著者

松野 敬文 Takafumi Matsuno

巻号頁・発行日

2010 (Released:2016-12-01)

著者

松野 敬文

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, 2012

著者

松野 敬文

出版者

関西学院大学人文学会

雑誌

人文論究 (ISSN:02866773)

巻号頁・発行日

vol.61, no.4, pp.99-125, 2012-02

著者

松野 敬文

出版者

関西学院大学

雑誌

美学論究 (ISSN:09113304)

巻号頁・発行日

vol.23, pp.A33-A47, 2008-03

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本稿は画家バルテュス(Balthus,本名バルタザール・クロソフスキー・ド・ローラ,1908-2001)の油彩画《鏡のなかのアリス》(1933年)(図1)を取りあげて,バルテュスの芸術的特性を「稚拙さ」すなわち技術的貧困さという見地から考察するものである。具体的にはまず作品の文脈を説明し,画面構成と色彩配置,光源の設定,人物像や椅子等の造形を吟味する。次に同時代の他の作品,特に1934年のパリ,ピエール画廊個展に出品された大作-《窓(幽霊の恐怖)》(1933年)(図2),《街路》(1933年)(図3),《キャシーの化粧》(1933年)(図4),《ギターのレッスン》(1934年)(図5)-との比較によって,本作の特性を明らかにする。その結果提示される結論は,以下の通りである。バルテュスの芸術家としての独自性は,画家自身の「稚拙さ」-デッサンの拙さ,迫真性の不足,絵の下手さ-にある。そしてまた人物像の造形上の問題点や鑑賞者への働きかけの乱暴さといった「稚拙さ」が,《鏡のなかのアリス》を魅力的にみせる要因となっている。

著者

松野 敬文 Takafumi Matsuno

雑誌

人文論究 (ISSN:02866773)

巻号頁・発行日

vol.61, no.4, pp.99-125, 2012-02-10

著者

松野 敬文

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, pp.158, 2012-12-31 (Released:2017-05-22)

著者

松野 敬文

出版者

関西学院大学文学部美学研究室

雑誌

美学論究 (ISSN:09113304)

巻号頁・発行日

vol.24, pp.17-35, 2009-03

著者

松野 敬文

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.43-56, 2007-09-30

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Balthus' admirers often maintain that the artistic quality of his works originates not only from his association with the iconographies of Western classical paintings but also from his depiction of human figures in the old masters' style. This paper, however, tries somewhat conversely to put forward as a hypothesis that their uniqueness lies rather in their lack of naturalism. Through the stylistic analysis of La Montague (L'Ete), one of his actual works as a material, it will be shown here that his anatomically inaccurate treatment of human figures and his trick of making up for this have actually made his artistic characteristics. As it can be easily seen from this large-sized work, many formal problems arise when Balthus composes human figures: improbable centre line of the body of the half sitting man, unnatural connection at the invisible neck of the standing woman, the wrong position, on the ground, of the legs of the sleeping woman, and totally, the unnaturalness of all standing figures. Characteristically, these deficiencies are concealed by various techniques such as the strict formation of the picture plane, the accurate arrangement of colours, and the magnificent depiction of a landscape as well as the topographical revisions and the handling of the light source. La Montague (L'Ete) can be accordingly considered as a suitable guide to study how his figures relate to landscape, and what influence the painter's technical poverty brings to his works.

著者

松野 敬文 Takafumi Matsuno

雑誌

美学論究 (ISSN:09113304)

巻号頁・発行日

vol.第23編, pp.33-47, 2008-03-20

著者

松野 敬文

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.43-56, 2007-09-30 (Released:2017-05-22)

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Balthus' admirers often maintain that the artistic quality of his works originates not only from his association with the iconographies of Western classical paintings but also from his depiction of human figures in the old masters' style. This paper, however, tries somewhat conversely to put forward as a hypothesis that their uniqueness lies rather in their lack of naturalism. Through the stylistic analysis of La Montague (L'Ete), one of his actual works as a material, it will be shown here that his anatomically inaccurate treatment of human figures and his trick of making up for this have actually made his artistic characteristics. As it can be easily seen from this large-sized work, many formal problems arise when Balthus composes human figures: improbable centre line of the body of the half sitting man, unnatural connection at the invisible neck of the standing woman, the wrong position, on the ground, of the legs of the sleeping woman, and totally, the unnaturalness of all standing figures. Characteristically, these deficiencies are concealed by various techniques such as the strict formation of the picture plane, the accurate arrangement of colours, and the magnificent depiction of a landscape as well as the topographical revisions and the handling of the light source. La Montague (L'Ete) can be accordingly considered as a suitable guide to study how his figures relate to landscape, and what influence the painter's technical poverty brings to his works.

著者

松野 敬文

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.3, pp.78, 2006-12-31 (Released:2017-05-22)

著者

松野 敬文

出版者

関西学院大学

雑誌

美学論究 (ISSN:09113304)

巻号頁・発行日

vol.21, pp.33-50, 2006-03-20

著者

松野 敬文 Takafumi Matsuno

雑誌

博士学位論文 : 内容の要旨と審査結果の要旨

巻号頁・発行日

no.50集, pp.4-6, 2011-05-31