지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
In Korean Arts history, Kim Whan-ki(1913-1974) is known as the pioneer of abstractionism painter. In 1960s, his works contained the elements of representationism and abstractionism style. During1950s, his works mainly focus on themes of daily life and fantasy; and it is also known as his representationism years, particularly on the expression of Korean identity and sensibility. In fact, his artistic creation has been incorporated into the origin of modernity in East Asia Arts. Kim Whan-ki’s works in this period are often considered as expression of “Korean sensibility” or “Poetic spirits of East Asia.” The figural language, in fact, is an abstract world associating with daily life and fantasy, in which motif of jar and female are often shown on his works. His philosophy of art creation could be traced to the time when he studied in Japan, where he received academic training on surrealism and abstractionism. In Japanese arts history, it is known as the new art movement in Japan.
In 1930s, Kim Whan-ki’s works in Japanese new art movement has formed an extension force of confrontation and trend of abstractionism intensification. Two facades were created here; first, I would say is “the spirit of East Asia as path to trace back for tradition” and “Korean daily life as way for emotion expression.”In this essay, the elements in Kim’s painting will be examined from these perspectives. By archeological study on the meaning of jar, I will attempt to intensify the research on the motif of “daily life,” exploring approach for interpretation on artistic origin of modernity.
In 1930s, Kim Whan-ki’s works in Japanese new art movement has formed an extension force of confrontation and trend of abstractionism intensification. Two facades were created here; first, I would say is “the spirit of East Asia as path to trace back for tradition” and “Korean daily life as way for emotion expression.”In this essay, the elements in Kim’s painting will be examined from these perspectives. By archeological study on the meaning of jar, I will attempt to intensify the research on the motif of “daily life,” exploring approach for interpretation on artistic origin of modernity.
목차
Ⅰ. 들어가며
Ⅱ. 1935년의 〈종달새 노래할 때〉
Ⅲ. 자유미술가협회와 김환기
Ⅳ. 東方의 표상, 항아리와 백자
Ⅴ. 맺으며
참고문헌
ABSTRACT
참고문헌 (27)
참고문헌 신청
1. [단행본] - 김영나 / 1997 / 동양적 서정을 탐구한 화가 김환기, In 한국의 미술가-김환기 / 삼성문화재단
2. [단행본] - 김향안 / 1989 / 사람은 가고 예술은 남다 / 우석
4. [학술지(정기간행물)] - 김현숙 / 2005 / 색으로 본 김환기의 작품세계 / 미술이론과 현장 0 (3) : 155 ~ 172
5. [학술지(정기간행물)] - 김환기 / 1962 / 전위미술의 도전 / 현대인 강좌 3
6. [학술지(정기간행물)] - 유영아 / 2010 / 유영국(劉永國)의 초기 구성주의: <랩소디>(1937)에 나타난 유토피아니즘 / 미술이론과 현장 0 (9) : 93 ~ 121
2. [단행본] - 김향안 / 1989 / 사람은 가고 예술은 남다 / 우석
4. [학술지(정기간행물)] - 김현숙 / 2005 / 색으로 본 김환기의 작품세계 / 미술이론과 현장 0 (3) : 155 ~ 172
5. [학술지(정기간행물)] - 김환기 / 1962 / 전위미술의 도전 / 현대인 강좌 3
6. [학술지(정기간행물)] - 유영아 / 2010 / 유영국(劉永國)의 초기 구성주의: <랩소디>(1937)에 나타난 유토피아니즘 / 미술이론과 현장 0 (9) : 93 ~ 121
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2013-650-003606192