찰스 데무스의 포스터 초상화 연구

다국어 초록 (Multilingual Abstract)

American artist Charles Demuth is well known as a member of the Precisionists and also as a water colorist. Particularly, he produced portraits from 1923 to 1929 showing figures of 10 American artists, writers and actors: Georgia O’Keeffe, Marsden Hartley, Charles Duncan, Arthur Dove, John Marin, William Carlos Williams, Gertrude Stein, Wallace Stevens, Eugene O’Neil and Bert Savoy whom are selected by Demuth.
This series named “Poster portraits” are not consists of actual man’s figure, but various still life and texts which bring up the image of modern advertisement poster. He selected objects, texts and its arrangement deeply involved with the sitter’s characteristic, life, work, and their thoughts. In 1920s, American artists began to create “American” modern art based on their modern experience. In other words, the American modern art world of the 1920s was in strong demand for American artists who created art that could be identified as being solely “American”. And at the time, American art world was under the leadership of Alfred Stieglitz. So on the other hand, Demuth began his series of poster portraits also in order to receive the recognition of Alfred Stieglitz as a true American artist. And Demuth’s poster portraits are showing himself in indirectly and symbolic way. Consequently his poster portraits feature not only about each sitter but also personal relationships between sitter and Demuth. As making poster portrait series, there seems a certain purpose to strength self-identity becoming a member of Stieglitz circle.
After the outbreak of the First World War I in 1914, the United States arose as the new center of the modern art world instead of Europe. Although it was 1940s that America became the heart of modern art through Abstract Expressionism, 1920s were the period which they were most concerned about their national identity. And we can strongly feel their concerns considering the letters exchanged among Demuth and Stieglitz and the other models of his poster portraits. So to speak, the motivation behind Demuth’s poster portraits series involved the over all mood of the American society, the state of the American modern art and the distinctiveness of the American visual culture during the early 20th century.
Demuth’s poster portraits attempted to establish an identity of America and American art separate from that of Europe’s. Although European artists Francis Picabia and Marious de Zaya made symbolic machine portraits ahead of Demuth, there are certain differences between European Dadaists and Demuth in using text and selecting images. Also his interests in the visual culture of the 1920s such as billboards and advertisements has been credited as being the source of inspiration that started his poster portraits series. So to speak, his poster portraits are advertising American Modern art world based on modern America consume society. In conclusion, Demuth’s poster portraits seems to symbolize each sitter with still life and texts, sitters’s name or not, identical form of advertisement, but it also feature relationship with sitter and Demuth himself and finally it could be considered as group portraits under the name of “Americanism”.

목차 (Table of Contents)

• Ⅰ. 들어가며
• Ⅱ. 유럽문화의 수용과 새로운 ‘아메리카니즘’에의 열망
• Ⅲ. 포스터 초상화의 상징적 의미 분석
• Ⅴ. 나가며
• 참고문헌
• Abstract

참고문헌 (Reference)

• 1 스콧 래쉬, "현대성과 정체성" 현대미학사 1997
• 2 앤서니 기든스, "현대성과 자아정체성" 새물결 1991
• 3 신채기, "정밀주의담론과 그 배후의 정치성" 현대미술사학회 (16) : 127-152, 2004
• 4 심진호, "윌리엄 칼로스 윌리엄즈와 찰스 디무스의 상호텍스트성 연구" 새한영어영문학회 50 (50): 71-93, 2008
• 5 Tashjian, Dickran, "William Carlos Williams and the American Scene, 1920-1940" Whitney Museum of Art 1978
• 6 Breslin, James E., "William Carlos Williams and Charles Demuth: Cross-Fertilizationin the Arts" 6 (6): 1977
• 7 Friedman, Martin, "The Precisionist View" 48 : 1960
• 8 Corn, Wanda M., "The Great American Thing: Modern art and National Identity, 1915-1935" University of California Press 1999
• 9 Weinberg, Jonathan, "Speaking for Vice: Homosexuality in the Art of CharlesDemuth, Marsden Hartley and the First American Avant-garde" Yale University Press 1993
• 10 Stavitsky, Gail, "Precisionism in America 1915-1941: Reordering Reality" Harry N. Abrams 1994
• 11 Marling, Karal Ann, "My Egypt, The Irony of American Dream" 15 (15): 1980
• 12 Kellner, Bruce, "Letters of Charles Demuth, American Artist, 1883-1935" TempleUniversity Press 2000
• 13 Aiken, Edward A., "I Saw the Figure 5 in Gold: Charles Demuth’s EmblematicPortrait of William Carlos Williams" 46 (46): 1987
• 14 Schwartz, Sanford, "Glimpsing the ‘Hidden’ Demuth" 64 : 1976
• 15 Haskell, Barbara, "Exhibition Catalogue of Whitney Museum ofAmerican Art"
• 16 Ritchie, Andrew C., "Exhibition Catalogue of Museum of ModernArt" New York 1950
• 17 Davidson, Abraham A., "Demuth’s Poster Portraits" 17 (17): 1978
• 18 Davidson, Abraham A., "Cubism and the Early American Modernist" 26 : 1966
• 19 Brennan, Marcia, "Constructing Theory: The Alfred Stieglitz Circle and American Formalist Aesthetics" The MIT Press 2001
• 20 Champa, Kermit, "Charlie was Like That" 12 : 1974
• 21 Burgard, Timothy A., "Charles Demuth’s Longhi on Broadway: Homage to Eugene O’Neil" 58 : 1984
• 22 Frank, Robin Jaffee, "Charles Demuth: Poster Portraits, 1923-1929" Yale University Art Gallery 1994
• 23 신채기, "1910년대에서 1930년대까지 미국 미술에 나타난 국가 정체성에 관한 연구" 이화여자대학교 대학원 2004