[A Sip of Books] Awkward Art Stories National Gallery

Editor's NoteSome sentences encapsulate the entire content of a book, while others instantly resonate with readers, creating a connection with the book. We excerpt and introduce such meaningful sentences from books.

This is an art story conveyed by an author who majored in art history at University College London in the UK. In conjunction with the National Museum of Korea's exhibition "The Gaze of the Masters, Toward People: Masterpieces from the National Gallery, London," it provides an easy-to-understand overview of the National Gallery's collection and the flow of Western art history. Currently, 52 pieces from the National Gallery are on display at the National Museum of Korea. The author covers the background of the National Gallery's founding and the works left by masters of Western art history from Renaissance art to Impressionism. By delving deeply into the context and controversies each work embodies, the book introduces the overall flow of art history.

It was not from the beginning that the name of the state-established art museum was decided as the "National Gallery." At that time, the British ruling class considered art a privilege exclusive to themselves. Therefore, the concept of allowing the public to appreciate and enjoy art on equal footing with the ruling class was difficult to accept. Until then, art had belonged to the world of kings and aristocratic rulers or was supported by them, which was indicated by the use of the term "Royal" meaning "kingly." When they tried to use "National," meaning "of the people," in the museum's name, it sparked controversy. - pp. 21?22, from "01 The Birth of the National Gallery, Whose Art Is It?"

The horse behind Charles I is also well staged to enhance the king's authority. Originally, horses appearing in paintings symbolize wildness and passion that are hard to tame. In the earlier equestrian portrait, Charles I is depicted skillfully handling the horse, which can be interpreted as praising his leadership abilities as a ruler. Meanwhile, in the hunting portrait of Charles I, the horse bows its head obediently before the king. By showing that even a wild animal like a horse respects the king's authority, it further glorifies the king's power. - p. 107, from "04 Anthony van Dyck, How Power Is Staged"

New art historians read Constable's landscapes quite differently. They interpreted them not as mere actual landscapes or storyless scenes but as paintings imbued with intense class consciousness. Furthermore, they proposed an interpretation that these are nostalgic landscapes bearing the scars left by Britain's Industrial Revolution. For example, the peaceful rural scene inside the paper mill at Stratford was, from the new art history perspective, a countryside that had already disappeared. Constable's landscapes are not actual scenes but the result of imagining and reviving the landscapes he saw in his childhood. - p. 168, from "06 John Constable, The Age of Innocence"

As we have seen so far, landscapes are not simply paintings of nature as it is. Rather, they contain the artist's active interpretation of the world and serve as a stage for fierce competition among artists. Keeping this in mind, when viewing the landscapes exhibited in this show, you will not only gain a new perspective on art but also vividly feel the artists' relentless efforts to transform it. - p. 174, from "06 John Constable, The Age of Innocence"

Awkward Art Stories National Gallery Special Edition | Written by Yang Jeong-mu | Social Review | 280 pages | 18,000 KRW

This content was produced with the assistance of AI translation services.