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찰스 데무스의 포스터 초상화 연구 / 주민선 1

I. 들어가며 1

II. 유럽문화의 수용과 새로운 '아메리카니즘'에의 열망 3

III. 포스터 초상화의 상징적 의미 분석 8

1. 포스터 초상화에 드러난 대상(sitter)의 상징적 기호 8

2. '아메리카즘'을 향한 집단 정체성의 표출 14

3. 집단정체성을 표출을 통한 데무스의 자아정체성 17

IV. 나가며 21

참고문헌 23

Abstract 25

초록보기

American artist Charles Demuth is well known as a member of the Precisionists and also

as a water colorist. Particularly, he produced portraits from 1923 to 1929 showing figures

of 10 American artists, writers and actors: Georgia O’Keeffe, Marsden Hartley, Charles

Duncan, Arthur Dove, John Marin, William Carlos Williams, Gertrude Stein, Wallace

Stevens, Eugene O’Neil and Bert Savoy whom are selected by Demuth.

This series named “Poster portraits” are not consists of actual man’s figure, but various

still life and texts which bring up the image of modern advertisement poster. He selected

objects, texts and its arrangement deeply involved with the sitter’s characteristic, life, work,

and their thoughts. In 1920s, American artists began to create “American” modern art

based on their modern experience. In other words, the American modern art world of the

1920s was in strong demand for American artists who created art that could be identified as

being solely “American”. And at the time, American art world was under the leadership of

Alfred Stieglitz. So on the other hand, Demuth began his series of poster portraits also in

order to receive the recognition of Alfred Stieglitz as a true American artist. And Demuth’s

poster portraits are showing himself in indirectly and symbolic way. Consequently his

poster portraits feature not only about each sitter but also personal relationships between

sitter and Demuth. As making poster portrait series, there seems a certain purpose to

strength self-identity becoming a member of Stieglitz circle.

After the outbreak of the First World War I in 1914, the United States arose as the new

center of the modern art world instead of Europe. Although it was 1940s that America

became the heart of modern art through Abstract Expressionism, 1920s were the period

which they were most concerned about their national identity. And we can strongly feel

their concerns considering the letters exchanged among Demuth and Stieglitz and the

other models of his poster portraits. So to speak, the motivation behind Demuth’s poster

portraits series involved the over all mood of the American society, the state of the

American modern art and the distinctiveness of the American visual culture during the

early 20th century.

Demuth’s poster portraits attempted to establish an identity of America and American

art separate from that of Europe’s. Although European artists Francis Picabia and Marious

de Zaya made symbolic machine portraits ahead of Demuth, there are certain differences

between European Dadaists and Demuth in using text and selecting images. Also his

interests in the visual culture of the 1920s such as billboards and advertisements has been

credited as being the source of inspiration that started his poster portraits series. So to

speak, his poster portraits are advertising American Modern art world based on modern

America consume society. In conclusion, Demuth’s poster portraits seems to symbolize

each sitter with still life and texts, sitters's name or not, identical form of advertisement, but

it also feature relationship with sitter and Demuth himself and finally it could be considered

as group portraits under the name of “Americanism”.

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찰스 데무스의 포스터 초상화 연구 주민선 pp.7-32

보기
폐쇄와 개방의 양면성 : 이슬람 문화와 이란 디아스포라 여성예술가 주하영 pp.33-72

보기
바이마르 독일에서의 테크놀로지와 신여성상에 대한 양가적 태도 고찰 김희영 pp.73-103

보기
프랭크 로이드 라이트와 아시아 미술 : 동서미술교류를 바라보는 새로운 관점의 모색 정무정 pp.105-132

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현대미술 속의 신체변형 : 포스트휴먼적 '경계존재'의 실행 방식들 전혜숙 pp.133-160

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단색조 회화의 다색조 맥락 : 젠더의 창으로 접근하기 윤난지 pp.161-198

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추상과 죽음 : 앤디 워홀의 후기작 강태희 pp.199-231

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제니 홀저의 텍스트 작업에 나타난 정치성 오유진 pp.233-263

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참고문헌 (23건) : 자료제공( 네이버학술정보 )

참고문헌 목록에 대한 테이블로 번호, 참고문헌, 국회도서관 소장유무로 구성되어 있습니다.
번호 참고문헌 국회도서관 소장유무
1 스콧 래쉬, 조나단 프리드먼, 윤호병 외 역,『 현대성과 정체성』, 현대미학사, 1997. 미소장
2 앤서니 기든스, 권기돈 역,『 현대성과 자아정체성』, 새물결, 1991. 미소장
3 Brennan, Marcia, Painting Gender, Constructing Theory: The Alfred Stieglitz Circle and American Formalist Aesthetics , Cambridge, Massachusetts: The MIT Press, 2001. 미소장
4 Corn, Wanda M., The Great American Thing: Modern art and National Identity, 1915-1935 , Berkeley: University of California Press, 1999. 미소장
5 Frank, Robin Jaffee, Charles Demuth: Poster Portraits, 1923-1929 , Yale University Art Gallery, 1994, 미소장
6 Haskell, Barbara, Charles Demuth, Exhibition Catalogue of Whitney Museum ofAmerican Art, 1987. 미소장
7 Kellner, Bruce, ed., Letters of Charles Demuth, American Artist, 1883-1935 , TempleUniversity Press, 2000. 미소장
8 Ritchie, Andrew C., Charles Demuth, Exhibition Catalogue of Museum of ModernArt, New York, 1950. 미소장
9 Stavitsky, Gail, Precisionism in America 1915-1941: Reordering Reality, New York: Harry N. Abrams, 1994. 미소장
10 Tashjian, Dickran, William Carlos Williams and the American Scene, 1920-1940 , New York: Whitney Museum of Art, 1978. 미소장
11 Weinberg, Jonathan, Speaking for Vice: Homosexuality in the Art of CharlesDemuth, Marsden Hartley and the First American Avant-garde , New Haven: Yale University Press, 1993. 미소장
12 신채기, 「1910년에서 1930년대까지 미국 미술에 나타난 국가 정체성에 관한 연구」, 이화여자대학교 대학원 박사학위 논문, 2004. 미소장
13 Re-examining Precicionism : The Paradox behand its Rhetorics and Scholarship 소장
14 윌리엄 칼로스 윌리엄즈와 찰스 디무스의 상호텍스트성 연구 소장
15 "I Saw the Figure 5 in Gold": Charles Demuth's Emblematic Portrait of William Carlos Williams 네이버 미소장
16 William Carlos Williams and Charles Demuth: Cross-Fertilization in the Arts 네이버 미소장
17 Burgard, Timothy A.,“ Charles Demuth’s Longhi on Broadway: Homage to Eugene O’Neil”, Arts Magazine , vol. 58, January, 1984. 미소장
18 Champa, Kermit, “Charlie was Like That”, Artforum, vol. 12, March, 1974. 미소장
19 Davidson, Abraham A., “Demuth’s Poster Portraits”, Artforum, vol. 17, no. 3, November, 1978. 미소장
20 Davidson, Abraham A.,“ Cubism and the Early American Modernist”, Art Journal , vol. 26, Winter, 1966-67. 미소장
21 Friedman, Martin, “The Precisionist View”, Art in America , vol. 48, November, 1960 . 미소장
22 My Egypt: The Irony of the American Dream 네이버 미소장
23 Schwartz, Sanford, “Glimpsing the ‘Hidden’ Demuth”, Art in America , vol. 64, September-October, 1976. 미소장

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