History of Contemporary Art 1

Contemporary Art Movement, Criticism 1

History of Contemporary Art Criticism & Contemporary Art Movement [1] A new art concept interpreted as contemporary art criticism by contemporary art critic Louis Choi Chul-joo: Modern Conceptual Abstract Art, Contemporary Art Movement Works on Facebook and Instagram/ Manet (1832-1883), Le d'ejeuner sur l'herbe

Manet's Lunch on the Grass, Le d'ejeuner sur l'herbe 1863. oil on canvas, 208×264cm (81.9×103.9 in), Musée d'Orsay, Paris

Lunch on the grass <Le d'ejeuner sur l'herbe>

In Lunch on the grass (Le d'ejeuner sur l'herbe 1863), the nude woman expresses the duality of an object with contemporary realistic content. The crack of the modern art era according to the duality of interpretation of esoteric works that influenced contemporary artists, that is, Manet's painting, reveals the duality and hypocrisy of French society in the mid-19th century. This is "modern painting that visualizes the cracks of the modern art era."

Like Baudelaire's idea, Edouard Manet 1832-1883 also variably expresses the contemporary situation and the nude woman. In "Lunch on the Grass", a contemporary prostitute appears to reveal the real situation of a nude woman, and the duality of a nude woman as a variable element.

This is "a challenge to bourgeois morality at the time that nude women emerged as real figures without a mythical context in modern art."

The roots of the "Lunch on the Grass" image are figures who were produced with religious and mythical themes and spread to artists at the same time. It is a work that imitates the visible external type image in Raimondi's The Judgment of Paris, which is a copper engraving of Raphael's The Judgment of Paris. There, the image of a prostitute turned out to be a modern situation and a variable reality. It reveals the true nature of past images, which are known as modern images.

He emphasizes the autonomy of painting and deliberately ignores the existing norms of painting such as perspective, contrast, and composition, asking the question of what is the reality of contemporary images as a of doubts(疑懼心) about the object of contemporary painting. This emphasized the autonomy to pursue the reality of painting, opening the door to contemporary art beyond impressionism.

Manet shows the real life of social mannerism in 'Lunch on the Grass'. The image as a reality appears in a flat picture space. It was emphasized that this is not a real visual image, but a reproduced picture. Here, the nude woman's image is an external form image that can be detected with the eyes containing modern sociality. In other words, it approaches with the importance of reality and reveals the modern social image. If we look at this as a real landmark image, Manet intends to reveal the social image and an unrealistic picture as a variable element of art.

It corrected the gaze by interpreting the object as a gaze. It is a structure that reverses the gaze of the viewer when staring at a naked woman from the front, and is "the politics of gaze that induces the modern gaze to the contemporary gaze (注視點)". Therefore, it can be analyzed as a strategic device that induces moral discomfort of the audience.

The style of painting by artists from the Renaissance period to the mid-19th century was immersed in mannerism that adhered to the fashionable style. Except for the artists who drew portraits of royalty and aristocrats, most artists were in need of life. The only paintings they completed as a means of livelihood were those reflected in Lacan's mirror.

The boundary of the canvas is the boundary of the schematized visual range, but in Manet's "Lunch on the Grass", the flat expression of the person and the background exposes the boundary of the canvas to the audience. Therefore, in the painting method of "Lunch on the Grass," he realistically expressed the contrast of invisible objects as a contemporary reality of moving from the symbolic modern mannerism to the real world. He expressed subjectively from his point of view, breaking away from the traditional way of expression until now. In the illusionary painting of perspective, he imprinted the flat canvas as another reality.

"Lunch on the Grass" was criticized as inappropriate as a painting in Paris, France, which was the center of art at the time, but it influenced early impressionist artists to escape from mannerism and find objects in everyday situations. In "Lunch on the Grass," which was submitted to "Lunch on the Grass" in 1863, a woman's nude body realistically shows a real person and captures the social image of the time.

Looking at the way of expressing this, the woman's nude body was omitted with volume and did not give a detailed sense of shape. The color was a simplified color, and the contrast was drawn in contrast. These were different methods from the contemporary expression method. Thus, the image contained on the canvas was recognized as the subject of the actual visual effect separated from the manneristic reality.

He did not use the figurative image of a nude woman with a myth as a motif as a material to reconstruct symbolism. It shows the face treatment of monotone like engraving with a post-modern painting technique that rejected perspective description. This eliminates the relational description of reality and representation that existed in the perspective space.

In other words, it becomes a conceptual abstract realism painting by eliminating the relational description of reality and representation in the painting. This is a conceptual abstract realism painting that symbolizes an image as a semantic structure of conceptual abstraction, and abstracts the concept with a substantial form and reversible traces of light as its existence. It is a realism painting that consists of thoughtful visual expression in a linguistic sense.

As a symbolic linguistic meaning and realist image, "Lunch on the Grass" meets reality through division. It is revealed as a phenomenal image of society as an object of reality, but it is specified as a conceptual abstract realism image that identifies it as a concept as an unrealistic picture, which becomes a symbolic representation of the abstract structure.

The conversion of this symbolic representation to a system of signifiers reduces flat two-dimensionality in painting to the essence. He was a nude woman on the outskirts of Paris, making him stare at the dual and real situation between a prostitute and a man in a suit. It presents a dual image that shows a woman in everyday life and a woman in a prostitute through a nude woman.

In "Lunch on the Grass", the image deviates from the perspective visual system, that is, Quattrocento styles. The margins and objects are also filled with people and backgrounds in line with his imaginary calculation, not real.

By revealing the square frame structure of the canvas obscured by modern painting, he creates a conceptual abstract realism image that conflicts with the concept of linguistic meaning emphasized by a nude woman in a monotone metaphysical and philosophical light as a conceptualistic painting. This restored the reality of painting in contemporary conceptual art, that is, in the actual place of flat painting.

In this way, Manet approaches the perception that it is only a picture by flattening the fantastic image of a painting. This is consistent with the process of confirming that infantile desires do not exist in Lacan's imagination.

Manet's Lunch on the Grass, Le d'ejeuner sur l'herbe 1863. oil on canvas, 208×264cm (81.9×103.9 in), Musée d'Orsay, Paris

In "Lunch on the Grass", the men in suits and the women in nude are arranged horizontally, so there seems to be no depth between the characters. By ignoring the stage of concession with the color of the person as a monotone, there is no welcoming image of the subject by light, that is, an image of Quattrocento painting in "Lunch on the Grass".

The figure in the foreground has no light setting, while the woman who bent the background is depicted in the manner of Quattrocento painting. This is the process of transitioning from the imaginary world to the symbolic world, where non-existence as reality and the image reflected in the mirror coexist in the imaginary world.

It reproduces the contemporary reality, but it is different from that shown in contemporary modern painting. It reveals what the images of the characters who appear are saying. Here, the image is identified with the characters, but it does not match. It is metaphorical like the language structure, so it is not the same as the shape of the character. That is why we want to reveal what reality is as a reality with different shapes and images. Here, the reality is an object that is different from the non-existent object in the Quattrocento art of Sandro Botticelli (1445-1510), depicting "Annunciation, 1489-1490". This is not an image as a subject, but an object of reality as a being through the desire of others. As a symbolic world, a woman's nude body shows the concept of a mysterious enlightenment of reality.

The view of a woman's nude body as a fixed concept by modern Parisians is expressed as a metaphor that seems to be an object of another image as a mythical goddess. Contrary to this point of view, Manet created a space of reality as a non-representation on the back of society and on the object by revealing the reality of a nude woman.

He shows his own thoughts, that is, the 'nude woman' who is marked as reality, as the subject in the meaning of reproducing the manneristic social image in the pre-sentation of the image and reality revealed in society. The woman who dresses in the background is expressed in the way of Quattrocento, and the woman who is sitting in the nude is monotone, omitting the volume. This shows the nude woman sitting as a reality as an external image in terms of thinking, contrasting it with the woman who dresses in the background.

In this way, "a realism painting form that is thoughtfully abstracted rather than a painterly composition can change rapidly into expressive abstract art as radical contemporary art." Therefore, his work was shocked by the bold use of flat composition and color rather than the painting content of nude.

Manet emphasizes that thinking images can be visualized aesthetically without restriction while emphasizing the canvas's presence. He shows the artist's image as a real being in the form of a monotone sitting nude woman exposed by light. He also attempts to transform into a symbolic image of reality by removing the meaningless clothes of painting from the symbolic world through the nude woman sitting while showing a woman dressing in the background in the traditional painting method./ Written by Choi Chul-joo, Contemporary Art Critic (Dr. Cultural Design)

Choi Chul-joo, Art Critic