추상미술 - 월간미술
눈에 보이는 현실의 사물을 묘사의 대상으로 하지 않는 미술을 가리킨다. 자연의 구체적 대상을 거의 재현하지 않고 색, 선, 형 등의 추상적 형식으로 ...
추상미술 \- 월간미술

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[추](https://monthlyart.com/encyclopedia/filter:%EC%B6%94/)[추사](https://monthlyart.com/encyclopedia/filter:%EC%B6%94%EC%82%AC/)[추상](https://monthlyart.com/encyclopedia/filter:%EC%B6%94%EC%83%81/)

[추상-](https://monthlyart.com/encyclopedia/filter:%EC%B6%94%EC%83%81-/)[추상미](https://monthlyart.com/encyclopedia/filter:%EC%B6%94%EC%83%81%EB%AF%B8/)[추상표](https://monthlyart.com/encyclopedia/filter:%EC%B6%94%EC%83%81%ED%91%9C/)

# [추상미술](https://monthlyart.com/encyclopedia/%ec%b6%94%ec%83%81%eb%af%b8%ec%88%a0/ "Permanent Link: 추상미술")

2014.04.09/카테고리: [세계미술용어사전](https://monthlyart.com/encyclopedia-category/terms/) [차](https://monthlyart.com/encyclopedia-tag/%ec%b0%a8/)/작성자: [monthlyart](https://monthlyart.com/author/monthlyart/ "monthlyart 작성")

추상미술 抽象美術 abstract art(영)

비대상미술(比對象美術), 비구상미술, 비재현적 미술이라고도 하며, 때로는 구체미술\*이라고도 불린다. 눈에 보이는 현실의 사물을 묘사의 대상으로 하지 않는 미술을 가리킨다. 자연의 구체적 대상을 거의 재현하지 않고 색, 선, 형 등의 추상적 형식으로 작품을 구성하는 미술을 총칭하는 것으로, 20세기 미술에서 가장 중요한 주류의 하나를 이룬다.

모든 미술은 형태, 색채, 질감, 화면의 크기, 테마의 크기 및 넓이 등 추상적인 제요소로 성립되고 그 양식도 주로 이것들에 의해 결정된다. 그러나 과거에는 이들 제 요소가 신들을 찬미한 인간의 모습이나 사상(事象) 등을 나타내려는 기술적, 묘사적인 목적을 위해 사용되어 표현보다는 설명의 역할이 지배적이었다.

역사적으로 보면 추상 미술은 19세기에 시작된다. 이 시대에는 고대 신화나 중세 이야기에서 화제(畵題)를 취하여 극명한 묘사를 주로 하는 미술이 성행하였고, 그와 동시에 들라크루아Eugène Delacroix(1798~1863)가 ‘회화란 이름의 음악’이라 불렀던 방향으로 회화를 발전시키고자 한 화가들은 자연주의\*의 전통에 의문을 품고 주관과 회화 쌍방의 시각적 사실을 접근시키고자 했다. 더 나아가 낭만주의\*의 화가들은 모방과 이상화를 강조했던 고전주의\*를 부정하고 상상력, 무의식, 그리고 우연성까지도 본질적인 창조의 요인으로 여겨야 한다고 주장했다.

1890년 드니Maurice Denis의 “회화는 전쟁터의 말이나 또는 나부(裸婦)와 같이 이야기이기 이전에 본질적으로 일정한 질서를 가지고 선택된 색채로 덮인 평면이다”라는 말이 당시 진보적인 화가들의 생각을 요약하고 있다. 그리고 선, 색채, 표면 등의 비묘사적, 표현적인 성질을 근거로 한 아르 누보\*의 대담한 실험적 디자인은 회화와 밀접한 분야에서 처음으로 추상의 영역을 확대시켰다고 볼 수 있다. 20세기 초의 십수년 간에 걸쳐 주요한 운동은 모두 어떤 형태로든지 미술과 자연의 외관 사이의 균열을 강조했다. 한편 영화는 그 자체로 이야기적 형식을 지니기 시작했다. 또 표현주의\*의 여러 가지 형식은 원시 미술에 고무되어 눈에 보이는 세계의 상을 왜곡, 변형하여 표현함으로써 강한 감정을 전하고자 했다.

야수주의\*에서는 이미 고갱Paul Gauguin(1904~1948)이 주장해 온 색채의 해방을 추진했다. 세잔느Paul Cézanne(1839~1906)를 선구자로 하는 입체주의\*는 본질적으로 회화적인 구성을 목표로 자연의 사물을 단편화하여 화면에 재구성했다. 또 미래주의\*는 20세기 역사의 급속한 전개에 합치하는 속도감을 표현함으로써 일종의 시각 언어를 창출해 냈다.

미래주의의 발라Giacomo Balla(1871~1958)는 대담하게도 미래주의의 틀을 뛰어넘어 기하학적인 패턴을 그렸으나, 다른 많은 작가들의 경우, 적어도 구도란 목적 때문에 눈에 보이는 세계의 단편에서 완전히 떨어질 수는 없었다. 그러나 설사 화면의 형상이 이해할 수 없을 만큼 비구상적이어도 형상에서 추상하는 것과, 볼 수 없는 내적 세계를 그린 비묘사적 형태만으로 작품을 구성하는 것과의 사이에는 커다란 차이가 존재한다.

제1차세계대전이 일어나기 4, 5년 전에 프랑스, 독일, 러시아의 몇몇 화가들, 즉 들로네Robert Delaunay(1885~1941), 칸딘스키Wassily Kandinsky(1866~1944), 말레비치Kasimir Malevich(1878~1935), 타틀린Vladimir Tatlin(1885~1953) 등은 근본적인 추상 미술을 추구했으나, 전위적인 예술가가 되어 일체의 묘사를 무시하는 것은 아직 부당하다고 생각했다. 대전 중에 네덜란드의 데 스틸\*의 멤버였던 몬드리안Piet Mondrian(1872~1944)과 반 되스부르크Theo van Doesburg(1883~1931) 등과 취리히 다다\* 그룹, 특히 아르프Jean Arp(1887~1966)가 출현, 추상미술의 영역을 한층 확대시켰다.

추상미술은 요소주의\*Elementalism와 자유 추상, 두 가지로 나뉜다. 특히 러시아의 절대주의\*를 대표하는 말레비치와 신조형주의\*의 창도자였던 몬드리안은 작품의 표현을 최소한도의 기본적인 형태와 색채로 한정시켰다. 다른 작가들도 구도를 결정하는 데에 기하학적 또는 수학적인 계산을 사용했다. 일반적으로 요소주의 작품이 합리적으로 만들어지는 것을 강조하여 그것을 자연과 대립시켰다. 요소주의 예술은 미술 이외의 영역, 특히 타이포그래피(인쇄술)와 건축에도 지속적인 영향을 미쳤다. 1919~1933년 활동한 독일의 바우하우스\*는 요소주의의 제원리를 좇아서 미술 교육과 디자인 교육을 통일시키고자 했다.

한편 자유 추상은 표현주의자(1910~1920의 칸딘스키)에 의해서든 서정주의자(아르프)에 의해서든 모두가 감정과 직관을 근거로 했고, 그 까닭에 발상이 주관적이지 않을 수 없었다. 칸딘스키의 저서 《예술에 있어서의 정신적인 것》(1912)과 잡지 《데 스틸》(1917~1919)은 이 양 방향의 기본적인 철학을 분명히 하고 있다.

추상미술은 제1차세계대전과 제2차세계대전 사이에는 그렇게 성행하지 않았다. 전체주의 정치와 초현실주의\*와 같은 심상(心象)을 새롭게 강조하는 예술 운동이 성하여 그리 주목받지 못했던 것이다. ‘세르클 에 카레\*’나 ‘추상 창조\*’라는 전시회나 출판을 했던 파리의 그룹이 수개국의 추상작가를 위한 세력 만회의 거점을 제공해 주었고, 또 1930년대에는 조각에서 약간의 진전을 보였다. 알렉산더 칼더가 최초의 모빌\*을 만들고 또 무어Henry Moore와 헤프워드Barbara Hepworth가 처음엔 브랑쿠시Constantin Brancusi(1876~1957)에게서, 뒤에는 구성주의자인 가보Naum Gabo(1890~1977)에게서 영향을 받아 영국 조각의 발전에 선구적인 역할을 한 추상 작품을 만든 것도 이 시기였다.

제2차세계대전 후에는 미국에서 활발한 추상미술 일파가 나타나 큰 영향을 주었다. 회화에 있어서는 가장 정열적인 표현주의의 폴록Jackson Pollock(1912~1956), 드 쿠닝Willem De Kooning(1904~1997)에서, 보다 비개성적인 작품의 로스코Mark Rothko, 뉴만Barnett Newmann, 또 차갑고 억제된 기법에 이르기까지 작품의 범위가 확대되고 있다. 유럽 대륙에서는 빌이나 바자렐리Victor Vasarely 등이 요소주의의 원리를 추구했고, 또 폰타나Lucio Fontana 등은 자유 추상, 혹은 유럽에서 앵포르멜\*이라는 예술을 새로운 극한까지 이끌어갔다.

추상미술이 너무 눈의 감각에만 호소한다는 비난도 있다. 그러나 이 감각적인 어필은 음악에 있어서와 같이 지적이고 분석적인 수단에 의해 이루어진 것이다. 확실히 추상미술은 미술 일반의 추상적 가치에 대한 감수성을 세련되게 하였고 또 설명적 묘사에 따르지 않은 커뮤니케이션에의 이해를 증대시키는 데 기여한 바 크다. 또한 추상미술이 현대 건축이나 공예 디자인에 미친 커다란 영향은 금세기에 있어서의 추상미술의 결정적인 역할을 입증한다.

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