Audio Tour

동관 오디오 투어

스마트폰을 통해 내셔널 갤러리 오브 아트 큐레이터의 목소리로 다양한 작품을 감상하실 수 있습니다. 원하시는 순서와 속도로 원하시는 만큼 많은 작품들의 설명을 들으며 감상하실 수 있습니다.

미술품에 대한 정보를 들으시려면 아래 상자에 위치 번호를 입력하신 후 이동을 선택하고 위치에 왔을 때 재생 버튼을 누르십시오. 오디어 투어를 하시는 중에 다른 관람객을 생각하시어 헤드폰을 이용해 주십시오.

This tour is available in English.

19 stops

  • A wood table is piled with stylized and abstracted objects, including a jug, lemons, a knife, guitar, newspaper, and a smoking pipe in this horizontal still life painting. The objects are made up of areas of mostly flat color and many are outlined in black, creating the impression that some shapes are two-dimensional and assembled almost like a collage. We look down onto the top of the table and at the front, where the grain of the wood is painted in tan against a lighter background. Concentric black and white circles make up the knob on the face of the table’s single drawer. There are two rows of objects on the table. Along the front, near the left corner of the table, the knife hangs with its blade slightly over the open drawer. A newspaper with the title “LE JOUR” rests next to the knife. Next to the newspaper are two yellow pieces of fruit, near the front right corner of the table. Behind the fruit, the right third of the pitcher is marine blue and the left two thirds is mostly straw yellow, with one round olive-green area near the handle. Next to the pitcher is a tobacco pipe, and, at the back left edge of the table, the guitar. The instrument rests on its side so the front of the soundboard faces the viewer, and the neck extends to our left. The instrument is bisected lengthwise into two halves that appear to be spliced together, and the edges and features of the halves are not symmetrical or aligned with each other. The bottom half of the guitar is painted a beige color, and is curved like a typical guitar body. The top half is painted black, and the contour of the instrument’s body rises into two pointed peaks instead of mirroring the rounded forms below. The sound hole is markedly smaller on the bottom half, and the two halves of the hole do not exactly line up. A rectangular form behind the table could be a screen. The left side is fern green, the right side black. Behind the screen is a wallpapered wall above wood paneling. The wallpaper is patterned with teardrop shapes, dots, and zigzagging lines in fawn brown against parchment white. The artist signed and dated the painting in the lower right corner, “G Braque 29.”

    Audio Tour Stop 4

    Still Life: Le Jour, Georges Braque

    NGA, East Building, EG-103-B, N

    조르주 브라크(Georges Braque)는 파블로 피카소와 함께 1910년경 입체파라는 새로운 양식을 창시한 것으로 유명합니다. 이 회화는 후에 브라크가 입체파 양식을 정물 및 기타 주제를 표현하는 데 적용했던 전형적인 후기 작품입니다. 이 작품에서 탁자의 나뭇결, 배경의 벽지 디자인, 신문지의 활자는 패턴과 질감의 상호 작용을 강조합니다.

    Still Life: Le Jour (Korean)
  • The elongated head and neck of a person with stylized features is carved from beige-colored limestone for this freestanding sculpture. Though mostly carved smooth, the surface of the porous limestone is pocked and textured. In this photograph, the face is angled to our right. Short bangs line the narrow forehead of the tall, oval face. The hair flaring around the crown and behind the tidy, oval ear we see is roughly carved. The marquis-shaped eyes are set high on the face. Eyebrows immediately over the eyes join to make a long, blade-like nose that nearly reaches the bottom of the oval face. The arrow-shape of the nose ends just above a half-moon-shaped lip over a round chin. The long neck continues to a block of limestone that acts as the base. The sculpture is photographed in front of a background that lightens from charcoal gray across the top to nearly white across the bottom.

    Audio Tour Stop 5

    Head of a Woman, Amedeo Modigliani

    NGA, East Building, EG-103-A, E

    이 조각품은 아메데오 모딜리아니(Amedeo Modigliani)가 많은 회화에서 길쭉한 얼굴과 아몬드형 눈으로 인물을 표현한 그의 독특한 인물화 양식을 반영합니다. 모딜리아니는 1909년부터 1914년까지 조각에 집중했으며, 1920년 35세에 결핵으로 사망했습니다.

    Head of a Woman (Korean)
  • We look slightly down onto a crush of pedestrians, horse-drawn carriages, wagons, and streetcars enclosed by a row of densely spaced buildings and skyscrapers opposite us in this horizontal painting. The street in front of us is alive with action but the overall color palette is subdued with burgundy red, grays, and black, punctuated by bright spots of harvest yellow, shamrock green, apple red, and white. Most of the people wear long dark coats and black hats but a few in particular draw the eye. For instance, in a patch of sunlight in the lower right corner, three women wearing light blue, scarlet-red, or emerald-green dresses stand out from the crowd. The sunlight also highlights a white spot on the ground, probably snow, amid the crowd to our right. Beyond the band of people in the street close to us, more people fill in the space around carriages, wagons, and trolleys, and a large horse-drawn cart piled with large yellow blocks, perhaps hay, at the center of the composition. A little in the distance to our left, a few bare trees stand around a patch of white ground. Beyond that, in the top half of the painting, city buildings are blocked in with rectangles of muted red, gray, and tan. Shorter buildings, about six to ten stories high, cluster in front of the taller buildings that reach off the top edge of the painting. The band of skyscrapers is broken only by a gray patch of sky visible in a gap between the buildings to our right of center, along the top of the canvas. White smoke rises from a few chimneys and billboards and advertisements are painted onto the fronts of some of the buildings. The paint is loosely applied, so many of the people and objects are created with only a few swipes of the brush, which makes many of the details indistinct. The artist signed the work with pine-green paint near the lower left corner: “Geo Bellows.”

    Audio Tour Stop 6

    New York, George Bellows

    NGA, East Building, EG-106-B, W

    1911년 2월에 완성된 뉴욕은 조지 벨로스(George Bellows)가 뉴욕시의 근대 생활상을 묘사한 야심찬 회화 대작입니다. 벨로스는 뉴욕시의 구체적이고 식별 가능한 장소를 나타내려고 의도하지 않았습니다. 대신, 그는 번화한 상업 지구 몇 곳을 중심으로 도시의 부산한 분위기를 가장 잘 표현할 수 있는 극도로 번잡한 이미지를 상상하여 그렸습니다.

    New York (Korean)
  • A buoy and a sailboat with three men and a woman tip at an angle on rolling aquamarine and azure-blue waves in this horizontal painting. The white wooden boat sails away from us toward the right side of the composition. Its unfurled sail is tinged with taupe and pale blue and attached to a pale wooden mast. The boat has a low cabin with round portholes on the side we can see. Two of the men are shirtless, tanned, and have their backs to us. One sits in the cockpit wearing a white hat with a short brim as he holds the tiller. The other man stands on the deck with his arms crossed. Beyond the standing man, the woman lies along the roof of the cabin, her head at about the height of the man’s chest. She is barefoot and lies on her stomach wearing long, blue pants and a watermelon-pink halter top and matching kerchief covering her hair. The third man stands to her right, his slender body angled toward us while holding onto the mast with one hand and rigging with the other. The woman and third man have noticeably pale skin. A buoy near the boat is battleship-gray with streaks of rust along its base and a copper-green bell inside. It floats just to the left of and tips toward the boat on a rising swell. The scene is lit by bright sunlight coming from the left side of the baby-blue sky with bands of feathery clouds, which takes up the top two-thirds of the composition. The artist signed the lower right, “EDWARD HOPPER.”

    Audio Tour Stop 7

    Ground Swell, Edward Hopper

    NGA, West Building, G-006, N

    1911년 2월에 완성된 뉴욕은 조지 벨로스(George Bellows)가 뉴욕시의 근대 생활상을 묘사한 야심찬 회화 대작입니다. 벨로스는 뉴욕시의 구체적이고 식별 가능한 장소를 나타내려고 의도하지 않았습니다. 대신, 그는 번화한 상업 지구 몇 곳을 중심으로 도시의 부산한 분위기를 가장 잘 표현할 수 있는 극도로 번잡한 이미지를 상상하여 그렸습니다.

    Ground Swell (Korean)
  • A winged person blowing a horn stands silhouetted in lilac purple against a field of alternating celery and muted lime-green bands in this abstracted vertical painting. The person’s body is angled toward us but they look over their shoulder, to our left in profile, as they hold a horn to their lips. The horn reaches into the top left corner of the composition, and the wings extend off the top edge of the canvas. A shallowly curving slit indicates the eye. The person stands with each foot on two rounded forms like stylized hills. The mound on our right is higher so the knee is bent, and the person holds a skeleton key in the hand propped on that knee. The hill to our right has wavy bands of muted pine and sage green, and the hill to our left has a zigzag line of the sage across the darker green. Farther from us, four people, smaller in scale, are outlined as amethyst-purple silhouettes. One person to our right of the angel kneels and raises their hands high overhead, face turned to the sky. Two more people standing on or behind the left mound are framed between the trumpeter’s legs. The fourth person stands with hands clasped, also looking up. Concentric arcs of lemon yellow and pale green suggest a sun in the upper left corner. The artist signed and dated the work with dark green paint in the lower right corner: “A. Douglas ’39.”

    Audio Tour Stop 9

    The Judgment Day, Aaron Douglas

    1927년 할렘 르네상스의 핵심 인물인 제임스 웰든 존슨(James Weldon Johnson)은 그의 대표작 신의 트롬본: 흑인 설교 시 7편(God’s Trombones: Seven Negro Sermons in Verse)을 출판했습니다. 각 설교 시에는 당시 할렘에 정착한 젊은 아프리카계 미국인 미술 작가 아론 더글러스(Aaron Douglas)의 삽화가 수록되었습니다. 몇 년 후, 더글라스는 삽화를 대형 유화로 번안하여 그리기 시작했습니다. 최후 심판의 날(The Judgment Day)은 8연작 중 마지막 작품입니다. 중앙에는 강한 천사 가브리엘이 지구와 바다를 딛고 서 있습니다. 대천사는 나팔을 불어 지구의 국가들을 소환하여 심판합니다.

    The Judgment Day (Korean)
  • A group of three men, two children, and one woman gather in an empty, dusky rose-pink landscape under a blue, cloudy sky in this nearly square painting. Most of the people have muted, peachy skin, and the woman and the youngest boy have cream-white skin. The woman sits on the ground to our right, apart from the rest of the men and children. She wears a coral-red skirt, a beige shawl, and straw hat, and she looks into the distance to our right. The others stand in a loose semi-circle on the left half of the composition. A man wearing a multicolored, diamond-patterned costume stands with his back to us to the left. He looks to our right in profile and holds the hand of a little girl who also stands with her back to us. She wears a pink dress and white stockings, and her right hand rests on the tall handle of a white basket. A portly man wearing a scarlet-red jester’s costume and pointed hat stands opposite this pair, facing us to our right. Next to him to our right a young man wears a tan-colored leotard with a black bottom. He holds a barrel over his right shoulder and looks over to our right. The sixth person is the youngest boy, who wears a baggy blue and red outfit, and he looks toward the woman. The eyes of all the figures are deeply shadowed.

    Audio Tour Stop 11

    Family of Saltimbanques, Pablo Picasso

    NGA, East Building, EM-217-C, E

    1927년 할렘 르네상스의 핵심 인물인 제임스 웰든 존슨(James Weldon Johnson)은 그의 대표작 신의 트롬본: 흑인 설교 시 7편(God’s Trombones: Seven Negro Sermons in Verse)을 출판했습니다. 각 설교 시에는 당시 할렘에 정착한 젊은 아프리카계 미국인 미술 작가 아론 더글러스(Aaron Douglas)의 삽화가 수록되었습니다. 몇 년 후, 더글라스는 삽화를 대형 유화로 번안하여 그리기 시작했습니다. 최후 심판의 날(The Judgment Day)은 8연작 중 마지막 작품입니다. 중앙에는 강한 천사 가브리엘이 지구와 바다를 딛고 서 있습니다. 대천사는 나팔을 불어 지구의 국가들을 소환하여 심판합니다.

    Family of Saltimbanques (Korean)
  • A French window with its sill lined with flowerpots opens into a view of boats floating in a body of water in this loosely painted, vibrantly colored, stylized, vertical painting. The doors open inward, and they are painted with coral orange and cranberry red. The wall behind the door to the left is peacock blue and the wall to our right is fuchsia pink, and those colors are reflected in the opposite windows of the doors. Three flowerpots in crimson red, marmalade orange, or royal blue sit on the windowsill in front of us. Foliage in the pots is painted with short strokes of cardinal red and turquoise blue. Over the window, a two-paned transom window pierces a forest-green wall. The view through the panes has a band of salmon pink across the top and dabs of celery green and banana yellow below. The dabs and dashes of pine and lime green continue down the sides of the window and across the sill, suggesting vines growing up around the opening. A band of ultramarine blue beyond the flowerpots could be a balcony. Several rust-orange masts of ships with hulls painted with swipes of indigo blue, flamingo pink, forest green, and marigold orange float in the water beyond. The water is painted with parallel strokes in pale pink and butter yellow. The sky above is painted with thick, wavy lines of steel blue, periwinkle purple, and seafoam green. The artist signed the work in red paint in the lower right, “Henri Matisse.”

    Audio Tour Stop 13

    Open Window, Collioure, Henri Matisse

    NGA, East Building, EM-217-B, E

    오늘날 앙리 마티스(Henri Matisse) 작 콜리우르의 열린 창(Open Window, Collioure)은 부드럽고 서정적인 회화로 보일 수 있지만 작품 발표 당시에는 두터운 붓질과 강렬한 색상이 폭력적인 양식으로 간주되었습니다. 작은 화폭이지만 폭발적인 작품인 이 초기 모더니즘의 아이콘은 야수파의 가장 중요한 회화 중 하나로 유명합니다. 야수파 미술 작가들은 자연 외관의 엄격한 재현을 거부하고 자유로운 색상과 질감을 추구했습니다. 콜리우르의 열린 창은 마티스의 예술 세계에서 새로운 양식의 시작을 나타냅니다.

    Open Window, Collioure (Korean)
  • Two nude women, painted in vibrant coral peach and bubblegum pink, stand under a red umbrella in a landscape in this stylized, vertical painting. The scene is painted with areas of flat or streaked color with visible brushstrokes throughout. The women and umbrella take up most of the picture. The woman on our left stands facing our right almost in profile. Her skin is vivid peach. Slashes of red outline her breasts, groin, and legs. Her hair, eyes, and eyebrows are painted with black strokes. She stands on one leg and stretches the other in front of her to overlap the far foot of the other woman. The first woman hooks her arm through the elbow of the other, who stands facing us to our right. This second woman has vivid pink skin also outlined in red. Her face is a darker shade of pink, resembling a mask, and her eyes are parallel strokes of black and blue. Her left arm, on our right, hangs by her side, and she holds the umbrella with the other arm. She either wears a hat or her hair is painted with alternating bands of black, red, and brown, and there is a red flower or bow to one side. Black lines in the candy-red umbrella suggest a rib on the underside and the handle. Cobalt-blue branches of a tree above the women has blue and green leaves. The landscape beyond them is made up of bands of acid green, yellow, saturated blue, and cool green.

    Audio Tour Stop 14

    Two Girls under an Umbrella, Ernst Ludwig Kirchner

    NGA, East Building, EM-217-A, S

    이 작품은 1905년 드레스덴에서 표현주의 그룹 다리파(Die Brücke)의 창립 멤버이자 많은 작품을 남긴 에른스트 루드비히 키르히너(Ernst Ludwig Kirchner)의 초기작입니다. 이 회화에서 키르히너는 아카데믹 회화의 인위적인 공간이 아닌 자연을 배경으로 나체 여인 두 명을 묘사했습니다. 이 작품에서 화가는 대담하고 투박한 형태와 강렬한 색상을 사용하고 있습니다.

    Two Girls under an Umbrella (Korean)
  • Black lines and one small, black triangular shape stand out against patches of color, in indigo and sky blue, pumpkin orange, butter yellow, emerald green, and ruby red, against a white background in this vertical, abstract painting. The paint seems thinly applied, resembling watercolor. Near the lower right corner, the black shape is roughly triangular and has five curving, parallel lines emanating from the bottom. Given the title of this painting, Improvisation 31, Sea Battle, the black lines could represent tall masts and outlines of sails amid areas of vibrant color that make up a boat and water around it.

    Audio Tour Stop 15

    Improvisation 31 (Sea Battle), Wassily Kandinsky

    NGA, East Building, EU-415-A, S

    Improvisation 31 (Sea Battle) (Korean)
  • Carved from a slab of white marble, the top surface of this sculpture is covered with shallow, cuplike and deep rectangular depressions of various sizes. We look slightly down onto the slab in this photograph. The surface is divided into three vertical sections, which are defined by incised lines. The cuplike depressions are in the sections to the left and right. Two tiny, carved, dark wooden objects, like game pieces, stand upright in a cup with one the left and one to the right. Each piece is flat with a symmetrical design and a point at the bottom that inserts into the cup. The left piece has a disk flanked by triangular protrusions with a clover shape at top. The second piece has four stacked, small circles, and a U-shaped form to suggest the outline of a person with raised arms. Three smaller but deep rectangular cavities are carved into the middle section, and each one has a lid. Two lids sit askew on the top surface of the board near their respective openings, and inside are additional wooden pieces. A blank, rectangular section outlined with lightly inscised lines in the lower right is carved with reversed script letters that read, “on ne joue plus.” The entire surface has beveled edges, so it sits on a stepped base.

    Audio Tour Stop 16

    No More Play, Alberto Giacometti

    NGA, East Building, EU-415-B, CENTER

    위대한 초현실주의 조각가 중 한 명인 알베르토 자코메티(Alberto Giacometti)는 이 조각품과 같은 초기작에서 게임과 놀이의 테마를 통합할 때가 많았습니다. 자코메티가 이 작품에서 사용한 형태는 움직일 수 있는 조각으로 구성된 보드 게임과 비슷해 보이지만 무슨 게임인지는 불분명합니다. 노 모어 플레이(No More Play)에 표현된 “게임”의 모호한 공간과 알 수 없는 규칙은 꿈에서나 볼 수 있는 사물처럼 느껴집니다.

    No More Play (Korean)
  • This free-standing sculpture is a French window with a teal-colored frame and black, leather-lined glass panes standing on a flat, shallow base. Each door is made up of four, vertically stacked, equally sized panes. The doors are hinged on a narrow frame and open with small, clear knobs placed next to the second pane down from the top. The doors are slightly ajar. Black writing in capital block letters on the top surface of the base is legible in this photograph. It reads, “FRESH WIDOW COPYRIGHT ROSE SELAVY 1920.”

    Audio Tour Stop 17

    Fresh Widow, Marcel Duchamp

    NGA, East Building, EU-415-B, CENTER

    마르셀 뒤샹(Marcel Duchamp)은 회화와 조각에 대한 전통적인 방식과 기본적인 가정을 거부했습니다. 값싸고 쉬운 미국식 복제 아이디어에 매료된 뒤샹은 뉴욕에 살면서 의류 산업에서 차용한 용어인 기성품, 즉 레디메이드에 적합한 발견된 오브제로 작품을 제작하기 시작했습니다. 그는 전시회에서 때때로 이러한 평범한 사물을 있는 그대로 자신의 서명만 추가하여 전시함으로써 미술계에 충격을 주었습니다. 이 작품의 제목은 프랑스식(French) 및 창(Window)이라는 단어에서 문자 n을 생략하고 조성한 펀(pun), 말장난으로 파리 아파트에서 흔히 볼 수 있는 이중 창과 제1차 세계대전으로 남편을 잃고 최근 미망인이 된 여성을 지칭한 것입니다. 뒤샹은 이 미니 창문을 직접 제작하지 않고 미국인 목수에게 디자인을 위탁했습니다.

    Fresh Widow (Korean)
  • The top section of this abstract sculpture is made up of a vertical, elongated form cast in gleaming brass that swells gently at the center and tapers to a point at either end. Near the bottom point, the form flares out slightly to make a tall, conical foot. This sits atop a short, cylindrical, white limestone base on a wood pedestal. The pedestal is carved to look like a disc at the center flanked above and below by semicircles with the flat edges facing up and down. The sculpture is photographed against a pale gray background.

    Audio Tour Stop 18

    Bird in Space, Constantin Brâncuși

    NGA, East Building, EU-415-C, CENTER

    관람객의 눈에 이 작품은 추상 조각품으로 보일지 모르지만, 작가 콘스탄틴 브랑쿠시(Constantin Brancusi)는 자신의 작품은 주제 내면의 본질을 드러냈다고 주장했습니다. 그의 작품은 아프리카 조각과 루마니아 민속 조각 전통의 영향을 받았으며, 이를 바탕으로 미술의 본질적인 요소를 추구했습니다. 브랑쿠시는 공간의 새(Bird in Space) 연작을 그의 대표작으로 남을 앙상블로 생각하면서 수년간 제작에 임했습니다. 다른 조각가들과 달리, 브랑쿠시는 대형 작업장이 없고, 혼자서 소재를 준비하고 작품을 제작했으며, 이 작품의 경우에는 직접 석재를 깎고 황동을 연마했습니다.

    Bird in Space (Korean)
  • This abstract, geometric painting has been tipped on one corner to create a diamond form rather than a square. The surface of the canvas is crisscrossed by an irregular grid of black lines running vertically and horizontally like offset ladders. The black lines create squares and rectangles of different sizes, and the width of the lines vary slightly. One complete square sits at the center of the composition and is painted white. Other rectangles are incomplete, their corners sliced by the edge of the canvas, and each is a different shade of white with hints of pale blue and gray. The black grid creates triangular forms where it meets the angled edge of the canvas in some places, and some of these are filled with flat areas of color. A tomato-red triangle is placed to the left of the top center point, and a vibrant yellow triangle is to the left of the lower center point. A black triangle is next to it at the bottom center, and a cobalt-blue triangle is situated just below the right point. The painting is signed with the artist’s initials at the lower center: “PM.”

    Audio Tour Stop 19

    Tableau No. IV; Lozenge Composition with Red, Gray, Blue, Yellow, and Black, Piet Mondrian

    NGA, East Building, EU-415-C, W

    피에트 몬드리안(Piet Mondrian)은 추상 회화를 통해 보편적인 조화가 자연을 주재한다는 영적 개념을 표현하고자 했습니다. 그의 작품에서 균형 잡힌 비대칭을 조성하기 위해 신중하게 배치된 수평 및 수직 요소는 자연계에서 동적인 평형을 유지하는 상반되는 힘을 나타냅니다. 몬드리안은 다이아몬드형 구성이 절단과 관련된다고 말했는데, 실제로 이 회화에서는 불필요한 부분을 화면에서 절단하는 크로핑 느낌이 강조되었습니다. 캔버스의 가장자리에 의해 절단되어 불완전한 형태는 회화의 실제 경계 너머로 그 절단된 형태가 연장됨을 암시합니다.

    Tableau No. IV; Lozenge Composition with Red, Gray, Blue, Yellow, and Black (Korean)
  • Tall, narrow, black building fronts fill this abstracted, horizontal painting. Partitions separating the buildings extend above the rooflines, and those, along with low domes atop some of the buildings, brush the top edge of the canvas. The narrow band of sky between the flat rooflines and the top of the composition is filled with cream-white paint, applied heavily in thick strokes. The buildings are painted with wide, horizontal strokes of black paint. The outlines of doors, windows, and the brick partitions between the buildings were incised into wet paint to delineate those features. Some of the outlines are also streaked with cobalt blue, butter yellow, brick red, and plum purple. Six people with oversized, round, peach-colored heads on spindly black bodies look out at us from windows across the composition. Cartoon-like eyes, noses, and smiling mouths are incised into wet paint. Along the bottom level, the buildings are numbered 78, 80, 82, and 84. Signs, also incised in wet, black paint to reveal white outlines, appear over the doors. The leftmost building reads “OPTICIEN” above “Leroy.” The next store is “PARFUMS,” then “MODES,” “Coiffeur,” “JOURNEAX,” “PRIMEURS,” and “BAR.” Under “PRIMEURS,” a sign on the store front reads “FRUITS ET LEGUMES.” Two people walk along the street, at the bottom of the canvas. One is to our left of center and stands facing us, smiling. The other is to our right, also smiling as he walks to our left in profile.

    Audio Tour Stop 20

    Façades d'immeubles (Building Façades), Jean Dubuffet

    NGA, East Building, EU-407-A, N

    제2차 세계대전 후 회화가 처음부터 다시 시작되어야한다고 생각하던 장 뒤뷔페(Jean Dubuffet)는 미술 교육을 받지 않은 미술, 특히 어린이 또는 독학 미술가들로부터 영감을 얻어, 작품을 수집하고 이를 아르 브뤼(art brut), 즉, 다듬지 않은 미술 또는 날 것 그대로의 미술이라고 지칭했습니다. 건물 정면(Façades d’immeubles)에서, 뒤뷔페는 자신만의 아르 브뤼를 보여 주었습니다. 뒤뷔페는 미술 시간에 배웠던 기법인 착색된 바탕에 흑색 물감을 칠한 후 긁어 내는 기법을 사용하여 어린이의 눈으로 본 파리의 거리 풍경을 자세히 묘사했습니다. 그러나 신중하게 구성된 격자 구도와 인상적인 유화 벽의 전면(allover) 구조는 뒤뷔페가 모더니즘 미학에 대해 잘 알고 있었음을 입증합니다

    Façades d'immeubles (Building Façades) (Korean)
  • Densely spaced lines and splatters in black, white, pale salmon pink, teal, and steel gray crisscross a rectangular cream-colored canvas in this abstract horizontal painting. The lines move in every direction. Most are straight but some curve slightly. The density eases a bit near the edges. Two sets of ghostly white handprints are visible at the upper corners. The artist signed and dated the painting in black paint in the lower left corner: “Jackson Pollock ’50.”

    Audio Tour Stop 22

    Number 1, 1950 (Lavender Mist), Jackson Pollock

    NGA, East Building, EU-407-B, W

    잭슨 폴록(Jackson Pollock)의 드립 회화 대작은 1948년 발표 당시 반응은 엇갈렸습니다. 이 회화를 제작하기 위해, 폴록은 화실로 쓰던 헛간 바닥에 대형 캔버스를 펼쳤는데, 그 공간을 거의 덮었습니다. 캔버스 주위를 걸어 다니면서 가정용 페인트, 유화, 에나멜, 알루미늄 페인트를 사용하여 만든 물감을 브러시와 스틱에 묻혀 드립하고 붓고 뿌렸습니다. 그는 이렇게 창작 과정에서 매개체 역할을 수행하면서 자신의 작품 안에 존재하는 방식이라고 말했습니다. 그는 캔버스 상단 왼쪽 모서리와 상단의 손자국으로 회화에 “사인”을 했습니다.

    Number 1, 1950 (Lavender Mist) (Korean)
  • The Disney cartoon characters, Donald Duck and Mickey Mouse, fish off a dock in this horizontal painting. The scene and characters are painted entirely flat areas of canary yellow, cobalt blue, tomato red, and white. To our left, Donald leans over the edge of the dock with his feet spread and duckbill hanging open. He has a white body outlined in blue, big eyes filled with a pattern of tiny blue dots, and yellow feet and duckbill. He wears a blue sailor’s hat and jacket with a red bow tie and yellow circles indicating buttons. He holds a fishing pole with an oval, red bobber near the fishhook high over his head. The pole has bent back with the fishhook snagged on the back hem of Donald’s jacket. A white speech bubble over Donald’s head is outlined in blue, and blue text inside reads, “LOOK MICKEY, I’VE HOOKED A BIG ONE!!” Mickey stands to our right, covering his smiling mouth with his left hand, on our right, and holding an upright fishing pole with the other hand. His round face is filled with a pattern of tiny red dots, and his curving hairline and ears are blue. He wears blue pants, a red shirt and shoes, and white gloves. The dock is mostly yellow with a white area on the right. Its planks and three white, round posts supporting it are outlined in blue. Rippling water surrounding the dock is defined by wavy lines and undulating bands of blue against a yellow background. The artist signed his initials in the lower left, “rfl.”

    Audio Tour Stop 25

    Look Mickey, Roy Lichtenstein

    로이 리히텐슈타인(Roy Lichtenstein)이 대중 문화에 등장하는 장면과 양식을 번안한 최초의 작품이 미키, 이것 좀 봐(Look Mickey)일 수 있으며, 이 작품은 1960년 시판된 어린이 만화책 도널드 덕: 분실물 보관소(Donald Duck: Lost and Found)를 번안하였습니다. 리히텐슈타인은 절묘하게 원본 만화의 배경 인물을 생략하고 시점을 90도 회전시키고 색상을 노란색과 파란색 띠로 구성하고 캐릭터의 특징을 단순화하여 보다 통일된 이미지로 바꿨습니다. 양식적으로, 리히텐슈타인은 인쇄 매체, 즉 짙은 검은 색 외곽선, 원색, 당시 저렴한 만화책과 잡지를 제작하는 데 사용되었고 이 작품에서 도널드의 눈과 미키의 얼굴에서 사용된 벤데이 인쇄 공정의 잉크 점 등을 모방했습니다.

    Look Mickey (Korean)
  • A long, rectangular strip of yellowed painted fabric is draped over a horizontal wooden rod that hangs from the ceiling in this sculptural piece. The dowel is perpendicular to the wall so juts into the gallery space. In this photograph, we are almost in front of the piece, near the wall to look onto one of the long sides. The cheesecloth hangs straight down either side of the dowel so it is longer in the back, and the ends do not touch. An uneven application of latex paint on most of the fabric gives the work a rubbery appearance, and causes some variation in the surface to create shiny areas. The loose weave of the cheesecloth is visible at the ends where the fabric was not painted. The cloth and dowel seem to float in midair because the filament from which the rod hangs is invisible in this photograph.

    Audio Tour Stop 27

    Test Piece for "Contingent", Eva Hesse

    에바 헤세(Eva Hesse)는 전통적으로 아름다운 조각으로 간주하는 것을 제작하고 싶지 않았습니다. 그녀는 금속이나 석재와 같은 조각에 사용되는 전통 소재를 거부하고 대신 섬유, 석고, 라텍스 등 더 유연한 소재를 선호하며, 이 습작에서는 라텍스를 사용했습니다. 이 작품은 불확정 최종 작품에 대한 여러 습작 중 하나였으며, 8장의 유사한 배너로 구성되어 있으며 현재 호주 국립미술관(National Gallery of Australia)에서 전시 중입니다. 헤세는 이 작품을 “회화도 아니고, 조각도 아니고.... 실제로 걸려있는 회화예요”라고 묘사했습니다.

    Test Piece for "Contingent" (Korean)
  • Two black bands span the height of this vertical canvas against a field of white mottled with shades of ivory, bone, and parchment in this abstract painting. A narrow, solid black stripe lines the left edge of the canvas, like the spine of a book. About a quarter of the way in from the right edge, black paint swirls and wafts like smoke on either side of a narrow white stripe the same color as the background. The artist signed and dated the painting in black paint in the lower right corner of the canvas: “Barnett Newman 1958.”

    Audio Tour Stop 29

    First Station, Barnett Newman

    NGA, East Building, ET-615-B, W

    추상 표현주의 운동의 대표적 작가 중 한 명인 바네트 뉴만(Barnett Newman)은 회화, 조각, 문학 분야에서 생각을 펼친 지식인이었습니다. 1940년대 중반 그는 캔버스의 단색 필드에 특징적인 수직 요소 또는 "지퍼"를 그려넣은 작품을 처음으로 선보였습니다. 이 회화는 뉴만이 십자가의 길(The Stations of the Cross)이라고 명명하게 되는 회화 14 연작 중 첫 번째 작품입니다. 15번째 회화 Be II는 종결부입니다. 십자가의 길은 제2차 세계대전과 홀로코스트 이후 예술가들이 직면한 “도덕적 위기”를 표현하려는 뉴만의 가장 야심찬 시도였습니다. 그는 묻습니다. "우리는 무엇을 그려야 합니까?"

    First Station (Korean)

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