본문 바로가기
  • Home

Characteristics of Simulacra in Elements of Trompe-l’oeil as Seen in Cubist Painting: A Focused Review of Works by Braque

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2022, 66(), pp.256-276
  • DOI : 10.17527/JASA.66.0.10
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : April 11, 2022
  • Accepted : May 13, 2022
  • Published : June 30, 2022

Park, Sung-Yong 1

1금오공과대학교

Accredited

ABSTRACT

This paper analyses trompe-l’oeil elements in Cubist paintings, focusing on the works of Braque. The concept of trompe-l’oeil and simulacra are the theoretical background as a convergence study of art works and aesthetics. This paper aims to demonstrate that trompe-l’oeil is not just an imitation but an extension of the concept of reality through the relationship between actuality and virtuality. For the theoretical background, trompe-l’oeil is classified into two categories based on historical anecdote, Zeuxis and Parrhasius, and simulacra are categorized into four images based on Baudrillard’s theory. In the analysis of Braque’s painting, I first analyze the transformation from Renaissance illusional space into Cubist space in Braque’s early work Viaduct at L’Estaque (1908). Afterwards, I investigate two of his paintings, Violin and Palette (1909) and Violin and Pitcher (1910), and analyze how the trompe-l’oeil elements are decoded to be read in the cubist pictorial space. My analysis suggests that his trompe-l’oeil elements are closer to Parrhasius than to Zeuxis, closer to the hyper-reality of Baudrillard’s fourth simulacra image, and extend the concept of reality beyond actuality.

Citation status

* References for papers published after 2023 are currently being built.