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초록· 키워드
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Landscape painting is the type of work in which natural scenery is the essential visual motif. 111e classicism in art is on the other hand characterised through it's normative form with spiritual and moral meaning. The different nature of the two resulting from the naturalism of the one and formal and normative nature of the other raises me question how the two, me landscape painting and the classicism could be united and formed into me classical landscape painting and what does the 'classical landscape painting' mean. This paper aims to clarify the historical process in which the classical landscape painting had been established as a proper genre and to review some of it's conceptual features,
The classical landscape painting had been formed during 16-17th century. It was also during these period that the landscape painting had been acknowledged as an independent genre in alt. In the beginning of the 18th century Roger de Piles mentioned the concept 'classical landscape painting' for the first time, He classified the classical landscape painting into 'heroic' and 'pastoral'. As the representative of the heroic he named Nicolas Poussin and the pastoral Tiziano. De Piles valued heroic landscape especially highly as the greatest classical landscape painting because of its formal strictness and moral content. But he did not estimate Claude Lorrain's landscapes as classical because he thought Claude's paintings didn't fulfill the academic norm. Through the influence of de Piles the Academy of the late 18th century in France named the heroic genre as 'the historical landscape painting'
De Piles defined the classical landscape painting as the depiction, not of the appearances of nature in chance but of 'the essential qualities of nature'. He insisted that me classical landscape painting should be a composition of perfect elements. It means that the classical landscape painting should be the realization of 'the perfect beauty', i.e. the reality in itself. In this sense it has the same character as the classical art in general. It differs from them that it takes it's motive from nature.
De Piles's judgements is formulated on the basis of Poussin's landscapes between 1648 and 1651. But Poussin painted landscapes in other times too, in his early years of 1630's and in the late years between 1657 and 1665. But his landscapes of theses two phases are more naturalistic and even romantic than the landscapes around 1650's. One can ask then: Are not these paintings classical? But the analysis of Poussin's landscapes in all of it's phases shows that all his landscapes have the heroic character. Only me features of me heroic are concealed under the naturalistic appearances.
In this respect Poussin's early and late landscapes have similar characteristics with Claude Lorrain's landscape. But Claude's works are more naturalistic than Poussin's both in composition and expression. Both painters selected the subjects from the bible and the classical literature. But Poussin's landscapes are more strict in form and more moralistic in subject while the Claud's are more natural and poetic. In other words Poussin's paintings are heroic while Claude's are pastoral and lytic. Poussin prefered historical subjects more, while Claude depicted the natural scenes independently and transformed it into arcadian landscapes.
Despite the minute differences the landscapes of both Poussin and Claude are typically classical because they prefer me general to individual, because the general represents the order and the intrinsic phenomenon of nature. In this point the two painters can be judged as same, And on this point we can reconsider De Piles view on Poussin and Claude. His concept and evaluation was not freed totally from the traditional academic view and on account of it his evaluation of Claude was not fair.
The classical landscape painting had been formed during 16-17th century. It was also during these period that the landscape painting had been acknowledged as an independent genre in alt. In the beginning of the 18th century Roger de Piles mentioned the concept 'classical landscape painting' for the first time, He classified the classical landscape painting into 'heroic' and 'pastoral'. As the representative of the heroic he named Nicolas Poussin and the pastoral Tiziano. De Piles valued heroic landscape especially highly as the greatest classical landscape painting because of its formal strictness and moral content. But he did not estimate Claude Lorrain's landscapes as classical because he thought Claude's paintings didn't fulfill the academic norm. Through the influence of de Piles the Academy of the late 18th century in France named the heroic genre as 'the historical landscape painting'
De Piles defined the classical landscape painting as the depiction, not of the appearances of nature in chance but of 'the essential qualities of nature'. He insisted that me classical landscape painting should be a composition of perfect elements. It means that the classical landscape painting should be the realization of 'the perfect beauty', i.e. the reality in itself. In this sense it has the same character as the classical art in general. It differs from them that it takes it's motive from nature.
De Piles's judgements is formulated on the basis of Poussin's landscapes between 1648 and 1651. But Poussin painted landscapes in other times too, in his early years of 1630's and in the late years between 1657 and 1665. But his landscapes of theses two phases are more naturalistic and even romantic than the landscapes around 1650's. One can ask then: Are not these paintings classical? But the analysis of Poussin's landscapes in all of it's phases shows that all his landscapes have the heroic character. Only me features of me heroic are concealed under the naturalistic appearances.
In this respect Poussin's early and late landscapes have similar characteristics with Claude Lorrain's landscape. But Claude's works are more naturalistic than Poussin's both in composition and expression. Both painters selected the subjects from the bible and the classical literature. But Poussin's landscapes are more strict in form and more moralistic in subject while the Claud's are more natural and poetic. In other words Poussin's paintings are heroic while Claude's are pastoral and lytic. Poussin prefered historical subjects more, while Claude depicted the natural scenes independently and transformed it into arcadian landscapes.
Despite the minute differences the landscapes of both Poussin and Claude are typically classical because they prefer me general to individual, because the general represents the order and the intrinsic phenomenon of nature. In this point the two painters can be judged as same, And on this point we can reconsider De Piles view on Poussin and Claude. His concept and evaluation was not freed totally from the traditional academic view and on account of it his evaluation of Claude was not fair.
목차
시작하며
고전주의 풍경화의 성립
영웅적 풍경화와 전원적 풍경화: 드 필르의 이론
푸생 풍경화에서의 고전주의
고전주의 풍경화와 미: 푸생과 클로드
마치면서
ABSTRACT
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