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  1. 著者
  2. I
  3. 石井 康夫
  1. 紀要
  2. 麻布大学雑誌
  3. 麻布大学雑誌vol.27 (2015)

Considerations on Jean Fautrier’s Paintings and their Literary Context

https://az.repo.nii.ac.jp/records/4517
https://az.repo.nii.ac.jp/records/4517
75bce228-0e8e-4581-b64c-66fb2baf8794
名前 / ファイル ライセンス アクション
bull_jau_vol27-001.pdf bull_jau_vol27-001.pdf (203.0 kB)
Item type 紀要論文 / Departmental Bulletin Paper(1)
公開日 2016-03-31
タイトル
タイトル Considerations on Jean Fautrier’s Paintings and their Literary Context
言語 en
言語
言語 eng
キーワード
言語 en
主題Scheme Other
主題 Art Informel
キーワード
言語 en
主題Scheme Other
主題 Poetical sentiment
キーワード
言語 en
主題Scheme Other
主題 Literary context
キーワード
言語 en
主題Scheme Other
主題 Impasto
キーワード
言語 en
主題Scheme Other
主題 Jean Fautrier
資源タイプ
資源タイプ識別子 http://purl.org/coar/resource_type/c_6501
資源タイプ departmental bulletin paper
ページ属性
内容記述タイプ Other
内容記述 P(論文)
記事種別
内容記述タイプ Other
内容記述 原著論文
Type
内容記述タイプ Other
内容記述 ORIGINAL ARTICLE
著者 Ishii, Yasuo

× Ishii, Yasuo

Ishii, Yasuo

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Ishii, Yasuo

× Ishii, Yasuo

en Ishii, Yasuo

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Author ID
000270
Institution or Company
Laboratory of Basic Education, School of Veterinary Medicine, Azabu University
Abstract
内容記述タイプ Other
内容記述 In the 20th century, paintings were created as a result of essentially free and subjective activities of individuals. During the transition to modernism, numerous works emerged, painted on the basis of greater subjectivity and more innovative ideas for art. These ideas resulted in a more uniquely subjective and abstracted creativity. In the case of Jean Fautrier, although his early works were based on realism, he also transformed and altered his style of expression, and finally adopted a method of ‘impasto.’
After World War Two, a more eccentric abstraction, painting without any form or style, emerged. The resulting works were the products of more arbitrary and independent intentions of painters as individuals. At the same time, it is certainly true that modern art after the 1950s has been criticized in many respects. As abstract modern art diverged from tradition and from the conservative creativity of western painting, art without form became a target for traditional criticism. Jean Fautrier’s sequence of works, Otage, was an early example of what Michel Tapié named Art Informel. The motif is clearly the threat of violence by Nazism and the victims of that violence; Fautrier’s expression is quite impressive and understandable as a product of historical disaster. Inhuman cruelty, deformed in the medium of thick oil painting, claimed a literary context which is inherent in the paintings. However, the essence of the works is possible only when expression is consistent with the literary context. Extreme deformation by Fautrier is clearly a product of the literary predicament which he experienced during the war. Fautrier’s trial is regarded as pre-Art Informel, inherited in the trend of abstractionism. Such an idea for abstractionism, different from that of W. Kandinsky or P. Klee, transformed traditional ideas of art into a more indecipherable form and deformed the individual’s concept. This study intends to examine the essence of Fautrier’s works and clarify the literary context behind his art, from the basis of criticism of modern art.
書誌情報 麻布大学雑誌
en : Journal of Azabu University

巻 27, p. 1-10, 発行日 2016-03-31
出版者
出版者 麻布大学
Publisher
出版者 Azabu University
ISSN
収録物識別子タイプ ISSN
収録物識別子 1346-5880
書誌レコードID
収録物識別子タイプ NCID
収録物識別子 AA11561469
著者版フラグ
出版タイプ VoR
出版タイプResource http://purl.org/coar/version/c_970fb48d4fbd8a85
text version
出版タイプ VoR
出版タイプResource http://purl.org/coar/version/c_970fb48d4fbd8a85
format
内容記述タイプ Other
内容記述 application/pdf
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