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[영국 여행11]테이트 모던에 소장된 작품들 2편/Tate Modern Museum

작성일 작성자 Helen of Troy





영국 런던에 소재한 테이트 모던 박물관(Tate Modern)

(2017년 7월 5일)





두 딸과 지하철을 타고 Blackfriars 지하철 역에서 내려서,






Blackfriars 다리 위로 템즈강을 건너서...

 




템즈강 남쪽 강변에 도착하기 직전에

블랙프라이어즈 다리 위에서 강북에 있는 세인트 폴 교회가 보인다.





템즈강변의 붉은 점선을 따라서 동쪽(오른편)으로 꺾어져서....





템즈강가를 잇는 Blackfriars Bridge 한번 돌아보고...





강변에 위치한 Founder's Arms 식당을 지나서...









드디어 테이트 모던 박물관에 도착했다.













테이트 모던(Tate Modern)은 영국 런던에 소재한 현대미술 갤러리로,

영국뿐 아니라 전세계의 현대 예술가들의 작품을 소장하고 전시한 곳으로,

 테이트 그룹(Tate Britain, Tate Liverpool, Tate St. Ives,Tate online)에 속해 있다.  


이 건물은 원래 런던의 사우스와크(Southwark) 지역의 뱅크사이드 지역에 있던

템즈강변의 뱅크사이드 전력발전소 자리에 위치해 있다.

테이트는 1900년부터 현재까지 영국 출신 예술가와

전세계의 현대와 근대의 예술가 작품을 소장하고 있으며,

세계에서도 손꼽히는 규모가 큰 현대미술관이기도 하다.


특이한 점은 영국의 국립 박물관과 갤러리가 그러하듯이

테이트 모던도 갤러리가 영구 소장한 작품들의 전시장은 무료이며,

가끔씩 열리는 특별 전시회의 방을 입장하는데만 티켓을 사야 한다.


20세기와 21세기에 제작된 권위있는 작품들을 감상하려고,

2018년에는 약 580만명의 방문객들이 다녀갔다.





Multicolour TM 2016

by Peter Saville(1955 Manchester - )





Multicolour TM 2016


by Peter Saville(1955 Manchester - )

Machine cast acrylic, alupanel, tints, 2k lacquer


Peter Saville's 3-dimentional interpretation of Tate Modern marks the openings

of the gallery in its new form on June 17 2016.  The opening of a major

extension to the original museum would be cause for celebration in itself,

but the purpose of the commission, an image to work across Tate communications,

was to convey the message that the larger buildings is a single entity with new parts

that are a natural growth from the orginal.  The composition has a vitality and sense

of movement that expresses this evolution.  Originally conceived as a dynamic digigal sequence

from which a multiplicity of views could be derived the work has the sense of being experiential

as the viewpoint moves around the building.  The sucess of the digital image led Saville to make

a three-dimentional version.





2016년에 대대적으로 확장된 테이트 모던 내부





확장된 테이트의 1층 가운데에서 본 내부 전체





아래층으로 내려가서 테이트 모던 내부





아래층에 홀에서 보인 테이트 모던






위로 올라가서 본격적으로 테이트 모던에 소장된

작품 감상을 시작해 봅니다.







Untitled (for Francis)/무제 (프란시스를 위해서), 1985


by Antony Gormley (곰리: born in 1950 and works Britain)

Lead, fibreglass and plaster

purchased 1987


Untitled (for Francis) is a plaster mould of the aritst's body,

reinforced with fibreglass and encased in a skin made from sheets of

soldered lead.  Pierced in the breast, hands and feet and showing the palms of

its hands, the figure has affinities with images of Christian saints displaying 

the wounds of Christ.  Gormley doesn't want to identify the figure with a particular

religion, but has said that the subtitles refers to a 15th century painting by

Giovanni Bellini of St. Francis of Assisi.






Coffee/커피, 1915


by Pierre Bonnard (보나르: 1867-1947, born and worked France)

oil paint on canvas


The dining table was one of Bonnard's favorite subjects.  Its associations with domestic

routine and conviviality were in tune with his intimate vision of art.

Here, the artist's wife Marthe sips coffee, with her pet dog at her side.

The table stretches invitingly before us, so that the painting appears to record

the casual glance of someone about to sit down opposite Marthe.

Presented by Sir Michael Sadler through the Art fund 1941.






Chloe Boughton-Leigh/클로위 보튼-리,  1904-8


By Gwen John(존: 1876-1939, born Britain, worked Britain, France)

oil paint on canvas

purchased 1925






Stilleben mit Schafen

Still Life with Sheep/양이 있는 정물화, 1938


by Marie-Louise Von Motesiczky(폰 모테지츠키: 1906-1996, 

born Austria, worked Austria, Britain, Germany)

Oil paint on canvas

purchased 1986



This was painted in a small hotel in Amsterdam.  The artist had travelled there

with her mother from their home in Vienna, immediately following the arrival of the

Germans in Austria in 1938.  In this still like, she posed the objects, including two 18th

Chinese sheep ornaments and some fruit, on an ironing board in the hotel, with the ironing

board dictating the unusual oblong shape of the painting.  Aside from the sheep objects

whose reassuring familiarity reminded the artist of he Viennese surroundings, this unusual

still life is characterized by the rich colors of the grapefruit and by the bunch of grapes.






Blick aus dem Fenster, Wien1925

View from the Window, Vienna/비엔나의 창에서 보인 풍경


by Marie-Louise Von Motesiczky(폰 모테지츠키: 1906-1996, 

born Austria, worked Austria, Britain, Germany)

Oil paint on canvas

presesented by the artist 1986


The painting depicts a view of roofs and facades seen from the artist's 4th floor flat

in Vienna, where she lived during the first half of the 1920s.  The cupola in the upper center

of the painting is part of the Johann Strass Theatre, famous for its performances of light opera.






Notre-Dame/노트르담,  c. 1900


by Henri Matisse (앙리 마티스 1869-1954, born and worked in France)

oil paint on canvas

purchased 1949


Matisse could see Notre-Dame from the window of his Paris studio and painted it

many times.  His depictions of the cathedral chart his development as a artist.

The earliest reflect the influence of impressionism,  while this work shows his move

towards bold non-naturalistic colors - particularly in the vivid green on the bell towers.







Interior at Gordon Square/고든 스퀘어 소재 건물의 내부  c. 1915


by Duncan Grant (던컨 그랜트: 1885-1978, born Britain, worked Britain, France, Italy)

oil paint on wood

purchased 1969


The Bloomsbury artists often focused their attention on their immediate surroundings,

painting their friends engaged in such activities as painting, reading or writing,

as well as the objects and furnishings in their rooms.






Inérieur d'atelier

Studio Interior/작업실 내부  c. 1903-4


by Henri Matisse (앙리 마티스 1869-1954, born and worked in France)

oil paint on canvas

Bequeathed by Lord Amulree 1984


This painting shows a conrner of Matisse's apartment in Paris, where he lived 

from 1899 to 1907.  The subjects of domestic interiors and still lifes (such as the carefully

 arranged objects on the small stand here) were typical of Matisse's worksof the time. 






Petite danseuse de quatorze ans  1880-1

Little Dancer Aged Fourteen/14살된 작은 발레 댄서




Petite danseuse de quatorze ans  1880-1

Little Dancer Aged Fourteen/14살된 작은 발레 댄서







Petite danseuse de quatorze ans  1880-1

Little Dancer Aged Fourteen/14살된 작은 발레 댄서


By Edgar Degas(드가: 1834-1917 born and worked France)

painted bronze with muslin and silk on wooden base

Purchased with assistance from the Art Fund



The model for this scupture was a ballet student.  Degas first made 

a reddish-brown waxsculpture of her in the nude.  Then, aiming 

for a naturalistic effect, he dressed itin clothing made of real fabrics.  

When the wax sculpture was first exhibited, contemporaries were shocked by 

the unprecedentedrealism of the piece.  But they were also moved by the work's 

representation of the pain andstress of ballet training endured by a barely adolescent girl.  

After Degas' death, his heirs decided to make bronze casts of the wax original.





 

Ennui/권태 c. 1914


by Walter Richard sickert (시커트: 1860-1942 born Germany, worked Britain, France)

oil paint on canvas

Presented by the Contemporary Art Society 1924


From a close examination of scenes of everyday life, Sickert captured a complex 

atmosphere of boredom and apathy in Ennui.  He found interest even in this subject

in which ordinary domestic details can convey a charged relationship between the two figures.








La Mandora/ 만도라  1909-10


By Georges Braque (브라크: 1882-1963)

oil on canvas

purchased 1966


Braque's interest in collecting musical instrumetns is reflected in this painting of

a small lute called a mandora.  Its fragmented style suggests a sense of rhythm and 

acoustic reverberation that matches the musical subject.





 

Buste de femme 1909

Bust of a Woman/여인의 흉상


by Pablo Picasso(피카소: 1881-1973 Born Spain, worked Spain, France)

oil paint on canvas

purchased 1949


The treatment of the human figure in the cubist paintings of Picasso and Braque is

often reminiscent of sculpture.  In this work, made in mid-1909, Picasso used planes

of warm greys and burnt sienna to establish the bulk of the body. 






Guitare et pichet 1927

Guitar and Jug/기타와 물병


By Georges Braque (브라크: 1882-1963 born and worked France)

oil paint on canvas

Presented by C. Frank Stoop 1928


Braque used traditional artists' props such as guitars, jugs and glasses to experiment

with composition.  The famiiar objects in Guitar an Jug are presented in sombre coloring

but with fluid lines, their softness set against a rigorous structure.  The objects may also 

be interpreted as having symbolic associations, so that the guitar may allude to artistic 

harmony and the apples, branch and glass may celebrate the abundance of nature.






Home of the Welder

용접공의 집, 1945


by David Smith(스미스: 1906-1965  Born and worked USA)

Steel

Lent by the American Fund for the Tate Gallery and

The Estate of David Smith, fractional and promised gift 2000


Home of the Welder was made shortly after the Second World War, and reflects

Smith's personal circumstances.  He had just been released from his wartime job

as a welder, which he believed had restricted his creative work.  Like a coded  

autobiography, various elements in this sculpture relate to his dreams and frustratitons

at the time.  The millstone, for example, was identified by Smith as representing his job,

while images of women and children may reflect tensions in his childless first marriage






Head of a Woman(Fernande) 1909

여인의 두상(페르난드)


by Pablo Picasso(피카소: 1881-1973 Born Spain, worked Spain, France)

plaster

Lent from a private collection 1994


'My greatest artisti emotions were aroused when the sublime beauty of the sculptures

created by anonymous artists in Africa was suddenly revealed to me' Picasso told the 

poet Apollinaire.  This sculpture is of his companion Fernande Olivier.






Seated Woman with Small Dog  c. 1939

앉아 있는 여인과 작은 개


by Meraud Guevara(게바라: 1904-1993 Born Britain, worked Britain, France, USA)

oil paint and graphite on canvas

Presented by Salander Galleries, New York 1979


This is one of a number of precise and realistic paintings of women by Meraud Guevara

that share a disquieting atmosphere.  The sitter wholly dominates the steep angled space,

which could not contain her if she stood.  A sense of mystery is suggested by the imagery

view(placing the room high above the landscape), the open doorway behind,

and the inexplicable, but deliberate, flash of orange beside the door.







Self-Portrait/자화상  1927


by Christian Schad(샤트: 1894-1892 

Born Germany, worked Germany, Sweitzerland, Italy, Austria)

oil on wood

Lent from a private collection 1994



Schad's Self Portrait is a study of thinly-veiled display.  The artist's transparent shirt

reveals his chest.  He is positioned in front of the woman but only partially conceals her

nakedness.  A diaphanous curtain separates them from the city.  Schad's precise realism

isi loaded with symbolism.  A narcissus, indicating vanity, leans towards the artist.

the wamon's face is scarred with a freggio, inflicted on Neapolitan women by their lovers

to make them unattractive to others.  It is a startling emblem of the potential violence

underlying male possessions of the female body.






Portrait of a Young Woman  1935

젊은 여인의 초상화


by Meredith Frampton (프램튼:  1894-1984 Born and worked Britain)

oil paint on canvas

presented by the Trustees of the Chantrey Bequest 1935


This work related to the tradition of full-length portraits of women that is associated 

in particular with the work of earlier artists, such as Van Dyck and Gainsborough.

However, it is executed with a clarity and precision that give it an unmistakeadlby modern feeling.






Morning/아침  1926


by Dod Procter (프럭터: 1892-1972 Born and workin Britain)

oil paint on canvas

Presented by the Daily Mail 1927


This was voted Picture of the Year at the Royal Academy Summer Exhibition of 1927

and bought for the nation by the Daily Mail newspaper.  From about 1922 Procter

had begun to paint a series of simple, monumental portraits of young women


that she knew, utilising the fall of light across the figures to give a powerful sense of volume.

The model was Cissie Barnes, the 16-year old daughter of a fisherman from Newlyn,

the Cornish village that was home to Dod Procter for most of her working life.

The popularitiy of this painting led to its being displayed in New York, followed

by a tour of Britain from 1927 to 1929












Back Series/뒷 모습 조각품 시리즈


by Henri Matisse (마티스 1869-1954  Born and worked France)

Bronze






Back I c. 1909-10, cast 1955-6


by Henri Matisse (마티스 1869-1954  Born and worked France)

Bronze





Back II  c. 1913-4,  cast 1955-6


by Henri Matisse (마티스 1869-1954  Born and worked France)

Bronze






Back III  c. 1916-7,  cast 1955-6


by Henri Matisse (마티스 1869-1954  Born and worked France)

Bronze




Back IV  1930,  cast 1955-6


by Henri Matisse (마티스 1869-1954  Born and worked France)

Bronze

Purchased 1955 Purchased with assistance from the Matisse Appeal Fund 1956



The Backs were Matisse's largest sculptures.  Over 20 years he progressively refined the

original pose, based on a woman leaning on a fence, until he achieved a massive simplicity.

Marisse's decision to show the back view of a woman on such a monumental scale

was unorthodox.  By concealing her face, he avoided the complexities of visual

engagement between artist and model.  This helped him to consider the nude as 

an arrangement of forms that he could simplify and stylize.


In the final sculpture, the modelling of flesh has given way to the massing of androgynous

bulk and the gently curved spine has been replaced by an abstracted plait.  Although

Back I had been exhibited in 1913, the series remained almost unknown until 1949-50

when the plaster Back I, III, IV appeared in exhibitions in Paris and Lausanne.







Clarinette et bouteille de rhum sur une cheminée 1911

Clarinet and Bottle of rum on a Mantelpiece/벽난로 위의 클라리넷과 럼 술병


by Georges Braque(브라크: 1882-1963 Born and worked France)

oil paint on canvas

purchased with assistance from a special government grant and 

with assistance from the Art Fund 1978


A clarinet lies on a mantelpiece at the centre of this playful work.  In front of it stands

a bottle with the characters RHU, the first three letters of the French word for rum

The work Valse(waltz) introduces the idea of dancing, reinforciing the theme of music evoked

by the clarinet and suggestions of treble and bass clefs.  The scrolled form in the lower

right-hand corner could stand for either the bracket of the mantelpiece or the head of an instrument.






Table Piece CClXVI/테이블 피스  1975


by Anthony Caro(카로: 1924-2013 Born and worked Britain)

Steel

Presented by the artist 2000


In the 1960s Caro, who was best known for his large-scale sculptures, began to make 

smaller works designed to sit on the edge of a horizontal surface at table height.

These works were deliberately constructed on a human scale.  Here strips of steel are


curved and folded as if they were ribbons, the hard material made to apear as if were

soft and flexible.  The wavering lines resemble the tracings of a paintbrush, suggesting 

the free movement of the artist's hand.






Prism, Compass, Grid 2/프리즘, 컴퍼스, 모눈종이 2   c. 1939-40(왼쪽)

Compass and Strainer/컴퍼스와 여과기 c. 1939-40


by Gyorgy Kepes(케페스: 1906-2001 Born Hungary, worked Hungary, Germany, Britain, USA)

Photograph, gelatin silber print on paper

Purchased with funds provided by the Russia and Eastern European Acquisitions Committee

and the Photography Acquisitions Committee 2013






Fins and Rectangles /지느러미와 사각형 c. 1939-40

Lily and Egg/백합과 달걀 c. 1939


by Gyorgy Kepes(케페스: 1906-2001 Born Hungary, worked Hungary, Germany, Britain, USA)

Photograph, gelatin silver print on paper

Purchased with funds provided by the Russia and Eastern European Acquisitions Committee

and the Photography Acquisitions Committee 2013






International Surrealism 







to be continued...




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