인상주의 - 월간미술
인상주의의 특징들을 간단히 요약하면 다음과 같다. 첫째, 미술 이외의 다른 가치기준들이 예술에 관여하는 것을 금했다. 둘째, 비례, 균제, 규칙성 ...
인상주의 \- 월간미술

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[인](https://monthlyart.com/encyclopedia/filter:%EC%9D%B8/)[인그](https://monthlyart.com/encyclopedia/filter:%EC%9D%B8%EA%B7%B8/)[인더](https://monthlyart.com/encyclopedia/filter:%EC%9D%B8%EB%8D%94/)[인도](https://monthlyart.com/encyclopedia/filter:%EC%9D%B8%EB%8F%84/)[인동](https://monthlyart.com/encyclopedia/filter:%EC%9D%B8%EB%8F%99/)[인드](https://monthlyart.com/encyclopedia/filter:%EC%9D%B8%EB%93%9C/)[인디](https://monthlyart.com/encyclopedia/filter:%EC%9D%B8%EB%94%94/)[인면](https://monthlyart.com/encyclopedia/filter:%EC%9D%B8%EB%A9%B4/)[인물](https://monthlyart.com/encyclopedia/filter:%EC%9D%B8%EB%AC%BC/)[인보](https://monthlyart.com/encyclopedia/filter:%EC%9D%B8%EB%B3%B4/)[인상](https://monthlyart.com/encyclopedia/filter:%EC%9D%B8%EC%83%81/)[인장](https://monthlyart.com/encyclopedia/filter:%EC%9D%B8%EC%9E%A5/)[인타](https://monthlyart.com/encyclopedia/filter:%EC%9D%B8%ED%83%80/)[인터](https://monthlyart.com/encyclopedia/filter:%EC%9D%B8%ED%84%B0/)[인학](https://monthlyart.com/encyclopedia/filter:%EC%9D%B8%ED%95%99/)[인화](https://monthlyart.com/encyclopedia/filter:%EC%9D%B8%ED%99%94/)

# [인상주의](https://monthlyart.com/encyclopedia/%ec%9d%b8%ec%83%81%ec%a3%bc%ec%9d%98/ "Permanent Link: 인상주의")

2014.04.09/카테고리: [세계미술용어사전](https://monthlyart.com/encyclopedia-category/terms/) [아](https://monthlyart.com/encyclopedia-tag/%ec%95%84/)/작성자: [monthlyart](https://monthlyart.com/author/monthlyart/ "monthlyart 작성")

인상주의 印象主義

Impressionisme(프)

19세기 후반 프랑스에서 일어난 회화 운동. 인상주의는 단일한 이념이나 명백한 원리를 갖는 유파라기보다는 거의 자연발생적으로 형성되었다. 최초의 중심 인물은 모네Claude Monet(1840~1926), 르누아르Pierre Auguste Renoir(1841~1919), 시슬리Alfred Sisley(1839~1899) 등으로 이들은 글레이르(Marc) Charles Gleyre(1808~1874)의 제자들이었으나, 1863년 마네Edouard Manet(1832~1883)의 전시회 이후 아카데믹한 교습에 불만을 품어, 피사로Camille Pissaro(1830~1903), 세잔느Paul Cézanne(1839~1906), 모리조Barth-Marie Morisot(1841~1895), 기요맹Armand Guillaumin(1841~1927)과 친교를 맺고 몽마르트르의 카페 등에서 정기적으로 모임을 가졌다. 이후 드가Edgar Degas(1834~1917)와 마네, 비평가 뒤레Théodore Duret 및 리비에르Georges Rivière도 합세하고, 화상 뒤랑-뤼엘Paul Durand Ruel의 후원을 받게 된다.

1873년 살롱\*이 피사로, 모네, 르누아르, 세잔느, 시슬리의 그림을 거부하자, 이를 계기로 이듬해인 1874년 4월, 사진작가 나다르Nadar의 작업장에서 자신들의 앙데팡당\* 전시회를 개최하였는데, 이를 자칭 ‘무명화가 및 조각가 판화가 예술가 협회전Société anonyme des artistes peintres, sculpteurs, graveurs’이라고 불렀다. 그런데 출품자 중 모네의 <인상, 해돋이>를 인용하여, 신문기자 르로이Louis Leroy가 《르 샤리바리Le Charivari》지에서 이들 모두를 ‘인상주의자’라고 조소적인 의미로 명명한 것이 후에 그들 자신에게도 그대로 받아들여져 일반화되기에 이르렀다.

이들에게 엄격한 기준을 적용하기는 어려우나 대체적으로 아카데미\*의 전통 교육과 낭만주의\*의 기본 이념에 반대하는 성향을 보이고 있었다. 그들은 예술가의 정서 상태보다도 오히려 자연 혹은 삶의 편린들을 가능한 한 객관적이며 과학적인 정신에 의해 기록함을 예술의 제일의 덕목으로 삼는 사실주의\*의 태도에 동조했다. 이 운동은 19세기 후반에 널리 보급되었던 과학적 사실주의의 한 일환으로 볼 수도 있으나. 그들의 예술관은 사회주의 사실주의\*와는 달리, 사회의 개혁에는 관심을 두지 않았다. 인상주의의 시대적 배경으로는 자포니슴\*의 만연과 사진기의 발달로 인한 미술의 초상화적 기능의 쇠퇴, 또한 현대 시민사회의 형성과 광학의 발달, 그리고 고전주의 역사화에 대한 반발 등으로 요약해볼 수 있다.

인상주의자들의 주제는 매우 다양했는데, 마네는 18세기 전통적 주제들을 사실적으로 변형했고, 르누아르는 귀여운 여인이나 아낙들, 아름다운 풍경들을, 드가는 경마, 무희, 세탁부, 재봉사들을, 시슬리, 피사로, 모네는 주로 풍경에 관심을 보였다. 그들은 형태 구성을 피하고, 마치 카메라가 우연히 한 장면을 찍은 것처럼 즉각적인 시각적 인상의 효과를 전달하려고 했다. 그렇지만 우연성의 인상은 의도적으로 계획된 것으로, 예컨대 드가는 현장에서의 스케치를 자신의 작업실에 와서야 비로소 그림으로 구성했다. 마네는 1870년 이후에야 외광파\*로 전환했다. 르누아르의 방향 전환은 검은 음영과 윤곽선을 배제하고 ‘색채 분할 기법’ 혹은 점묘법\*, ‘아롱다롱한 색체계(rainbow palette)’ 등을 도입한 데서부터 시작된다.

풍경화는 이제 망막의 실제 이미지를 재생하고 밝은 관선에 비친 생생한 장면의 등가물을 그림물감으로 재창조하는 행위가 되었다. 음영은 회색이나 검정색이 아니라 대상의 보색으로 칠해지고, 윤곽선을 배제함에 따라 대상의 입체성이 상실되며, 따라서 인상주의 회화는 빛과 대기의 회화, 지시색과 반사색의 유희로 되었다. 이러한 새로운 기법은 바르비종파\*의 페냐Diaz de la Peña의 영향 아래 1860년대 말, 르누아르에 의해 도입되어 1870년대 초 피사로, 모네, 시슬리에 의해서 채택되었던 것이다. 또한 이들의 풍경화에서 빛과 대기를 통해 표현된 기후와 계절 등의 효과에 대한 민감성은 콘스터블John Constable(1776~1837)과 터너William Turner(1775~1851)에 의한 풍경화 양식에서 영향받은 바가 컸다.

그리고 전통적인 다갈색 대신 흰색이 초벌칠된 캔버스 위에 혼합되지 않은 그림물감을 사용하는 필법, 검정색의 배제 등은 직접 관찰에 기인한 것이었다. 이것은 쇠라Georges Seurat(1859~1891) 등 신인상주의\* 화가들이 점묘법에 의해 과학적 기초를 획득하고자 한 것이었다. 모네는 인상주의 개념에 일관되게 충실했던 거의 유일한 화가인데 점차 빛과 대기에 몰두, 팔레트 위에서 물감을 섞지 않는 대신 색채를 분할하여 공간을 해체하는 등 인상주의 기법의 한 전형을 개척했다. 인상주의의 특징들을 간단히 요약하면 다음과 같다. 첫째, 미술 이외의 다른 가치기준들이 예술에 관여하는 것을 금했다. 둘째, 비례, 균제, 규칙성 등의 기하학적 법칙들을 거부한다. 자연을 모방하는 참된 방식은 선이나 형태가 아닌 색 자체에 충실하게 지각하고 묘사하는 것이다.

한편, 1870년대에 인상주의 그룹과 유대를 맺었던 세잔느는 더 이상 우연적인 장면을 재생하는데 관심을 갖지 않고, 한 장면의 속성을 보유케 하는 형태, 연관들에 대한 그 자신의 생각을 전개했다. 르누아르 역시 1880년대에 들어 인상주의의 주된 특징을 포기하기에 이른다. 실재의 우연적 현상보다는 그 영속적 구조에 대한 관심은 쇠라와 세잔느로부터 입체주의\*, 그리고 이후에 이르기까지 전개되었다. 인상주의 이론에 의해 제기된 과학적 리얼리즘은 그 이후의 미술 운동의 흐름에서 퇴조하고 말았지만, 그럼에도 불구하고 인상주의는 근대 예술 이론을 전개하는 출발점으로서 여전히 중요한 위치에 있다. 인상주의는 사상사적으로 경험론과 밀접한 관계를 가졌다고 볼 수 있는데, 경험론을 한마디로 요약하자면, ‘우리의 모든 지식은 경험에서 얻어진다’는 것이다. 경험주의자들은 경험 이외에 다른 어떤 선험적 원리나 본질을 가정하지 않고 세계에 대한 우리의 지식이 획득되는 방식을 오직 경험에 의해서 설명하려 하는데, 태도 면에서 인상주의자들은 경험론자들이라 말할 수 있다.

인상주의자들의 화법의 배후에는 화가의 임무는 자연을 모방하는 것이라는 사실주의 사상이 있었다. 이들은 전통적으로 내려온 윤곽선의 사용법이 실제로는 근거 없는 공상에 불과하고 오히려 색채들을 투명하게 화폭에 옮기는 것이야말로 참된 자연을 묘사할 수 있다고 생각한 것이다. 선이나 형태는 추상적인 기하학적 존재로서 실제의 살아있는 자연에서는 결코 발견되지 않는다. 경험주의자들의 설명에서 보았듯이, 우리는 선을 직접 지각하는 것이 아니라, 우리의 의식이 구성해내는 것이다. 실제로 선이나 형태는 최소한 두가지 이상의 색깔들을 필요로 하고 그 색깔들의 관계에 의해 성립하는 것이다. 인상주의자들은 색깔들을 관찰하는 것이 자연을 엄밀하게 관찰하는 것이라고 생각했다. 자연의 빛을 붓자국으로 성실하게 캔버스에 옮기는 것이 소위 색조분리의 법칙이다.

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