인물조각의 닮음과 정신의 교감 Expression and Resonance of Bronze Statue

[미관彌款]

Verisimilitude is, of course, counts most in the portraits and figure sculpture. However, but for resonance with the human spirit, what is the reason to be shown in public and art history? Therefore, superb mind to built spiritual statue is essential on the basis of the strict formality and the thoughtful contents. 

싱거비 전 합니다. 청계천 버들다리를 지나면서 *전태일 동상을 봤는데...짠하더라...석유를 뿌리고 분신을 하곤 내가 못다 한 일을 어머니가 이뤄주시라는 유언을 남겼다니...이 몸이 죽고 죽어 일백 번 고쳐죽어도 해 내고 말리라는...살신성인殺身成仁의 각오가 결국 노동환경개선과 사회적 공감대를 이끌어내는 단초가 되었다고 봐야지?

우서비 태 합니다. 아름다운 죽음이란 말은 가슴에 와 닿는데...꼭 죽어야 사는 사회풍조라는 건 꼭 아름답지는 않아 보이고...그 동상-초상-사진 등에 구현된 인물의 닮음이

라는 것도 아름다워 보이진 않더라...1970년대의 일이라지만 꼭 시꺼먼 조각상이어야 할까...인물의 닮음-정신의 교감-영혼의 진동이 느껴지는 조형적 배려가 필요

하진 않을까...

매깨비 일 합니다. *앵그르가 성취한 *베르탱의 초상이 인물과의 닮음으로 성취되는 정신적 교감을 보는 사람에게 일깨워줬다...면 *로뎅

이 조성한 *발작 상은 정신의 닮음을 통해 발작의 내면과 사상성을 외표한다는 점에서 인물조각의 백미라 할 만하겠지...자연함수적인 닮음을 초탈한 형이상학적 닮음...이젠 숙고해야할 때가 되지 않았을까?

*발작-권장발음 및 표기 발자ㄱ

#전태일 #全泰壹 #앵그르 #베르탱 #로뎅 #발작

#Ingre #Bertin #Rodin #Balzac

전태일全泰壹

한국의 노동운동을 상징하는 인물로 봉제노동자로 일하면서 열악한 노동조건 개선을 위해 노력하다가 1970년 11월 노동자는 기계가 아니라고 외치며 분신하였다. 그의 죽음은 한국 노동운동 발전에 중요한 계기가 되었다.

1948.8.26 ~ 1970.11.13

[네이버 지식백과] 전태일 [全泰壹] (두산백과)

...

그가 자신의 몸을 불태웠던 청계천 6가의 ‘버들다리’ 위에 2005년 그의 정신을 기리는 반신 부조가 설치되었다.

https://terms.naver.com/entry.nhn?docId=1256959&cid=40942&categoryId=33385

Portrait of Monsieur Bertin

Jean-Auguste-Dominique Ingres, Portrait of Monsieur Bertin, 1832, oil on canvas, 116.2 cm × 94.9 cm (45.7 in × 37.4 in). Musée du Louvre

Portrait of Monsieur Bertin is an 1832 oil on canvas painting by Jean-Auguste-Dominique Ingres. It depicts Louis-François Bertin (1766–1841), the French writer, art collector and director of the pro-royalist Journal des débats. Ingres completed the portrait during his first period of success; having achieved acclaim as a history painter, he accepted portrait commissions with reluctance, regarding them as a distraction from more important work. Bertin was a friend and a politically active member of the French upper-middle class. Ingres presents him as a personification of the commercially minded leaders of the liberal reign of Louis Philippe I. He is physically imposing and self-assured, but his real-life personality shines through – warm, wry and engaging to those who had earned his trust.

베르텡은 강건한 몸매에 자신감 넘치는 사람이다. 그러나 실제로는 따스하면서도 배배꼬인 그러나 마음을 끄는...빛나는 인물이었다.

The painting had a prolonged genesis. Ingres agonised over the pose and made several preparatory sketches. The final work faithfully captures the sitter's character,[1] conveying both a restless energy and imposing bulk. It is an unflinchingly realistic depiction of ageing and emphasises the furrowed skin and thinning hair of an overweight man who yet maintains his resolve and determination. He sits in three-quarter profile against a brown ground lit from the right, his fingers are pronounced and highly detailed, while the polish of his chair reflects light from an unseen window.

Ingres' portrait of Bertin was a critical and popular success, but the sitter was a private person. Although his family worried about caricature and disapproved, it became widely known and sealed the artist's reputation. It was praised at the Paris Salon of 1833, and has been influential to both academic painters such as Léon Bonnat and later modernists including Pablo Picasso and Félix Vallotton. Today art critics regard it as Ingres' finest male portrait. It has been on permanent display at the Musée du Louvre since 1897.

https://en.wikipedia.org/wiki/Portrait_of_Monsieur_Bertin

Portrait of Louis-François Bertin,

called Bertin the Elder (1766-1841)

© 2010 Musée du Louvre / Angèle Dequier

The character and social status of Louis-François Bertin, who founded the Journal des Débats and backed Louis-Philippe, come to the fore in this painting. Ingres created the archetype of the triumphant bourgeoisie of the 1830s. This is the most realistic portrait he ever painted; the messy-haired sitter looks as though he has just been interrupted while in mid-conservation. This painting is also striking because of the amazingly sharp details.

A press baron

A stocky, gray-haired man of about 60 sits gazing intensely at the viewer. His facial expression‎, casual pose, and hands resting on his knees radiate a barely contained energy; he looks poised to spring into action. This portrait perfectly reflects the character and social status of Louis-François Bertin (1766-1841), journalist, businessman, and owner of the Journal des Débats. He backed the idea of a constitutional monarchy, which landed him in jail under the First Empire, and opposed the regime of Charles X. When Ingres painted this portrait, during the July Monarchy, Bertin's newspaper, which was read by the liberal bourgeoisie, supported the government of Louis-Philippe, whom he had helped to put on the throne.

"The Buddha of the bourgeoisie"

Ingres painted this portrait in 1832 during his Paris period, which lasted from 1824 to 1834. The revolutionary of 1806 was henceforth deemed David's successor, the defender of tradition against Delacroix and the Romantics. This was when the artist produced his painting manifestos, such as The Apotheosis of Homer (Louvre), but only a few portraits; he did most of them during other periods in his life. At the Salon of 1833, Ingres exhibited this picture next to an older portrait, Madame Duvauçay (1807, Chantilly, Musée Condé), to show how his style had evolved. The sitter's pose drew barbs from some critics, who found it ridiculous and vulgar. Later, Bertin's daughter wrote, "My father looked like a great lord; Ingres turned him into a fat farmer." This work, which is the most famous male portrait Ingres painted, is often considered the embodiment of a social class. Indeed, Édouard Manet described Bertin as "the Buddha of the self-satisfied, well-to-do, triumphant bourgeoisie."

마네는 베르탱을 부유하고 잘 사는 부르조아...자기만족에 빠진 부처라고 묘사했다.

Photographic truthfulness

This is probably Ingres's most realistic painting. Unlike his other portraits, such as Caroline Rivière (Louvre), the sitter's pose is not based on older pictures or Raphael's portraits. The artist captured Bertin as he observed him in mid-conversation at home one day. Ingres achieved painstakingly crisp precision in the details, the imperfections of the face, and the tousled hair; the reflection of a window on one of the chair's arms recalls the art of Jan Van Eyck. This work does not have the abstract contours of La Grande Odalisque (Louvre), but the malleable anatomy that the artist enjoyed depicting is in evidence, and his fondness for curves can be seen in Bertin's arm and the chair's backrest. Lastly, Ingres compressed the painting's space, as he often did.

Bibliography

Rosenblum Robert, Ingres, Paris, Cercle d'art, 1968, pp. 134-137.Toussaint Hélène, Les Portraits d'Ingres, Paris, Éditions de la Réunion des musées nationaux, 1985, pp. 71-75.Ternois Daniel, Monsieur Bertin, Collection "Solo", Paris, Éditions de la Réunion des musées nationaux, 1998.Carrington Shelton Andrew, in Portraits by Ingres. Image of an epoch, catalogue d'exposition, New York, The Metropolitan Museum of Art, London, The National Gallery, 1999, pp. 300-307

https://www.louvre.fr/en/oeuvre-notices/louis-francois-bertin

Ingres Bertin

https://www.google.com/search?q=ingres+bertin&sxsrf=ALeKk03lSUCf8OJcIRrKpgZO8NuzbGt45w:1592188633058&source=lnms&tbm=isch&sa=X&ved=2ahUKEwij1I3v5ILqAhXiFqYKHSanDh0Q_AUoAXoECB8QAw&biw=1216&bih=1110

MONUMENT TO BALZAC

Auguste Rodin (1840 -1917)

1898

Bronze H. 270 cm ; W. 120.5 cm ; D. 128 cm

S.1296

Having conducted his research into Balzac’s body and head simultaneously, Rodin ended up with an assemblage in which these two elements conveyed their own values. While the head had evolved from a portrait resembling the writer into a concentration of expressive features , the body had moved in the opposite direction, veering towards a dilution of form in a symphony of nuances materialized in the fluid surface of the dressing gown .

What Rodin finally produced in 1897, after six years of labour, was a revolutionary monument. Stripped of the writer’s usual attributes (armchair, pen,book…), his Balzac was not so much a portrait but a powerful evocation of the visionary genius whose gaze dominated the world, of the inspired creator draped in the monk’s habit he used to wear when writing.

로뎅은 발작을 만들면서 세상을 지배하는 강렬한 초혼의 환각에 사로잡힌 천재의 시선을 구현했다..라기 보다는 집필할 때 수도자들의 입는 옷을 걸친...영감을 받은 창조자로 만들어냈다.

This overly innovative monument caused such an outrage when it was unveiled in 1898 that the commission was cancelled. Rodin never saw his monument cast in bronze.

Rodin Balzac

https://www.google.com/search?q=rodin+balzac&tbm=isch&ved=2ahUKEwiLz-3x5ILqAhUNy4sBHY-7BhUQ2-cCegQIABAA&oq=rodin+b&gs_lcp=CgNpbWcQARgAMgIIADICCAAyAggAMgIIADICCAAyAggAMgIIADICCAAyAggAMgIIADoECCMQJzoFCAAQsQM6BwgjEOoCECc6BAgAEENQgO0GWM7BB2DB3wdoBXAAeACAAZ4BiAHgCpIBBDAuMTKYAQCgAQGqAQtnd3Mtd2l6LWltZ7ABCg&sclient=img&ei=3t7mXovoMY2Wr7wPj_eaqAE&bih=1110&biw=1216