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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2019.12
- 수록면
- 87 - 108 (22page)
- DOI
- 10.46834/jkmcah.2019.12.38.87
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초록· 키워드
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This study attempts to take a new perspective of art education and research on the art world of the 1920s; it focuses on the nature and the members of art institutes to investigate the changes and courses which the art world experienced, based on the new standards of Eastern and Western paintings[東洋畵, 西洋畵]. The first Joseon Art Exhibition held in 1922 caused a great change in the landscape of the art world; the contesting subjects of Eastern painting, Western painting, and calligraphy officially defined the concept of art. The art world had experienced the new concepts of Eastern and Western paintings, grown under a complementary relationship with art education, and adapted to a new form : art for exhibition. In 1923 and 1924, Society of Painting and Calligraphy(書畫協會) and Goryeo Art Institution(高麗美術會, 高麗美術院) almost simultaneously established education institutions with the system of 3 departments that were also shown in the contesting subjects. This study focuses on this aspect first to reveal the correlation between the art world and art education. Materials on the teaching staff and the researchers were gathered to present the nature and the significance of the education institution; as those two institutions were coteries with functions of education and exhibition, the causal effect on the members to gather and promote a new artistic movement was investigated.
Also, the aspect of the growth of Western painting was emphasized as an important feature of the art world in the 1920s. The establishment of Sakseonghoe Painting Institute(朔星會) as an education institution of a considerable size for Eastern and Western painting could be observed in Pyeongyang. The focus was on the passion for education of Western painting by the regional art world, intent on revival of the art in Pyeongyang and involving early study-abroad students of Western art, such as Kim Gwanho and Kim Chanyeong. Additionally, art institutes of various school systems, including the Department of Art in YMCA and Gyeongseong Women’s Art School, replaced the absence of a government art school and prospered the art world; it is undeniable that the art education is the most significant contributor to the rapid expansion in size of Western art production in 1920s. The system of art institute, the character of the students and the members of coteries, their role in the art world, and the features of the art world in the 1920s were investigated through this process.
Also, the aspect of the growth of Western painting was emphasized as an important feature of the art world in the 1920s. The establishment of Sakseonghoe Painting Institute(朔星會) as an education institution of a considerable size for Eastern and Western painting could be observed in Pyeongyang. The focus was on the passion for education of Western painting by the regional art world, intent on revival of the art in Pyeongyang and involving early study-abroad students of Western art, such as Kim Gwanho and Kim Chanyeong. Additionally, art institutes of various school systems, including the Department of Art in YMCA and Gyeongseong Women’s Art School, replaced the absence of a government art school and prospered the art world; it is undeniable that the art education is the most significant contributor to the rapid expansion in size of Western art production in 1920s. The system of art institute, the character of the students and the members of coteries, their role in the art world, and the features of the art world in the 1920s were investigated through this process.
목차
Ⅰ. 머리말
Ⅱ. 전람회의 시대 : 3과 통합 연구체제의 탄생
Ⅲ. 서양화단의 확장과 미술교육
Ⅳ. 맺음말
참고문헌
Abstract
참고문헌 (24)
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