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                           LES MUSEE DE PARIS

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3. ±×·Î,Gros/µ¥À̺ñµå,David/Á¦¸®ÄÚ,Gericeau/µé¶óÅ©·ç¾Æ,Delacroix/¼ÎÆä¸£
2008/05/02 ¿ÀÈÄ 12:41 | ÇÁ¶û½º ¹Ú¹°°ü

 

                                                          

¡ü ±×·Î : ³ªÆú·¹¿Ë I ¼¼°¡ Àü¿°º´¿¡ °É¸° ȯÀÚ µéÀ» ¹æ¹®. Antoine-Jean Gros(1771-1835), Napoleon Visiting the Plague-stricken at Jaffa, 1804, The Louvre Museum.
*  ³ªÆú·¹¿Ë I ¼¼°¡ ÀÚ½ÅÀÇ '¼±Àü¿ë'À¸·Î ±×¸®°Ô Çß´Ù.
*  ±×·Î, Baron Antoine-Jean Gros : ÇÁ¶û½ºÀÇ È­°¡; ³ªÆú·¹¿Ë I ¼¼ÀÇ Á¾±ºÈ­°¡¿´´Ù. French painter.

                                                     

¡ü µ¥À̺ñµå, ÀÚÅ©-·çÀÌ: ³ªÆú·¹¿ËÀÇ ´ë°ü½Ä(ÀϺÎ),  Jacques-Louis David (1748-1825), Coronation of Napoleon (only part), 1805-07, The Louvre Museum.
* 1804³â 12¿ù 2ÀÏ, ³ªÆú·¹¿Ë º¸³ªÆÄ¸£Æ®ÀÇ È²Á¦·ÎÀÇ ÁïÀ§½ÄÀº ³ëÆ®¸£´ã ¼º´ç¿¡¼­ ¿­¸°´Ù.   ¼¾ÅͽºÅ×ÀÌÁö¿¡ ÀÖ´Â ³ªÆú·¹¿ËÀº ±³È² ºñ¿À 7¼¼ ¿¡°Ô¼­ ¿Õ°üÀ» °®°í ¿Í¼­ ÀÚ±â¸Ó¸®¿¡ ÀÚ½ÅÀÌ ¿Ã¸®°í, ±×¸®°í ±×ÀÇ È²ÈÄ, Á¶¼¼ÇÉÀÇ ¸Ó¸®À§¿¡ ±× ÀÚ½ÅÀÌ °üÀ» ¾º¿î´Ù.  ±³È² ºñ¿À 7¼¼´Â ÀÌ ´ë°ü½Ä¿¡ ¸¶Áö¸øÇØ Âü¼®ÇÏ¿´´Ù.

     On December 2, 1804, the coronation of Napoleon Bonaparte as emperor of the French took place at Notre-Dame Cathedral in Paris.  Napoleon, at center stage, was anointed, took the imperial crown away from Pope Pius VII, and crowned himself and then his empress. 
* µ¥À̺ñµå, Jacques-Louis David : ÇÁ¶û½ºÀÇ È­°¡.  ³ªÆú·¹¿Ë I ¼¼ÀÇ ±ÃÁ¤È­°¡¿´´Ù. French painter and leading figure in the neoclassical movement.  David welcomed the French Revolution in 1789 and painted pictures including The Oath of the Horatii, etc.

 

                                                                            

¡ü Å׿Àµµ¸£ Á¦¸®ÄÚ: ¸ÞµÎÁîÈ£ÀÇ ¶Â¸ñ, Theodore Gericeau (1791-1824), The Raft of the "Meduse", 1819, The Louvre Museum.
* 1816³â¿¡ ÇÁ¶û½ºÀÇ ÇÁ¸®ÄÉÀÌÆ® ÇÔ ¸ÞµÎ»çÈ£°¡ À̹ÎÀ» ¿Å±â´Â µµÁß¿¡ ¼±ÀåÀÇ ¹«°æÇèÀ¸·Î ÁÂÃÊÇß´Ù. Àå±³µé°ú °íÀ§ÀλçµéÀº ±¸¸íº¸Æ®¸¦ Ÿ°í ±¸Á¶ µÇ¾ú´Ù. ³ª¸ÓÁö 150¸í ½Â°´µéÀº ¶Â¸ñÀ» ±ÞÁ¶, ±¤´ëÇÑ ¹Ù´Ù¸¦ 13Àϰ£ Ç¥·ùÇÏ´Ù°¡ 15¸íÀÌ »ýÁ¸ÇÏ¿´´Ù.  ÀÌ¿¡ »ýÁ¸ÀÚÀÇ Áõ¾ðÀ» µè°í ±×¸° ±×¸²À¸·Î, »ì±â À§ÇØ »ýÁ¸ÀÚµéÀÌ ÀúÁú·¶´ø »ìÀÎ, ºñ¿­ÇÑ ÇàÀ§ µî Àΰ£Àû Á˾ÇÀ» ½Ã°¢È­ÇÑ Çõ¸íÀûÀÎ ÀÛǰÀ̶ó°í ÇÒ ¼ö ÀÖ´Ù. 

   In 1816 the frigate La Meduse ran aground off Cape Blanco.  The officers and dignitaries aboard the ship took to the lifeboats, while a raft was constructed to hold the crew and other passengers. The raft held almost a 150 people who were then abandoned to their fate.  After drifting at sea for 13 days, only 15 of them were left alive when they were rescued by the navy vessel Argus.  The raft, laden with bodies, some of them lifeless, rides the waves of a dark and stormy sea.  He conveys in masterly fashion the feelings of fear, madness and foreboding that appear on the faces of the survivors. 

 

 

                                                                                   

¡ü Á¦¸®ÄÚ: "¹ÌÄ£ ¿©ÀÚ" ¶Ç´Â 'ÁúÅõ'¿¡¸¸ ÁýÂøÇÏ´Â Á¤½Åº´ÀÚ. Theodore Gericault (1791-1824), The Monomaniac of Envy, c.1819-22, Museum of Fine Arts, Lyon, France.
* Á¦¸®ÄÚ: ÇÁ¶û½ºÀÇ È­°¡. Gericault, T: French painter.

 

                                                                

¡ü ¿ÜÁ¨´À µé¶óÅ©·ç¾Æ: '¹ÎÁßÀ» À̲ô´Â ÀÚÀ¯ÀÇ ¿©½Å'.  Eugene Delacroix (1798-1863), Liberty Leading the People, 1830, The Louvre Museum.
* 1830³â 7¿ù 28ÀÏ¿¡ º¹°í¿ÕÁ¤¿¡ ¹Ý´ëÇÏ¿© ÀϾ ½Ã¹ÎµéÀÌ 3Àϰ£ÀÇ ½Ã°¡Àü ³¡¿¡ ºÎ¸£ºÀ ¿Õ°¡¸¦ ³Ñ¾î¶ß¸®°í ·çÀÌ Çʸ³À» ±¹¿ÕÀ¸·Î ¸ÂÀº 7¿ù Çõ¸í("July Revolution")À» Çü»óÈ­ÇÑ °ÍÀÌ´Ù.  ±ºÁßÀÇ ¼±µÎ¿¡ ³ª¼­ ±ê¹ßÀ» µé°í ÀÖ´Â, ±×¸®°í ¼­½¿¾øÀÌ ¾Õ°¡½¿À» ³»º¸ÀÌ´Â ¿©ÀÎÀº °Ç°­¹Ì¿Í °ü´É¹Ì¸¦ º¸ÀδÙ.  ÀÚÀ¯ÀÇ ¿©½Å °ç¿¡ ³ôÀº ¸ðÀÚ¸¦ ¾²°í µÎ ¼ÕÀ¸·Î ÃÑÀ» Áå û³âÀÌ º¸À̴µ¥ È­°¡ÀÎ µé¶óÅ©·ç¾Æ ÀÚ½ÅÀÇ ÃÊ»óÀ̶ó´Â °ÍÀÌ´Ù.  ÀÚÀ¯¸¦ ½ÂÃëÇÏ´Â ¼­¹ÎÀÇ ¿ë°¨ÇÑ ¸ð½ÀÀÌ ½Ãü°¡ ½×¿©ÀÖ´Â À§¸¦ ÀüÁøÇØ °¡´Â ÀÚÀ¯¸¦ À§ÇØ Ç×ÀïÇÏ´Â ¿µ¿õ½Ã¹ÎÀÇ ÇൿÀ» º»´Ù.

   In 1830 the Bourbons, back on the throne of France after the Congress of Vienna, were swept away by a popular insurrection that lasted just 3 days, and which has gone down in history as the "July Revolution."  Delacroix took part in the uprising, and is shown here on the left of the composition, advancing with determination, a top hat on his head and a rifle in his arms.  In keeping with the patriotic idealism of the work, Delacroix painted the picture predominantly in the colors of the flag of the French republic, red, white and blue.  The figure of Liberty is shown as "a strong woman with firm breasts, a husky voice, solid hips." 
* µé¶óÅ©·ç¾Æ, Delacroix: ÇÁ¶û½º ³¶¸¸ÁÖÀÇÀÇ ´ëÇ¥Àû È­°¡.  French painter and leading figure in the romantic movement in art.

 

                                                                                  

¡ü ¾Æ¸® ¼ÎÆä¸£: ´ÜÅ×¿Í ¹öÁú ¾Õ¿¡ ³ªÅ¸³­ ÆÄ¿Ã·Î¿Í ÇÁ¶õü½ºÄ«ÀÇ È¥¹é. Ary Scheffer (1795-1858),  The Ghosts of Paolo and Francesca Appear to Dante and Virgil, 1855,  Louvre, Paris.
* Çü¼ö(ÇÁ¶õü½ºÄ«)¿Í ½Ãµ¿»ý(ÆÄ¿Ã·Î) »çÀÌÀÎ µÎ »ç¶÷Àº ¼­·Î »ç¶ûÇÏ°Ô µÈ´Ù.  °£À½ÇÑ ÁË·Î ºñÂüÇÏ°Ô »ìÇØµÇ¾î Áö¿ÁÀ» ¶°µµ´Â ¸Á·ÉÀÌ µÆ´Ù. ÀÌ ±×¸²Àº Áö¿ÁÀ» ãÀº ½ÃÀÎ ´ÜÅ׿͠ ¹öÁú ¾Õ¿¡ ³ªÅ¸³­ µÎ »ç¶÷ÀÇ ¸ð½ÀÀ» ±×¸° °ÍÀÌ´Ù. 
* Ary Scheffer: Dutch-born French painter.  He achieved great popularity with sentimental scenes from literature and history. He painted the portrait of Charles Dickens 1856. 

 

                                                                                   

¡ü Àå ¿À±Í½ºÆ® µµ¹Ì´ÏÅ© ¾Þ±×¸£: ¸¶µå¸ð¾ÆÁ© ¸®ºñ¿¡¸£. Jean-Auguste Ingres (1780-1867), Portrait of Mademoiselle Riviere, 1806, Louvre, Paris.
* Àå ¿À±Í½ºÆ® µµ¹Ì´ÏÅ© ¾Þ±×¸£ :  19¼¼±â ÇÁ¶û½ºÀÇ °íÀüÆÄ È­°¡ÀÌ´Ù. µé¶óÅ©·ç¾Æ°¡ À̲ô´Â ½ÅÈï³¶¸¸ÁÖÀÇ ¿îµ¿¿¡ ´ëÇ×ÇÏ´Â °íÀüÆÄÀÇ Áß½ÉÀû Á¸Àç°¡ µÇ¾ú´Ù. ÃÊ»óÈ­·, ¿ª»çÈ­, ƯÈ÷ ±×¸®½ºÁ¶°¢À» ¿¬»óÄÉ ÇÏ´Â ¿ì¾ÆÇÑ ³ªÃ¼È­¿¡¼­ ¹¦±â¸¦ ¹ßÈÖÇß´Ù.

ÆÄ¿Ã·Î¿Í ÇÁ¶õü½ºÄ« (Paolo and  Francesca) :

     ÇÁ¶õü½ºÄ«¿Í ÆÄ¿Ã·Î µÎ ¿¬ÀÎÀÇ À̾߱â´Â 13¼¼±â ¸» ½ÇÁ¦·Î ÀϾ´ø »ç°ÇÀ» ¹è°æÀ¸·Î ÇÑ´Ù. ¸»¶óÅ×½ºÅ¸ °¡¹®°ú ´Ù Æú·»Å¸ °¡¹®Àº »ó±Ç¿¡ ´ëÇÑ À̵æÀ» ÃëÇϱâ À§ÇØ Á¤·«°áÈ¥À» °èȹÇß´Ù. ´Ù Æú·»Å¸ °¡¹®¿¡´Â »ó¼Ó ¿© ÇÁ¶õü½ºÄ«°¡ ÀÖ¾ú°í, ¸»¶óÅ×½ºÅ¸ °¡¹®¿¡´Â µÎ ÇüÁ¦°¡ ÀÖ¾ú´Ù. µ¿»ýÀÎ ÆÄ¿Ã·Î´Â Àþ°í Àß»ý°åÁö¸¸, ÇüÀÎ Á¶¹Ý´Ï´Â ¿ë°¨ÇÏ¿´Áö¸¸ Àý¸§¹ßÀÌ¿´´Ù. ±×·¯³ª ÇÁ¶õü½ºÄ«´Â »ó¼ÓÀÚÀΠ Çü Á¶¹Ý´Ï¿Í °áÈ¥À» ÇØ¾ß Çß´Ù.

     °í½ÉÇÏ´ø ¸»¶óÅ×½ºÅ¸ °¡¹®ÀÇ »ç¶÷µéÀº ¹Ì³² µ¿»ý ÆÄ¿Ã·Î¿¡°Ô ûȥÇϵµ·Ï ÇÑ´Ù.  ÇÁ¶õü½ºÄ«´Â ¾Æ¹« ÀÇ½É ¾øÀÌ ÆÄ¿Ã·Î¸¦ µû¶ó°¡ ÇູÇÑ °áÈ¥½ÄÀ» ¿Ã¸®°í ù³¯¹ãÀ» º¸³»°Ô µÈ´Ù. ±×·±µ¥ »õº®¿¡ ÀáÀ» ±ü ÇÁ¶õü½ºÄ«´Â ±×¿Í °°ÀÌ ¹ãÀ» º¸³½ »ç¶÷Àº ÆÄ¿Ã·Î°¡ ¾Æ´Ñ ºÒ±¸ÀÚ Á¶¹Ý´Ï¿´´Ù´Â °ÍÀ» ¹ß°ßÇÑ´Ù.

     Çü Á¶¹Ý´Ï´Â ¼ºÀ» ºñ¿ì´Â ³¯ÀÌ ¸¹¾ÆÁ³´Ù. ÇÁ¶õü½ºÄ«¿Í ÆÄ¿Ã·Î´Â ¿¬¾Ö¼Ò¼³À» °°ÀÌ Àдø Áß ÁÖÀΰøµéÀÇ Å°½ºÀå¸é¿¡¼­ ¾Ö½á ¾ï´­¸° °¨Á¤ÀÌ Æø¹ßÇØ ºÒ·ûÀ» ÀúÁú¸£°Ô µÈ´Ù. ÇÁ¶õü½ºÄ«°¡ ÆÄ¿Ã·Î¿Í ÇÑâ »ç¶ûÀ» ³ª´©°í ÀÖ´Â ¼ø°£¿¡  Á¶¹Ý´Ï°¡ Ä®À» µé°í µÎ »ç¶÷À» µ¤Ä£´Ù.  ºñ·ÃÀÇ ³²³à, Çü¼ö¿Í ½Ãµ¿»ý »çÀÌÀÎ µÎ »ç¶÷Àº °£À½ÇÑ ÁË·Î ºñÂüÇÏ°Ô »ìÇØµÇ¾î Áö¿ÁÀ» ¶°µµ´Â ¸Á·ÉÀÌ µÆ´Ù. ÀÌ ±×¸²Àº Áö¿ÁÀ» ãÀº ½ÃÀÎ ´ÜÅ׿͠ ¹öÁú ¾Õ¿¡ ³ªÅ¸³­ µÎ »ç¶÷ÀÇ ¸ð½ÀÀ» ±×¸° °ÍÀÌ´Ù.
     Francesca da Rimini(1255-1285) was the daughter of Guido da Polenta, lord of Ravenna. She was a historical contemporary of Dante Alighieri, who portrayed her as a character in the Divine Comedy.  

     Guido I da Polenta had been at war with the Malatesta family. When a peace was negotiated, Guido wanted to solidify it by marrying his daughter Francesca to the Malatestan heir, Giovanni Malatesta, son of Malatesta da Verucchio, lord of Rimini. Giovanni was brave but lame and deformed. Guido knew Francesca would refuse Giovanni, so the wedding was performed by proxy through Giovanni's handsome brother, Paolo. Francesca fell in love with Paolo and was unaware of the deception until the morning after the wedding day.

     Francesca and Paolo were seduced by reading the story of Lancelot and Guinevere, and became lovers. Subsequently they were surprised and murdered by Giovanni.

Ref: 1) Wikipedia¿Í ´Ù¸¥ ÀÎÅͳÝ.

  2) ´ÜÅ×(Dante, 1265-1321)Àú, ÀÌ¿µ¼÷ ¿ª: ãêÍØ, 1983.

 

 

4. ¾Þ±×¸£, Ingres/ÇÁ¶óµð¿¡, Pradier/µé¶óÅ©·ç¾Æ, Delacroix.
2008/05/03 ¿À Àü 12:17 | ÇÁ¶û½º ¹Ú¹°°ü.

 

                                             

¡ü  Àå ¿À±Í½ºÆ® ¾Þ±×¸£: ¿À´Þ¸®½ºÅ©. Jean-Auguste Ingres (1780-1867), 1814, La Grande Odalisque, The Louvre Museum, Paris. 
¿À´Þ¸®½ºÅ©(Odalisque)´Â ȸ±³±¹¿¡¼­ º¼ ¼ö ÀÖ´Â '¿©Àڳ뿹, ¶Ç´Â ¼Ò½Ç'À» ¶æÇÑ´Ù.  ÀÌ ±×¸²Àº ±Ô°ÝÀÌ ¸ÂÁö ¾Ê´Â´Ù.  ¾ó±¼Àº ÀÛ°í, ¿Þ ÆÈÀº ¹Ù¸¥ ÆÈº¸´Ù ª°í, °ñ¹ÝÀÌ ±æ´Ù.  À̰ÍÀÌ È¸±³±¹ÀÇ ±ºÁֵ鿡°Ô ¼¼¼ÓÀûÀÎ ¸¸Á·À» ÁÙ ¼ö ÀÖ°í, ´õ °ü´ÉÀûÀ¸·Î º¸À̰Եµ ÇÑ´Ù. ÀÌ ±×¸²Àº ¼ÒÀ§ "µ¿¾ç½ÅºñÁÖÀÇ ¶Ç´Â Ãë¹Ì(Orientalism)"¸¦ ³ªÅ¸³»°í ÈÄ¿¡ ÇÁ¶û½º¿¡¼­ ´ë´ÜÇÑ Àα⸦ ¿Ã¸°´Ù.

     He portrays a concubine in languid pose as seen from behind with distorted proportions. The elongations have been deliberate distortions. The left arm of the odalisque is shorter than the right. The figure was longer by five instead of two or three vertebrae and that the excess affected the lengths of the pelvis and lower back instead of merely the lumbar region.

     Given how the duty of concubines were merely to satisfy the carnal pleasures of the sultan, this elongation of her pelvic area may have been a symbolic distortion by Ingres. He anticipated the genre of "Orientalism," which was to prove extremely popular in French art.

 

                                                                   

¡ü ¸£´©¾Æ¸£, ¿À´Þ¸®½ºÅ©. Auguste Renoir, Odalisque, 1870, National Gallery of Art, Wash. D.C. (ÇÁ¶û½ºÀÇ ¹Ú¹°°üÀÌ ¾Æ´Ô, the above painting is not from France)

 

                                                                      

¡ü ÇÁ¶óµð¿¡: : ¿À´Þ¸®½ºÅ©, James Pradier, Odalisque, 1841, Museum of Fine Arts, Lyon, France.
¡ü Àå ¿À±Í½ºÆ® ¾Þ±×¸£: ¸ñ¿åÇÏ´Â ¿©ÀÚ.  Jean-Auguste Ingres (1780-1867), The Bather, The Louvre Museum, Paris.

 

 

                                                          

¡ü  ¿ÜÁ¨´À µé¶óÅ©·ç¾Æ: ¾ËÁ¦¸®ÀÇ ¿©Àεé.  Eugene Delacroix (1798-1863), Women of Algiers in Their Apartment, 1834, The Louvre Museum, Paris. 
*   ÈıÃÀ¸·Î ÀÖ´Â ÇÏ·½ÀÇ ¿©ÀÚµéÀº ħ¹¬À» Áö۰í ÀÖ´Ù.  ´ÜÁö Èò ºí¶ó¿ì½º¸¦ ÀÔ°í ÀÖ´Â ¿©ÀÚ°¡ ¾ÆÆíÀ» ÇÇ¿ì°í ÀÖ´Ù.  ´ÜÁ¶·Î¿î »ýȰ ¼Ó¿¡ ¿ÜºÎ¿Í °Ý¸®µÇ¾î ÀÖ´Â ÀÌ ¿©ÀεéÀº º° °ü½É»çµµ ¾øÀÌ ´ÜÁ¶·Î¿î »ýȰÀ» ¿µÀ§ÇÑ´Ù.  ¹Ý¸é¿¡ ȣȭ·Ó°Ô Àå½ÄµÇ¾îÀÖ´Â Ä«Æê¿¡ ¾É¾ÆÀÖ°í, ±×¸®°í °ªºñ½Ñ ¸ñ°ÉÀ̸¦ °É°í ÀÖ´Ù.

     In the silence of the harem no one¡¡¡¡speaks and only the beautiful woman in the white blouse parts her lips to exhale the smoke of the hookah; the gazes are distant and indifferent and reflect the resignation of these women, segregated in a world of monotonous idleness in which the only bright touches of life are provided by the fabrics embroidered with gold, the colored rugs and the precious necklaces.

     The painting is notable for its sexual connotations; it depicts Algerian concubines of a harem. It also depicts opium, which often accompanied paintings of prostitutes. In the 19th century, the painting was known for its sexual content and its orientalism.

 

                                                                        

¡ü  Àå ¿À±Í½ºÆ® ¾Þ±×¸£: ÅÍŰ ¸ñ¿åÅÁ. Jean-Auguste Ingres (1780-1867): The Turkish Bath, 1863, The Louvre Museum, Paris. 
* °¡¿îµ¥ ¾É¾Æ ÀÖ´Â '¼­¾çÀÎ'ÀÎ ±Ý¹ßÀÇ ¿©ÀÚ°¡ °æÇèÇÑ °ÍÀ» ±âÃÊ·Î ±×¸° ±×¸²ÀÌ´Ù. ³ë¿¹°¡ ±×µéÀÇ ¸Ó¸®¸¦ °¡´Ùµë´Â µ¿¾È ÅÍŰ ¿©ÀεéÀº À½·á¼ö¸¦ ¸ÀÀ̰í ÀÖ´Ù.

 

5. ¹Ð·¹/µµ¹Ì¿¡. Millet/Daumier
2008/05/05 ¿ÀÈÄ 11:03 | ÇÁ¶û½º ¹Ú¹°°ü

 

Àå-ÇÁ¶û½º¿Í ¹Ð·¹, Jean Francois Millet (1814-75): ÇÁ¶û½ºÀÇ È­°¡·Î ³óºÎµéÀÇ »îÀ» ÁÖ·Î ±×¸®¾ú´Ù.  French painter whose pictures concentrated on themes of peasant life.

 

                                                     

¡ü Àå-ÇÁ¶û½º¿Í ¹Ð·¹, ¸¸Á¾(عñ£). Jean-Francois Millet(1814-75), The Angelus, 1857, The Orsay, Paris.  (Copied from Internet).

¸¸Á¾(عñ£), The Angelus:

     Àú³á³ëÀ»ÀÌ Áö´Â µé³è¿¡¼­ ÇÑ °¡³­ÇÑ ³óºÎ ºÎºÎ°¡ °í°³¸¦ ¼÷ÀΠä ±âµµ¸¦ Çϰí ÀÖ´Â ±×¸²À¸·Î º¸ÀδÙ. ij´Ù°¡ ¸¸ °¨ÀÚ°¡ ¹Ù´Ú¿¡ Èð¾îÁ® ÀÖ°í ¸Ö¸® º¸ÀÌ´Â ±³È¸´çÀÌ Á¤ÁöµÈ ¾Æ¸§´Ù¿òÀÇ ±ØÄ¡¸¦ º¸¿©ÁØ´Ù.  

     ±×·¸Áö¸¸ ÀÌ ±×¸²¿¡´Â ½½Ç À̾߱Ⱑ ¼û¾îÀÖ´Ù.  ÀþÀº ³óºÎ ºÎºÎ°¡ ¹Ù±¸´Ï¸¦ ¹ç ¹Ø¿¡ ³õ°í ±âµµÇϰí Àִµ¥ »ç¶÷µéÀº ±× ¹Ù±¸´Ï°¡ °¨ÀÚ ¾¾¿Í ¹çÀϵµ±¸¸¦ ´ãÀº ¹Ù±¸´Ï·Î ¾Ë°í ÀÖ´Ù. ±×·±µ¥ »ç½ÇÀº ±× ¹Ù±¸´Ï¿¡´Â ¾¾°¨ÀÚ°¡ µé¾îÀÖ´ø°Ô ¾Æ´Ï¶ó ±×µéÀÇ »ç¶ûÇÏ´Â ¾Æ±âÀÇ ½Ãü°¡ µé¾îÀÖ¾ú´Ù. ±× ½Ã´ë ¹è°íÇÄÀ» Âü°í ¾¾°¨ÀÚ¸¦ ½ÉÀ¸¸ç °Ü¿ïÀ» Áö³»¸é¼­ º½ÀÌ ¿À±â¸¦ ±â´Ù¸®°í ÀÖ¾ú´Ù.  ÇÏÁö¸¸ ±×µéÀÇ ¾Æ±â´Â ¹è°íÇÄÀ» ÂüÁö ¸øÇØ Á×Àº °ÍÀÌ´Ù.  Á×Àº ¾Æ±â¸¦ À§ÇØ ¸¶Áö¸·À¸·Î ºÎºÎ°¡ ±âµµÇÏ´Â ¸ð½ÀÀ» ±×¸° ±×¸²ÀÌ '¸¸Á¾'ÀÌ´Ù. 

     ¿Ö ±×¸² ¼ÓÀÇ ¾Æ±â°¡ »ç¶óÁ³À»±î? ÀÌ ±×¸²À» º¸°Ô µÈ ¹Ð·¹ÀÇ Ä£±¸°¡ Å« Ãæ°Ý°ú ¿ì·Á¸¦ º¸ÀÌ¸ç ¾Æ±â¸¦ ³ÖÁö ¸»ÀÚ°í ºÎŹÀ» Çß´Ù. ±×·¡¼­ ¹Ð·¹´Â °í½É ³¡¿¡ ¾Æ±â ´ë½Å °¨ÀÚ¸¦ ³Ö¾î ±×·Á ÃâǰÇß´Ù.  ±× ÀÌÈÄ ÀÌ »ç½ÇÀÌ ¾Ë·ÁÁöÁö ¾ÊÀº ä ±×Àú ³óÃÌÀÇ ÆòÈ­·Î¿òÀ» ´ã°í ÀÖ´Â ±×¸²À¸·Î À¯¸íÇØÁ³´Ù.   ¹Ì¼ú°üÀÌ Àڿܼ± Åõ»çÀÛ¾÷À» ÅëÇØ ±× °¨ÀÚÀÚ·ç°¡ Ãʹú±×¸²¿¡¼­´Â ½ÇÁ¦·Î ¾î¸°¾ÆÀÌÀÇ °üÀ̾úÀ½À» ÀÔÁõÇÑ °ÍÀÌ´Ù. (ÀÎÅͳݿ¡¼­ º£³¦). 

     Commissioned by a wealthy American, Thomas G. Appleton, and completed during the summer of 1857, Millet added a steeple and changed the initial title of the work, Prayer for the Potato Crop to The Angelus when the purchaser failed to take possession in 1859.   

     This famous painting depicts a young man and a young woman, both farmers, standing in a field and reciting the  Angelus, a prayer which commemorates the annunciation made to Mary by  the angel Gabriel..  He holds his cap reverently as he stands with head bowed.  She in a white cap and long blue apron over her dress clasps her hands as a prayerful look sets her face.  They pause in prayer near the end of the work day.  At the woman's feet is a basket of potatoes, and at her far side rests a wheelbarrow full of empty sacks. The viewer can almost hear the bells ringing from the spire of the church in the distant right of the painting. (copied from Internet).

¿À³ë·¹ µµ¹Ì¿¡, Honore Daumier (1808-79) :ÇÁ¶û½ºÀÇ È­°¡, ¼®ÆÇÈ­°¡, Á¶°¢°¡; »çȸ, Á¤Ä¡¸¦ dzÀÚÇÑ ¼®ÆÇ ¸¸È­¿¡ °ÉÃâ.   French caricaturist and painter whose satirical lithographs in La Caricature and Le Charivari exposed the foibles of contemporary French government and society. 

 

 

                                                                         

¡ü  µµ¹Ì¿¡: °øÈ­±¹.  Honore Daumier, The Republic, The Orsay, Paris.