지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Charles Sheeler(1883-1965) is widely recognized as one of the leading Precisionist artist who represented a new style of American Modernism during the 1920s. He is known for his immaculately painted machine-age imagery focussing on industrial objects and Ford factory buildings. However, a closer study on the artist’s artistic career reveals that Sheeler was not only interested in painting corporate, industrial America, but also the rural, countryside America. His life-long interest in depicting barns in Pennsylvania, farmhouse interiors, and handcrafted furnitures from his own residence sets an interesting anti-thesis to the artist’s reputation as an iconographer of Industrial America.
This paper investigates the background of such rural images and everyday objects, and discusses the details in relation to the artist’s life and work. It also aims to situate such images in the larger social historical context, particularly the 1920-30s American art world, and focuses on the discursive meaning of the rural everyday images. Discussion on Sheeler’s close companion, William Carlos Williams, brings in insightful information in understanding the cultural context better. The ways that Sheeler portrayed both machines and everyday objects as icons of American identity reveal many of the complexities of the interwar period and the art world of the given period.
This paper investigates the background of such rural images and everyday objects, and discusses the details in relation to the artist’s life and work. It also aims to situate such images in the larger social historical context, particularly the 1920-30s American art world, and focuses on the discursive meaning of the rural everyday images. Discussion on Sheeler’s close companion, William Carlos Williams, brings in insightful information in understanding the cultural context better. The ways that Sheeler portrayed both machines and everyday objects as icons of American identity reveal many of the complexities of the interwar period and the art world of the given period.
목차
Ⅰ. 머리말
Ⅱ. 1910년대 : 도일스타운의 초기 사진 및 드로잉 작업
Ⅲ. 1920~1930년대 : 기업 자본주의의 안티테제로서의 ‘아메리칸 인테리어’
Ⅳ. 일상적 주거공간 이미지들이 불러들이는 정치적인 의미
Ⅵ. 맺음말
참고문헌
ABSTRACT
참고문헌 (22)
참고문헌 신청
2. [학술지(정기간행물)] - 신채기 / 2004 / 정밀주의담론과 그 배후의 정치성 / 현대미술사연구 (16) : 127 ~ 152
3. [학술지(정기간행물)] - Andrews, Faith / 1965 / Sheeler and the Shakers / Art in America 1
4. [단행본] - Brock, Charles / 2006 / Charles Sheeler: Across Media / National Gallery of Art in association with University of California Press
5. [단행본] - Corn, Wanda / 1999 / The Great American Thing / University of California Press
6. [단행본] - Cronon, William / 1991 / Nature’s Metropolis: Chicago and the Great West / W. W. Norton
3. [학술지(정기간행물)] - Andrews, Faith / 1965 / Sheeler and the Shakers / Art in America 1
4. [단행본] - Brock, Charles / 2006 / Charles Sheeler: Across Media / National Gallery of Art in association with University of California Press
5. [단행본] - Corn, Wanda / 1999 / The Great American Thing / University of California Press
6. [단행본] - Cronon, William / 1991 / Nature’s Metropolis: Chicago and the Great West / W. W. Norton
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2013-650-000486149