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
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Paul Klee painted angels constantly throughout his life. His angel paintings, however, counted only about 70 pieces though he created a large number of pieces, no less than 9,000 works. Most of his angel paintings were brought into being during 1939-1940, when Klee almost faced an end of his life. These paintings carry the core of his life-time art spirit even though they were created for that short period. They take a critical position as a representation of Klee's unique artistic soul rather than as image conveying western prototypal christian message. Klees angels portray symbolic beings accepting but trying to overcome human tragedy. His artistic theme is the very process of realizing and conquering human limitation, and he carries out the theme through angels beyond this world.
Angels do not show in Klee's early art works, instead some other images were used : airplanes, birds, and arrows. He, with these images, intended to express human's tragic irony that human-beings dream to have flying-like freedom but can not help falling off in reality. As he served in the Air Force during war, his plane crash motif was employed to picture the irony. Birds, in his paintings of those days, fly toward the sun but fall to the ground shot by arrows or with their wings burned. After the war, in the Bauhaus period, arrows were often used to express the human tragedy. These images underwent an artistic morphosis into angels.
Klee's early angel paintings created during 1913-1938 do not bear consistency in terms of pictorial theme and treatment, and the paintings differentiated from his late angel paintings done since 1939. But they also carry transitional character in that they suggest the style in his late angel paintings: guardian angels and wish-bearing angels in his early angel works went through gradual metamorphose.
Full scale angel paintings created for 1939-1940 are symbolic representation of the times as well as self-portraits of Klee himself. The angels are symbolized as the only hope and deliverers for European artists in those days, who suffered the Nazis regime's artistic persecution and fled from their own countries. Klee identifies the last day with deathly dark air clouded under the Nazis regime all over the Europe. Klee's angels alarm earthly status, flight against the evil in this world, make judgement, and enjoy me happy mood of Resurrection like apocalyptic angels; Apocalyptic angels shown in the last judgement warn the last day blowing trumpets and wake up the dead. Considering his personal background which he would face death of disease on 1935, angels are employed as the main theme and his own self image to decorate his last life.
In this sense, Klee's angels are never a lofty being from christian view but rather a humanistic being who has fault and weakness, from which it transforms into a flawless angel through gradual spiritual purification. Therefore, Klee's angels can be viewed as various images of Klee himself in his subconsciousness.
Klee's angels can be thought in the aspect of dualism which he had pursued persistently throughout his life. His life-long task is to express something seen as not seen, reality vs ideal, good vs evil, and God vs mankind. His fervent desire to merge such extremes is realized in his angel paintings.
Angels do not show in Klee's early art works, instead some other images were used : airplanes, birds, and arrows. He, with these images, intended to express human's tragic irony that human-beings dream to have flying-like freedom but can not help falling off in reality. As he served in the Air Force during war, his plane crash motif was employed to picture the irony. Birds, in his paintings of those days, fly toward the sun but fall to the ground shot by arrows or with their wings burned. After the war, in the Bauhaus period, arrows were often used to express the human tragedy. These images underwent an artistic morphosis into angels.
Klee's early angel paintings created during 1913-1938 do not bear consistency in terms of pictorial theme and treatment, and the paintings differentiated from his late angel paintings done since 1939. But they also carry transitional character in that they suggest the style in his late angel paintings: guardian angels and wish-bearing angels in his early angel works went through gradual metamorphose.
Full scale angel paintings created for 1939-1940 are symbolic representation of the times as well as self-portraits of Klee himself. The angels are symbolized as the only hope and deliverers for European artists in those days, who suffered the Nazis regime's artistic persecution and fled from their own countries. Klee identifies the last day with deathly dark air clouded under the Nazis regime all over the Europe. Klee's angels alarm earthly status, flight against the evil in this world, make judgement, and enjoy me happy mood of Resurrection like apocalyptic angels; Apocalyptic angels shown in the last judgement warn the last day blowing trumpets and wake up the dead. Considering his personal background which he would face death of disease on 1935, angels are employed as the main theme and his own self image to decorate his last life.
In this sense, Klee's angels are never a lofty being from christian view but rather a humanistic being who has fault and weakness, from which it transforms into a flawless angel through gradual spiritual purification. Therefore, Klee's angels can be viewed as various images of Klee himself in his subconsciousness.
Klee's angels can be thought in the aspect of dualism which he had pursued persistently throughout his life. His life-long task is to express something seen as not seen, reality vs ideal, good vs evil, and God vs mankind. His fervent desire to merge such extremes is realized in his angel paintings.
목차
Ⅰ. 서론
Ⅱ. 천사 모티프의 등장과 조형적 변형
Ⅲ. 1939-40년의 천사화
Ⅳ. 천사 모티프의 이원성
Ⅴ. 결론
참고문헌
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UCI(KEPA) : I410-ECN-0101-2009-560-018683263