| Budget Amount *help |
¥2,600,000 (Direct Cost: ¥2,000,000、Indirect Cost: ¥600,000)
Fiscal Year 2012: ¥130,000 (Direct Cost: ¥100,000、Indirect Cost: ¥30,000)
Fiscal Year 2011: ¥1,040,000 (Direct Cost: ¥800,000、Indirect Cost: ¥240,000)
Fiscal Year 2010: ¥1,430,000 (Direct Cost: ¥1,100,000、Indirect Cost: ¥330,000)
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| Research Abstract |
Western paintings have been likened to an ‘open window,’ but the relationship between a painted image and our world across the window/painting ‘frame’ was radically changed in the latter half of the nineteenth century. The purpose of this study is to clarify this change, finding its signs on the edge of Neo-Impressionist George Seurat’s painting, where painted image meets the painted ‘border’ and his original painted ‘frame’.
Seurat’s ‘border’ does not suggest a ‘real opening’ like a window. It seems to be an abstract band and could be considered a ‘frame’ because it surrounds the image and fixes its edge. On the other hand, it could be considered a repetition of the real ‘frame’ by Seurat because both his ‘border’ and ‘frame’ are painted with dots of the same colors. By elucidating the way this duality of Seurat’s border was formed, this study shows the possibility of locating his works in the context of ‘the new painting’ by Degas, Caillebotteand other Impressionists.
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