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자료유형
학술저널
저자정보
저널정보
한국미술사교육학회 미술사학 美術史學 第21號
발행연도
2007.8
수록면
207 - 230 (24page)

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This paper examines the Art and Craft movement in its historical and cultural context where the discourse of the Utopia has risen. Despite its maximum visibility in the history of art, the 19<SUP>th </SUP> century historical and cultural context of Art and Craft movement is not well known. The Art and Craft movement is generally considered the milestone of the dominant Art History discourse, the modernist formalist art history. Registered in the linear progressive history of the modem, the modernist art history puts emphasis on the achievement of autonomy of the pictorial elements such as colour and forms. The formalist art history is in the same vein as other progressive modem discourses, the modem period in the history of art has shown the development of the independent pictorial language as opposed to the traditional art, which generally concentrated on the subject or message rather than the pictorial harmony. From the perspective of the modem art history, the peculiar style of art and craft works, the linear lines and the bright colors have been considered to be a monumental move toward to the autonomy of modem art.
However, when the art and craft movement is relocated in the historical and cultural context of 19<SUP>th </SUP> century Britain, the movement has special social and historical meanings which have been excluded from the dominant art history. Far from the mythology of modern art, the Art and Craft movement was an intensively socially conscious art movement rather than exclusively aesthetically oriented. Art and Craft movement has been known for its revival of the medieval mode of art production, the ‘Guild’. This change of mode of production is rooted in the socialist consciousness, sprouting in the age which recognised the negative side of the mass production system. The 19<SUP>th </SUP> century discourse of Utopia represented by John Ruskin had been raised in the same vein of social consciousness which eventually lead into the 20<SUP>th </SUP> century Marxist revolution. This paper looks at the complicated historical and social context overlooked by the modernist discourse, to give a new mapping of the modem art.

목차

Ⅰ. 머리말
Ⅱ. ‘런던 외곽의 참혹한 외침’: ‘지옥’으로서의 19세기 후반의 런던
Ⅲ. 존 러스킨의 유토피아 사상과 예술 비평
Ⅳ. 월리암 모리스의 예술과 공예 운동
Ⅴ. 모리스의 ‘레드 하우스’
Ⅵ. 러스킨, 모리스의 유토피아 사상과 사회 개혁 운동
Ⅶ. 19세기 유토피아 사고와 사회주의 사상
Ⅷ. 잊혀진 현대 미술의 단면들: 종교와 사회주의
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