順天堂グローバル教養論集_第二巻_2017年3月(ISSN2424-0001)
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2 研究論文 19世紀の「医学」と「芸術」の対話-1851年前後のJ・E・ミレイの3つの絵画を通して-Dialogue between ‘Medicine’ and ‘Art’ in the Nineteenth Century:Through J. E. Millais’s Three Paintings around 1851金光 陽子1)* Yoko KANEMITSU1)*Abstract This paper explores intersections of ‘medicine’ and ‘art’ in the Victorian era through the best-known works painted by Sir John Everett Millais (1829–1896). In particular, I highlight Millais’s three paintings: Christ in the House of His Parents (1849–1850), Mariana (1850–1851), and Ophelia (1851–1852), which can be seen at Tate Britain. When Christ in the House of His Parents was displayed at the Royal Academy exhibition of 1850, this painting was harshly criticised for its minute, painstaking detail. The most crushing criticism levelled at Millais was that his work belonged among the medical illus-trations of surgical or pathological textbooks. Beyond the symbolism of Christian iconol-ogy, how, around 1851, did Millais paint the faces and bodies in these three paintings? This paper focuses attention on two Victorian scientific discourses: 1) The Anatomy and Philosophy of Expression written by Sir Charles Bell (1774–1842), a Scottish anatomist and painter; 2) collodion process photographs taken by Dr Hugh Welch Diamond (1809–1886), a British psychiatrist and amateur photographer. Through investigating the dia-logue between ‘medicine’ (Bell and Diamond) and ‘art’ (Millais) in the mid-nineteenth century, this paper discusses the issues around the so-called ‘truth to nature’ of Millais’s three paintings from 1849 to 1852.Key words医学と芸術、19世紀、J・E・ミレイ、絵画と写真Medicine and Art, Nineteenth Century, J. E. Millais, Painting and Photography順天堂グローバル教養論集 第二巻(2017)2–16頁1)順天堂大学 国際教養学部 (Email: y-kanemitsu@juntendo.ac.jp)*責任著者:金光 陽子 〔September 13, 2016原稿受付〕〔December 22, 2016 掲載決定〕

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