조지 이네스(George Inness), 미국, 화가, 1825-1894

조지 이네스(George Inness), 미국, 화가, 1825-1894

조지 이네스(George Inness), 미국, 화가, 1825-1894

조지 이네스(George Inness), 미국, 화가, 1825-1894

조지 이네스(George Inness), 미국, 화가, 1825-1894

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조지 이네스(George Inness), 미국, 화가, 1825-1894

조지 이네스(George Inness), 미국, 화가, 1825-1894

조지 이네스(George Inness), 미국, 화가, 1825-1894

조지 이네스(George Inness), 미국, 화가, 1825-1894

조지 이네스(George Inness), 미국, 화가, 1825-1894

 

조지 이네스(George Inness), 미국, 화가, 1825-1894

미국의 풍경화가 '조지 이네스'는, 사실주의와 인상주의의 중간쯤 단계에서 자연의 드라마틱한 빛과 색을 찾아내어 캔버스에 옮겼습니다.

 

일출과 일몰, 달빛 등 시간과 계절에 따른 여러 풍경을 신비로운 분위기로 표현하여 많은 사랑을 받았으며, '미국 풍경화의 아버지'라 불릴 정도로 큰 영향력을 가졌던 예술가입니다.

 

약간 안개 낀 듯한 분위기에서 중간 톤의 색채들이 대비와 조화를 이룬, 이런 스타일은 '색조주의 Tonalism'  작품들입니다. 1800년대 말에 한때 유행하다가, 결국엔 인상주의와 모더니즘에 의해 가려졌답니다.

 

                                                                                                 About Him

 

George Inness was born in New York City and grew up on a farm in Newark, New Jersey. His minimal art training consisted of time spent with an itinerant artist, John Jesse Barker (who had studied with Thomas Sully), and a year's apprenticeship to a map engraver. In 1844 he began exhibiting in New York, and later spent a month working with the landscape painter Regis Gignoux. During most of his life, he kept a studio in New York. Although he claimed that his concentration was limited by his "fearful nervous disease"—epilepsy—by 1860 he was considered "a man of unquestionable genius." At the outbreak of the Civil War, lacking the good health to enlist, he offered bounties to those who did and painted uplifting allegorical landscapes.

 

During the same years, Swedenborgianism would significantly influence his art and life. So would residence in New England. In 1860 he moved to Medfield, Massachusetts, where he spent four years painting pastoral scenes in the fresh air in an effort to restore his health. He returned during the summer of 1875, living at the Kearsarge House at the base of the White Mountains. He painted several landscapes of the mountain, but concentrated on atmospheric effects rather than the grandeur of the scenery, which most previous artists had emphasized. During two subsequent summers on Nantucket (1879 and 1883) Inness's style softened further, approaching the tonalist harmonies that prevailed in his late work.

 

William H. Truettner and Roger B. Stein, editors, with contributions by Dona Brown, Thomas Andrew Denenberg, Judith K. Maxwell, Stephen Nissenbaum, Bruce Robertson, Roger B. Stein, and William H. Truettner Picturing Old New England: Image and Memory (Washington, D.C.; New Haven, Conn; and London: National Museum of American Art with Yale University Press, 1999)

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