퐁텐블로 화파의 '목욕하는 귀부인'ㅣㅣ매너리즘 회화 7ㅣ송기형의 서구문예사 259

#Parmigianino #Mannerism #HistoryOfWesternArt #LongNeckedMadonna #FlorentineArt #GirolamoFrancescoMariaMazzola #Mannerism *Lecturer: Professor Song Ki-hyung | Former Department of Film and Video, College of Arts, Konkuk University *Lecturer Introduction (Source: Aladin) Graduated from the Department of French Language and Literature, College of Humanities and Graduate School, Seoul National University (Ph.D. in Literature) Served as Professor of French Language and Literature, College of Liberal Arts, Konkuk University (Former) Professor, Department of Film and Video, College of Arts, Konkuk University Publications: [Language Policy in Modern France], etc. Translations (Co-translation): [On Clemency], [Landscapes of Paris], etc. 1. Overview of the Work and Unconventional Composition This altarpiece, created by Parmigianino between 1535 and 1540, demonstrates the essence of Mannerism, which intentionally rejected the harmony and balance of the Renaissance. Overwhelming Scale and Deformation: The size of the Virgin Mary dominates the entire canvas, and the human body is abnormally elongated. Unstable Composition: On the left side of the painting, angels are densely packed to the point of feeling claustrophobic, while on the right, Saint Jerome is depicted very small in an empty space, creating an extreme contrast. Theatrical Effect: The drawn-back curtain in the upper left corner serves as a theatrical device to reveal the Virgin Mary as if she were a revelation. Reflection of the Era: This imbalance and mystery reflect the uncertain circumstances and changes of 16th-century Europe. 2. The Wet-Drapery Technique and Reinterpretation of Classicism The explicit depiction of the Virgin Mary's figure borrows from a technique originating in ancient Greek sculpture. Definition of Technique: This is a sculptural technique that depicts fabric as if it were wet and clinging to the body, emphasizing anatomical curves while simultaneously conveying elegance and sensuality. Classical Roots: This technique, seen in sculptures such as those in the Parthenon or the Nike of Samothrace, served as a tool to balance realism and idealism. Parmigianino’s Application: By emphasizing the curves of the Virgin Mary’s breasts, abdomen, and knees, he added sophisticated eroticism to sacred religious paintings. 3. Evolution and Comparison of Madonna Iconography A comparison between traditional depictions of the Virgin Mary and Parmigianino’s innovations is as follows: Traditional/High Renaissance: Leonardo da Vinci and Raphael used pyramidal compositions, while Bellini placed the Virgin Mary in the center, pursuing normative and harmonious proportions. Titian’s Innovation: In the Pesaro Madonna (1526), ​​he used a diagonal composition to break the central focus and foreshadowed a Baroque sense of movement. Parmigianino’s Mannerism: Through asymmetrical and avant-garde compositions and elongated human proportions, he emphasized instability and mysterious elegance instead of stability. 4. The Sensuality of the Virgin and Renaissance Eroticism This work is controversial in that it portrays the Virgin Mary not merely as a benevolent mother, but as a being possessing physical allure. The Nursing Virgin (Virgo Lactans): While artists such as Jan van Eyck and Leonardo da Vinci depicted a human Madonna through nursing scenes, Parmigianino pursued a sophisticated sensuality that went beyond this. Influence of Raphael's Workshop: Raphael's successors, such as Giulio Romano, also produced private and explicit erotic art based on classical models and contemporary literature. Mannerist Aesthetics: Art, which had previously been confined to the realm of private pleasure for the elite, gradually moved toward exploring refined elegance and secret desires. 5. Art Historical Position This work serves as an indicator symbolizing that artists were moving beyond the culmination of the Renaissance toward experimental and subjective aesthetics. The attempts of numerous painters, including Botticelli, Pontormo, and Bronzino, are closely linked to the Mannerist trend of seeking to break away from Renaissance tradition. Parmigianino's experimental endeavor is the result of the intense contemplation of painters who sought to find their own unique style within an art world where answers were predetermined.