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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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초록· 키워드
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The purpose of this study is to study the prints of Seundja Rhee(李聖子, 1918-2009), an abstract artist. She moved to France in 1951 and began her extensive art works in the French and Korean art circles in 1953. Researches on Seundja Rhee have been conducted mainly about her paintings. They generally emphasize that subjects of her art works were originated from her own life and created her unique style of abstract art. It is also commonly noted that the form of Western abstract art, the spirit of the East, and the sentiment of Korea are all converged in her abstract art works. These researches give too much emphasis on paintings and lack the consideration of her prints. Notwithstanding their little importance in most researches, prints actually hold the distinctive and independent standing of their own and are very significant in Rhee’s art. This study intends to understand Seundja Rhee’s art in depth by focusing on the general analysis of her prints by period.
Seundja Rhee learned metal printing at the studio of Stanley William Hayter(1901-1988), a printmaker and painter. Hayter’s prints had formative and technical influence on Rhee’s woodprints. It is assumed that Hayter’s multi-color printing techniques and his expression of lines inspired Rhee’s prints in the early days. This is why it is also assumed that Hayter’s prints played a decisive role in Rhee’s establishment of her own printing style. After she began making prints, the depiction of her paintings was transformed to the style of her prints. It is deemed that the drastic change of her painting depiction was intensely affected by prints and the root of such change was Hayter’s prints. It is notable that Rhee stuck to woodprints unlike Hayter. It can be said that Rhee’s own ‘abstract woodprints’ were generated as the result of the combination of Hayter’s printmaking techniques, Rhee’s Korean sentiments and her affection for wood under the direct influence of the Western abstract art style.
Rhee’s woodprints made from 1957 to 1980 are similar with paintings in terms of their themes and forms. Woodprints and paintings began to have distinctively different depictions from 1981. This study has closely analyzed Rhee’s prints by dividing them into two periods: the former period of 1957-1980 when they were interconnected with paintings and the latter period of 1981-2006 when they held their independency. The former prints expressed the original shapes and textures of wood, used geometric shapes and diagram forms of wood texture, and employed new printing techniques. Meanwhile, the latter prints used various colors that bring five traditional colors of Korea to mind and applied Korean or Oriental materials.
In the latter period, Rhee’s prints established their independent style. It is notable that she collaborated with Michel Butor(1926- ), a French modern writer, during this period. The two artists worked together for about 30 years. Butor denied the conventional form of novels and accepted ‘Nouveau Roman’, which means a new novel, to demonstrate a unique writing technique. His strong belief is well represented by the hybrid of literature and visual art, as he desired to create works where fine arts and languages have equal status. To this end, he applied ‘Ekphrastic Poetry’, poems that describe visual art, and ‘Visual Poetry’, which is about visual art. He eventually created ‘Texte Poétique’, a poetic text which merge visual art and literature in harmony.
This study has analyzed the first mutual work of the two artists and studied its meaning. It is deemed that Butor presented his idea of poem and literature via the collaboration. The cooperative work between a Western artist and an Eastern artist and the combination of prints and literature, which are different genres, seem to have completed the harmony of yin and yang which was the ultimate goal of Rhee.
Rhee experimented with the possibilities of abstract woodprints for her lifetime and realized her firm art style via prints. She pursued ‘harmony’ through art and presented the harmony of yin and yang, the harmony of the East and the West, and the harmony of nature and civilization as the perfect ideal world. It is deemed she followed the same faith when making prints. She participated in the globally renowned exhibitions for prints for numerous times based on her extensive works, and pushed the artistic boundaries of prints. I believe this is a remarkable role she played in the modern and contemporary history of prints. It is noteworthy in Korea’s modern history of prints that Rhee worked with other artists including Park Soo-keun(朴壽根), Choi Young-rim(崔榮林), Yoo Kang-youl(劉康烈) and Chung Gyu(鄭圭) since the 1960s to make woodprints that marry Western techniques and Korean materials. However, Rhee was the only artist who continued to work on abstract woodprints. Therefore, her prints would remain as the foundation for establishing the solid territory of ‘abstract woodprints’ in the modern print history of Korea, and constant research on her prints would contribute to enriching prints in Korea.
Seundja Rhee learned metal printing at the studio of Stanley William Hayter(1901-1988), a printmaker and painter. Hayter’s prints had formative and technical influence on Rhee’s woodprints. It is assumed that Hayter’s multi-color printing techniques and his expression of lines inspired Rhee’s prints in the early days. This is why it is also assumed that Hayter’s prints played a decisive role in Rhee’s establishment of her own printing style. After she began making prints, the depiction of her paintings was transformed to the style of her prints. It is deemed that the drastic change of her painting depiction was intensely affected by prints and the root of such change was Hayter’s prints. It is notable that Rhee stuck to woodprints unlike Hayter. It can be said that Rhee’s own ‘abstract woodprints’ were generated as the result of the combination of Hayter’s printmaking techniques, Rhee’s Korean sentiments and her affection for wood under the direct influence of the Western abstract art style.
Rhee’s woodprints made from 1957 to 1980 are similar with paintings in terms of their themes and forms. Woodprints and paintings began to have distinctively different depictions from 1981. This study has closely analyzed Rhee’s prints by dividing them into two periods: the former period of 1957-1980 when they were interconnected with paintings and the latter period of 1981-2006 when they held their independency. The former prints expressed the original shapes and textures of wood, used geometric shapes and diagram forms of wood texture, and employed new printing techniques. Meanwhile, the latter prints used various colors that bring five traditional colors of Korea to mind and applied Korean or Oriental materials.
In the latter period, Rhee’s prints established their independent style. It is notable that she collaborated with Michel Butor(1926- ), a French modern writer, during this period. The two artists worked together for about 30 years. Butor denied the conventional form of novels and accepted ‘Nouveau Roman’, which means a new novel, to demonstrate a unique writing technique. His strong belief is well represented by the hybrid of literature and visual art, as he desired to create works where fine arts and languages have equal status. To this end, he applied ‘Ekphrastic Poetry’, poems that describe visual art, and ‘Visual Poetry’, which is about visual art. He eventually created ‘Texte Poétique’, a poetic text which merge visual art and literature in harmony.
This study has analyzed the first mutual work of the two artists and studied its meaning. It is deemed that Butor presented his idea of poem and literature via the collaboration. The cooperative work between a Western artist and an Eastern artist and the combination of prints and literature, which are different genres, seem to have completed the harmony of yin and yang which was the ultimate goal of Rhee.
Rhee experimented with the possibilities of abstract woodprints for her lifetime and realized her firm art style via prints. She pursued ‘harmony’ through art and presented the harmony of yin and yang, the harmony of the East and the West, and the harmony of nature and civilization as the perfect ideal world. It is deemed she followed the same faith when making prints. She participated in the globally renowned exhibitions for prints for numerous times based on her extensive works, and pushed the artistic boundaries of prints. I believe this is a remarkable role she played in the modern and contemporary history of prints. It is noteworthy in Korea’s modern history of prints that Rhee worked with other artists including Park Soo-keun(朴壽根), Choi Young-rim(崔榮林), Yoo Kang-youl(劉康烈) and Chung Gyu(鄭圭) since the 1960s to make woodprints that marry Western techniques and Korean materials. However, Rhee was the only artist who continued to work on abstract woodprints. Therefore, her prints would remain as the foundation for establishing the solid territory of ‘abstract woodprints’ in the modern print history of Korea, and constant research on her prints would contribute to enriching prints in Korea.
목차
Ⅰ. 머리말
Ⅱ. 이성자의 판화 세계 고찰
Ⅲ. 판화의 확장 가능성 - 문학가 미셸 뷔토르와의 협업
Ⅳ. 맺음말
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2017-605-001156674