DEFORMATION 論 : Deformation과 그 時代的 性格의 考察 A STUDY OF DEFORMATION AND ITS CHARACTERISTIC THROUGH THE AGES = A STUDY OF DEFORMATION
저자
발행기관
학술지명
권호사항
발행연도
1971
작성언어
Korean
KDC
050.000
자료형태
학술저널
수록면
71-103(33쪽)
제공처
This thesis is explaining how the characteristic of deformation, as a modern Painting, raised an issue of the form, and how the variety of form gave numerous “isms”, and complexities till now. This survey also tells the definition and inevitability of deformation, and how its historical characteristic and social background itability of deformation, and how its historical characteristic and social background are closely conneted with modern Painting through the ages for bringing to light of the deformation.
Ⅰ. a)Latin for deformation, and verb former became formation to which prefixde, which neans breaking, was added.
b)The kind of the technical method of deformation.(1)Elongation.(2)Simplification.(3)Abbreviation.(4)Abridgment.(5) Exaggeration.(6)Enlargement.(7)Analysis and synthesis.
c)The expressive kind of deformation.(1)Satiric(2)Symbolic expression.(3)Expression of poetical sentiment.(4)Expression of pure plastin arts.(5)Emotional exprossion.(6)Enthusiastic. expression.
d)The definition of deformation.
The deformation is both intellegible and complete, and twisted adeguately by its Iocation, Volume, and color form natural form.
Ⅱ. The aesthetic of deformation.
How to see Some things always presupposes its Particular interest and importance from which the change of aesthetic value is to be seen, and the aesthetic of deformation is explored by an intersting psychological illustration.
Ⅲ. The origin of deformation.
No single explanation will sufice to explain entire range of its origin. This, however, may have begun from The time immemorial. Unguestionably a desire to adorn the body, to attract attention, to exaggerate a natural tendenty, to display adorn the body, to attract attention, to exaggerate a natural tendedcy, to display the mark of tribe, Caste, or sex, to conform to ritualistic demands, or a magical interpretation of nature have played an important role in developing and crystallizing the deformation.
Ⅳ. The primitive arts and deformation.
The primitive sculpture provided for crystallizing modern plastic arts. Then Fauvism Was methodical and sensible, While cubism was an intellectual and a Scientiflc analysis in reflecting the intellectual and Solid modern plastic arts.
Ⅴ. The art and study of deformation through The ages.
RenaissanceGiotto, Fra Angelico, and Botticelli, Correggio, used the simplification for deformation. Mellozzo, Mantegna Michelangelo, and Raphael tried with abridgment, yet dedn't intellegibly. BarogueThe deformation of El Greco was narrow and strange one black and extensive combination of color, showing mystical stir of dynamically unbalanced composition in the work. This was similar to elongation. Impressionismwith the advent of nationalism, liberalism and the developing of natural Science, the religeous aspect in Painting Was removed only by Scientific realism. Here came the impressionism. Ce´zanneUsed deformation giving a delicate accent over the entire from and as the extensive, rhythm and harmony are needed the from is twisted and changed greatly. Fauvismsummarized and rearranged the nature subjectively and willingly, and the essence of dessin was a speedy and automatic rule using the technic of abridgment. CubismMade an extensive analysis and Composition for Sim Plification of direct expression, So created the deformation of analysis and synthesis. ModiglianiAttempted a natural balance for great form of elongation in Particular deformation. ExpressionismTried The deformation by soutine, Van Dongen, Redon, Kircher, Heckel, and Marc With coming of technical and engineering age.
Ⅵ. The relation with modern Dainting and deformation. a)Abstract painting is devided into two parts;(1)Ce´zanne, Seurat··Neoplsyicism·· Mondrian, Van Doesburg··Geometrical abstact painting.(2)Gauguin, Matisse·· abstract expression of Kandinsky··nongeonetrical abstract painting. The geometrical abstract painting is the essence of the nature drawn by its deformation.
b)Informer
It's from Dadaism which completed a o\work o the unique world and denied all formalism for cleaning the slate of all painting Neither the form of rising situation and the complexity of the origin in drawing with which natural subjects have no connection
Ⅶ. Conclusive remark
The deformation has played an important part in developing the modern painting and the inevitability which required particular characteristic and social background at that time. It is clear that this type of informer painting doesn't have any close relation with. that of deformation at all through the entire range of old and modern painting.
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