프랭크 스텔라의 後期作品 硏究 : 1970년대 이후 부조회화를 중심으로
(A) Study on the post works of Frank Stella : Focused on relief-painting in the late 1970s
프랭크스텔라 부조회화 미술작품 작품연구;
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This article analyzed the structural characteristics and significance of Frank Philip Stella's late1970s paintings, who turned abstract painting into a 'thing in the world' rathe than pictures or signs of thoughts or emotions, also began his three-dimednsional relief paintings, composed of planes and geometrical components, by excluding the illusions, and finally gave birth to the relief painting in 1970s. The austere early black paintings associated with his first public showing had given way to a series of colorful shaped canvases that initially featured polygons and later emphasized protractor-derived curves. In all these efforts, Stella maintained a stylistic consistency that assured him a central place among the Post-Painterly Abstractionists, who kept their works free of any incident that might compromise the flatness of the picture plane. In fact, the narrow strips that he placed next to each other were parallel and undeviating in their two-dimensionality. His oeuvre was about as close to Euclidean geometry as American paint ing got in those days. In chapter 1, the author tried to analyze the developmental process of his early painting and the source of his art by lighting up the formation of modernism and its development. In chapter 2 of this article, the author tried not only to investigate the developmental process of his early paint ins and the role of Shaped Canvas, which is a precursor of Relief painting but also to inquire the motive of a new form of expression, called Relief painting which has a combined characteristics of paint ins and sculpture. In the late 1970s, stella's painting style went to a dramatic change, which is post-painterly abstraction. This abstraction has been analyzed by closely inspecting his real intention and contention and, therefore, the author tried to make up a tool to assay the structural characteristics and meaning of late 70's paintings. In chapter 3, analysis was made after dividing his Relief-painting into two spaces, a realistic space and a phantom space. This enabled to find out the process of overcoming limitation in two-dimentionality and to replace the flat fictional space with realistic space. In chapter 4, the author tried to find out a reason to invent a new form of expression, Relief-painting, which has a combined characteristics of painting and sculpture. In those early days, the work itself was logical and rational, where he actualized his thoughts into the painting with forming his own conviction in art. Stella soon tired of styles of his conviction as a modernist while keeping on doing such paintings. It was anything remotely suggestive of Abstract Expressionist bravura or improvisation. Anything, indeed, that alluded to an overt expression of emotion as categorically disallowed. In the mid-1970s, Stella began further expressive investigations, adding surface brushwork, thus differentiating some planes texturally from others, and introducing looping forms taken from french curves In 1970, he began his three-dimensional relief paintings. He began to produce works which emphasised the picture-as-object, rather than the picture as a representation of something, be it something in the physical world, or something in the artist's emotional world. Around this time he said that a picture was "a flat surface with paint on it - nothing more". Frank Stella's work is characterized by changing styles. Abstract expressionist paintings of his student days gave way to minimalist work that soon incorporated shaped canvases and eventually stressed color and curved motifs. By the 1980s his minimalist aesthetic had been replaced by dynamic mixed media pieces. Shaped paintings developed into wall constructions with large, projecting, multiple components and lively brush stroke patterns, By the 1990s, much of Stella's work was fully three-dimensional. He broke the stereotypes that should be flat and He is a print maker of the subjects and styles of his paintings. Moreover, it is impressive enough to warrant the hope that larger commissions will come Stella's way, grant ins him the opportunity to prove in material form. What is worth remembering, however, is the unmistakable derivation of the design from preceding paintings and sculptures.