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In the middle of the 18th century the history of French art ran into a new way, namely Neo-Classicism. Previous to this historical style there was an intermediate period called 'Gout Grec'. The Gout Grec meant a certain taste which was introduced through Greek-revival. It spread at the time throughout the whole cultural realm of France. Grimm described this phenomena in his letter to Russian emperor Ecatherina Ⅱ as follows: "Everything in Paris looks like it is in gout grec." And this fashion became an important principle in western art history that shows signs of the Neo-Classicism.
Such feature of the period (1750-60s) was developed by artists who studied in Italy and by the rediscovery of the ancient Greek art. In other words it was a cultural phenomena that took place through the Grand Tour, which was an international exchange of culture itself. In the 18th century the Grand Tour meant to France, learning the advanced culture and art of Italy. The French accepted italian cultural achievements more critically and corrected the corrupt style of Rococo through archeological studies in Italy. Therefore the Grand Tour was useful for this sake. Eventually the Grand Tour played a great role for shaping the Neo-Classicism. Especially the Grand Tour of Marquis de Marigny was recorded as a decisive and historical event for the birth of Neo-Classicism and became a milestone for the art and architecture of France in the following years.
The Gout Grec became a motto of Marigny's administration who was appointed to Directeur des batments du Roy in 1751. Marigny was brother of the famous Madam Pompadour, who became the official mistress of Louis XV in 1745. Immediately, Marigny was promised by the king to be given this office. For preparation, he took a journey to Italy from 1749 until 1751. Three carefully selected persons travelled together with Marigny-Cochin, LeBlanc and Soufflot. They provided Marigny with principal knowledge of Art and shaped him with the neoclassical taste. All of them had set up the Classicism of Louis XIV as the ideal of art and wanted to revive it.
But in fact the actualities of the Rome-pensioners, who were evaluated by introducing the Neo-Classicism into France, were more insignificant then expected. Only Soufflot, a weil known example of few, could build the Pantheon (St. Genevieve) in the relationship with Marigny. Therefore Neo-Classicism was not revolutionary phenomena, but had been for first time in the imagination of artists and in the cultural trend just like the Gout Grec. The Gout Grec was, even though Grimm had referred it to "everything", limited to such realms as interior decoration, furniture design and fashion etc. Because of the limited emergence of the taste, it is difficult to define the Gout Grec as a historical style. It reveals the fact that the cultural policy of Marigny was not so revolutionary, but was merely a compromise. He spock out his own mind in the same context: "Je ne veut point de chicoree moderne; je veut ne point de l'austere ancien; mezzo l'uno, mezzo l'altro."
But the thoughts and attitudes of the travellers are more interesting then their artistic practice. Their Grand Tour, which would be hard to relate to the conventional Grand Tour, was undertaken institutionally, non-privately and supposedly directed by the state. In spite of this fact the French Grand Tour contributed the birth of Neo-Classicism and the new understanding of art. Above all it is true that the Grand Tour of the Rome-pensioner and the one by Marigny distanced themselves from the cultural subordination to Italy, and that they made the meaning and the purpose of their journeys independent. In case of the French Grand Tour, national self-consciousness was prior to the international culture-exchange and the Grand Tour served to examine the superiority of the French heritage and achievement. In this viewpoint Marigny's Italian journey was distinct from any other Grand Tour. His Grand Tour started with a certain political purpose, and was therefore different from the other private Grand Tour. It had a diplomatic issue. His journey also included an another administrational intention, to supervise the France Academy in Rome. Just like Cochin's Voyage d'ltalie refers, the members of the Grand Tour maintained a very critical perspective on Italian art and architecture, and received them selectively, even more so in the a priori judgement that had grown since the 17th century. Spreading of the Grand Tour over the geographical limits of Italy and development of archeological research educated the French artists and patrons of the new knowledge of art history. In this tendence Italian art lost its superiority and in contrast, the French art won the leadership in Western art. The Gout Gruc is now accepted as a prologue to the Neo-Classicism in that style the leadership of the French art took place. This was another result of the Grand Tour.
Such feature of the period (1750-60s) was developed by artists who studied in Italy and by the rediscovery of the ancient Greek art. In other words it was a cultural phenomena that took place through the Grand Tour, which was an international exchange of culture itself. In the 18th century the Grand Tour meant to France, learning the advanced culture and art of Italy. The French accepted italian cultural achievements more critically and corrected the corrupt style of Rococo through archeological studies in Italy. Therefore the Grand Tour was useful for this sake. Eventually the Grand Tour played a great role for shaping the Neo-Classicism. Especially the Grand Tour of Marquis de Marigny was recorded as a decisive and historical event for the birth of Neo-Classicism and became a milestone for the art and architecture of France in the following years.
The Gout Grec became a motto of Marigny's administration who was appointed to Directeur des batments du Roy in 1751. Marigny was brother of the famous Madam Pompadour, who became the official mistress of Louis XV in 1745. Immediately, Marigny was promised by the king to be given this office. For preparation, he took a journey to Italy from 1749 until 1751. Three carefully selected persons travelled together with Marigny-Cochin, LeBlanc and Soufflot. They provided Marigny with principal knowledge of Art and shaped him with the neoclassical taste. All of them had set up the Classicism of Louis XIV as the ideal of art and wanted to revive it.
But in fact the actualities of the Rome-pensioners, who were evaluated by introducing the Neo-Classicism into France, were more insignificant then expected. Only Soufflot, a weil known example of few, could build the Pantheon (St. Genevieve) in the relationship with Marigny. Therefore Neo-Classicism was not revolutionary phenomena, but had been for first time in the imagination of artists and in the cultural trend just like the Gout Grec. The Gout Grec was, even though Grimm had referred it to "everything", limited to such realms as interior decoration, furniture design and fashion etc. Because of the limited emergence of the taste, it is difficult to define the Gout Grec as a historical style. It reveals the fact that the cultural policy of Marigny was not so revolutionary, but was merely a compromise. He spock out his own mind in the same context: "Je ne veut point de chicoree moderne; je veut ne point de l'austere ancien; mezzo l'uno, mezzo l'altro."
But the thoughts and attitudes of the travellers are more interesting then their artistic practice. Their Grand Tour, which would be hard to relate to the conventional Grand Tour, was undertaken institutionally, non-privately and supposedly directed by the state. In spite of this fact the French Grand Tour contributed the birth of Neo-Classicism and the new understanding of art. Above all it is true that the Grand Tour of the Rome-pensioner and the one by Marigny distanced themselves from the cultural subordination to Italy, and that they made the meaning and the purpose of their journeys independent. In case of the French Grand Tour, national self-consciousness was prior to the international culture-exchange and the Grand Tour served to examine the superiority of the French heritage and achievement. In this viewpoint Marigny's Italian journey was distinct from any other Grand Tour. His Grand Tour started with a certain political purpose, and was therefore different from the other private Grand Tour. It had a diplomatic issue. His journey also included an another administrational intention, to supervise the France Academy in Rome. Just like Cochin's Voyage d'ltalie refers, the members of the Grand Tour maintained a very critical perspective on Italian art and architecture, and received them selectively, even more so in the a priori judgement that had grown since the 17th century. Spreading of the Grand Tour over the geographical limits of Italy and development of archeological research educated the French artists and patrons of the new knowledge of art history. In this tendence Italian art lost its superiority and in contrast, the French art won the leadership in Western art. The Gout Gruc is now accepted as a prologue to the Neo-Classicism in that style the leadership of the French art took place. This was another result of the Grand Tour.
목차
Ⅰ. 서론
Ⅱ. 프랑스의 그랜드 투어: 제도화된 문화기행
Ⅲ. 프랑스의 미술아카데미와 고전주의 전통
Ⅳ. 그랜드 투어의 한 형태로서 로마 상(Prix de Rome)과 로마 장학생들의 활동
Ⅴ. 마리니 후작(Marquis de Vandiere) (이후 Marigny)의 그랜드 투어
Ⅵ. 마리니의 그랜드 투어 이후의 프랑스의 미술: 그리스 취미(Gout grec)
Ⅶ. 결론
참고문헌
Abstract
질의 : 「마리니 후작의 그랜드 투어와 프랑스의 신고전주의」에 대한 질의
참고문헌 (26)
참고문헌 신청
1. [학술지(정기간행물)] - Barrier, Janine / 2005 / Les architectes europ？ens ？ Rome : 1740 ~ 1765
2. [학술지(정기간행물)] - Braham, Allan / 1980 / The Architecture of the French Enlightenment
3. [학술지(정기간행물)] - Br?m, Andreas / 2004 / Jacques-Denis Anoine - Reisetagebuch : 1777 ~ 1778
4. [학술지(정기간행물)] - Chantelou, Paul F. de / / Journal du voyage du chevaliere Bernin en France. Manuscrit inIJdit publiIJ et annotIJ par L. Lalande : 1877 ~ 1884
5. [학술지(정기간행물)] - Chastel, A / 1976 / Piran？se et les Fran？ais : 1740 ~ 1790
2. [학술지(정기간행물)] - Braham, Allan / 1980 / The Architecture of the French Enlightenment
3. [학술지(정기간행물)] - Br?m, Andreas / 2004 / Jacques-Denis Anoine - Reisetagebuch : 1777 ~ 1778
4. [학술지(정기간행물)] - Chantelou, Paul F. de / / Journal du voyage du chevaliere Bernin en France. Manuscrit inIJdit publiIJ et annotIJ par L. Lalande : 1877 ~ 1884
5. [학술지(정기간행물)] - Chastel, A / 1976 / Piran？se et les Fran？ais : 1740 ~ 1790
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