カトウ　ユキコ   kato yukiko   加藤 有希子    所属   専修大学  文学部    職種   教授
言語種別	日本語
発行・発表の年月	2014/03
形態種別	研究論文（大学，研究機関等紀要）
査読	査読あり
招待論文	招待あり
標題	「芸術と生活の分水嶺――アート解体の歴史から新印象派を再考する――」
執筆形態	未選択
掲載誌名	『哲学』第132集（特集・美学・芸術学「美・芸術・感性をめぐる知のスパイラル（旋回）」、三田哲学会
出版社・発行元	三田哲學會
巻・号・頁	132,281-307頁
著者・共著者	加藤 有希子
概要	特集 : 論集 美学・芸術学 : 美・芸術・感性をめぐる知のスパイラル(旋回)Daily life interests, such as the desire for health and happiness, have been excluded from major avant-garde art since the 18th century. As Peter Bürger properly stated, if art is identified with daily life practices, the sanctity of art would be spoiled; however, if art completely avoids life's interests, art can be suffocating. After World War II, some movements in deconstructing art—the 1960s counterculture, Art Therapy beginning in the mid-1940s and actually flourishing from the 1990s onwards, and De-Art in the 2000s led by Kumakura Takaaki—have tried to fuse art and life, although their attempts have not always been successful. In a sense, such a synthesis of art and life is one of the main themes of post-War art history.As one pioneer in avant-gardes, Neo-Impressionists have tried to synthesize art and life. This article focuses on Neo-Impressionism in the late 19th century. Having detailed the fact that Neo-Impressionists practiced color therapy, homeopathy, and hydro therapy, the study clarifies that their hygienic practices were firmly related to their theory of painting. Themetizing the concept of "equilibrium"and the divergent character of color as a medium, I reveal how the Neo-Impressionists were exceptionally able to integrate art and life.
ISSN	0563-2099
NAID	120005441362
PermalinkURL	http://id.ndl.go.jp/bib/025515212
researchmap用URL	http://koara.lib.keio.ac.jp/xoonips/modules/xoonips/detail.php?koara_id=AN00150430-00000132-0281