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 a

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

 

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

 

Le d'ejeuner sur l'herbe

In "Lunch on the Grass" (L'dejeuner sur l'herbe 1863), a naked woman expresses the duality of objects as a modern substance. Baudelaire, who influenced modern artists, emphasized artists who seek the beauty hidden in the duality of the artist.

As Baudelaire thinks, Manet (1832-1883) doubly expresses the situation at the time and a naked woman. In "Lunch on the Grass", a prostitute of the time appeared, revealing the real situation of a naked woman and the duality of a naked woman as variable elements. The roots of the dual image of "Lunch on the Grass" were simultaneously spread to the painters in a form produced with a religious and mythical theme. 

It imitates the symbolic image of Raimondi in "The Judgment of Paris", a copycat of Raffaello's "The Judgment of Paris". There, the image of a prostitute was revealed as a variable reality with the contemporary situation. This reveals the reality of known images of the past as contemporary images.

Manet shows the actual representation of social mannerism in "Lunch on the Grass". The image as a reality is featured in a flattened painting space. It emphasized that this is a reproduced painting, not a visual image of reality. Here, the image of a nude woman is a symbolic image containing contemporary sociality. In other words, it approached with the meaning of reality and revealed the contemporary social image. Looking at this as a symbolic image of reality, Manet reproduces a non-realistic painting as a variable element of art and the intention to reveal the social image.

     

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

The boundary of the canvas is the boundary of a schematic visual range, but in Manet's "Lunch on the Grass", the planar expression of the person and the background exposes the boundary of the canvas to the audience. Thus, by focusing on the flatness in the speech method of "Lunch on the Grass", he actually expressed the contrast of an invisible object as a reality that has transferred from the contemporary mannerism, which is a symbol as an invisible reality, to the real world. He expressed subjectively from his point of view, away from the traditional expression method. In the welcoming painting of perspective, it imprinted that it is a flat canvas as another reality.    

 

"Lunch on the Grass" was criticized for being inappropriate for painting in Paris, France, the center of art at the time, but it influenced early impressionist painters to break away from mannerism and find objects in everyday situations. The nude of a woman who failed at the Salon in 1863 and was exhibited at the exhibition "The Fallen Exhibition" shows a real person and contains the social image of the time on the canvas. Looking at the expression method, the nude of women was omitted from the amount of time and did not provide a detailed shape. The color is a simplified color, and contrast is drawn out. It was a different method from the contemporary expression method. Therefore, the image on the canvas was recognized as the subject of the element of actual visual effect that was separated from the manneristic reality. 

He did not use the ideal image of a nude woman with formality as a material for reconstructing symbolism based on a myth. It is a postmodern drawing that rejects perspective description and shows monotonous cotton processing like prints. As a result, the relational description of the representation based on reality and myth that existed in perspective space disappeared.    

The transformation of these symbolic representations into a system of signifiers reduces flat two-dimensionality to the essence in painting. He was a nude woman outside Paris, making him stare at the duality and real situation between a prostitute and a dressed man. Through a nude woman, a dual image that shows a woman in everyday life and a woman in a prostitute at the same time is presented.

     

In Lunch on the Grass, the image deviates from the perspective visual system, that is, the Quatrocento style. The margins and objects are also filled with characters and backgrounds according to his imaginary calculation, not real. In this way, Manet flattened the illusionary image of the painting and approached the perception that it is only a painting. This is consistent with the process of confirming that the image, the desire of the child, which is the object of Lacan, does not exist in the imagination. 

     

In "Lunch on the Grass", the men dressed in suits and the women in nude are arranged horizontally, so there is no depth between the characters. By ignoring the stage of conversion using the color of the character as a monotone, in "Lunch on the Grass", there is no illusionary image of the subject by light, that is, the image of a quattrocento painting. The figure in the foreground has no light setting, while the woman who bent over the background is drawn in a Quattrocento styles. This is the process of transitioning from the imaginary world to the symbolic world, and non-existence as a reality and image, that is, image reflected in the mirror in the imaginary world, coexist

 

It reproduces the contemporary reality, but it is different from what was shown in contemporary paintings. The images of the characters reveal what they are saying. Here, the image identifies with the characters, but does not match. 

It is metaphorical like the language structure, so it is not the same as the shape of a person. That is why we want to reveal what reality is as a reality that differs in shape and image. Here, the reality is an object as another reality from the object that does not exist in the Quattrocento art of Sandro Botticelli (1445-1510), depicting <Annunciation, 1489-1490>. This is an object of reality as a being who is not an image as a subject but as the desire of others. As a symbolic system, a woman's nude shows the concept of metamorphosis in which reality exists.

     

In this way, the view of women's nude as a fixed concept is expressed as a metaphor that appears as an object of another image as a mythical goddess. Contrary to this point of view, Manet created a space of reality as a non-display of the backside and object of society by revealing the reality of a naked woman. He shows the symbolic 'nude woman', that is, his idea, as a subject in the sense of reproducing a manneristic social image in the dual representation of form and reality revealed in society.

 

 A woman wearing clothes in the background is expressed in Quattrocento's style, and a woman wearing a nude sitting is omitted from the volume in a monotone form. In other words, in terms of thinking, as an external image, it shows a nude woman sitting compared with a woman wearing clothes in the background.    

As a result, Manet emphasizes the presence of the canvas and emphasizes that private images can be aesthetically visualized without restrictions. He shows the image of reality as an artist's subject in the form of a monotonous sitting naked woman exposed to light. While showing a woman dressed in a traditional painting as a background, the meaningless clothes of painting are removed from the symbolic world and converted into a symbolic image of reality through a sitting naked woman. / Writing. Art critic Choi Chul-joo (conceptual abstract painter & Ph.D. in cultural design)

 

Contemporary Art Critic Choi Chul-joo