21

Ⅳ. 미로회화의 특성(特性)및 표현(表現)............................................... 24
1 . 자동기술법(自動技術法)................................................................. 24
2 . 컬리그래피한 선묘(線描)의 특성................................................. 27
3 . 클레와 미로의 화화에 표현된 선의 비교(比較)...................... 31

Ⅴ. 결 론 (結論)............................................................................................. 37


호앙미로 연보 (年譜)................................................................................. 39
참고문헌 (參考文獻)................................................................................... 42
도 판 (圖版)................................................................................................ 43
Degree
Master
Publisher
조선대학교 교육대학원
Citation
조형두. (2007). 호앙미로 회화에 나타난 특성연구
Type
Dissertation
URI
https://oak.chosun.ac.kr/handle/2020.oak/4837
http://chosun.dcollection.net/common/orgView/200000236434
Appears in Collections:
Education > Theses(Master)(교육대학원)
Authorize & License
  • AuthorizeOpen
Files in This Item:

Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.