지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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Throughout his career, Gauguin defended his use of color and form in the context of debates about the use of polychromy in the nineteenth century. My paper scrutinizes his ceramics and sculpture, which are relatively neglected in Gauguin scholarship, in order to understand why so many critics were hostile to the artist’s colored reliefs and sculptures in both stoneware and wood. Polychrome sculpture was often relegated to various ethnographic institutions, and when exhibited in art museums it was usually segregated from what was considered actual works of art. In addition, this paper looks at aspects of the feminine and the savage in polychrome sculpture while I discuss primary historical materials. By examining the historiography of these debates, I would like to situate Gauguin’s ceramics and sculpture in their historical context, namely the institutional segregation of fine art and primitive art. This paper also explicates unpublished Belgian materials which contribute to our understanding of the cultural milieu in which Gauguin operated. In the end of my paper, I investigate how Gauguin’s fresco-like paintings are derived from his ceramics and sculpture, specifically his use of brown matte and opaque texture. My intention is to reevaluate the originality of Gauguin’s ceramics and sculpture in the aesthetic and cultural development of modern art.
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