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Previous Exhibition

LIST
Collection of ational Museum of Modern and Contemporary Art

Collection of ational Museum of Modern and Contemporary Art

Period
2019.04.02 ~ 2019.06.08
Admission Fee
Free
Venue
Exhibition hall 1~2
Sponsorship
National Museum of Modern and Contemporary Art, Gwangju Museum of Art, Gwangju Metropolitan City office of Education, KBC-Gwangju broadcasting
Number of Works

67works

Design

Contents

Collection of ational Museum of Modern and Contemporary Art

Korean-Style Painting

The tradition of Namdo (a term referring to the southern provincial areas of Korea, especially South Jeolla Province) Korean-style painting continued from Yun Du-seo (who was involved in both landscape painting and genre painting in the early 18th century) to Kim Jeong-hui (who claimed that the meaning of a painting and the spirit of the painter has supremacy over any other factors) and Heo Ryeon (a disciple of Kim Joeng-hui). Heo Ryeon’s namjonghwa (남종화, 南宗畵, Southern School of painting, often called literati painting) style continued to Heo Geon after going through Heo Hyeong, his son. Afterwards, his pictorial mode was inherited to jo Bang-won, Shin Young-bok, Kim Myeong-je, and Lee Ok-seong, mainly at Unlim Sanbang (운림산방, 雲林山房) forging the tradition of Namdo namjonghwa. Heo Baek-ryeon, a great pillar of Namdo Korean-style painting, produced many Korean-style painting artists such as Lee Beom-jae, Ku Cheol-woo, Kim Ok-jin, Moon Jang-ho, and Park Haeng-bo through Yeonjinhoe (연진회, 鍊眞會) which he founded in 1938.


Calligraphy

Namdo is considered the home of Korean calligraphy where dongguk jinche (동국진체, 東國眞體, genuine Korean calligraphy style) was born, flowered, and inherited. A multitude of calligraphers have invented and evolved ingenious calligraphic styles here. Dongguk jinche initiated by Yi Seo and Yun Du-seo is particularly marked by formativeness and freestyle brush strokes laden with wit and relaxation. Yun Soon’s calligraphy appears gentle and neat. Yi Gwang-sa studied under Yun to complete dongguk jinche. After Yi Gwang-sa, Yi Sam-man is said to have taught his pupils every stroke for one month each. Dongguk jinche was handed down to Seo Hong-sun, Mo Su-myeong, Kim Seong-guen, and Ki Jeong-jin. Its tradition was later passed down to Song Un-hae, Heo Baek-ryeon, Ku Cheol-woo, and An Gyu-dong in the late Joseon and modern periods of Korea. Since modern times, Namdo calligraphy has been inherited by Son Jae-hyeong, Ha Nam-ho, Jo Yong-min, Jo Gi-dong, Seo Hee-hwan, and Lee Dong-hong.


Western-Style Painting

During the Japanese occupation of the Korean Peninsula, Western-style painting was executed in earnest in Namdo by Kim Hong-shik (1924), Oh Ji-ho (1926), Bae Dong-shin (1928), Kim Whanki (1933), Yang Su-ah, Kang Yong-un, Baek Hong-gi, Baek Young-sun, Kim Dong-su, and Son Dong who had studied the genre in Japan. Many artists like Oh Ji-ho and Im Jik-sun who went on to forge Namdo’s figurative painting scene after Korea’s liberation from Japanese colonial rule represented the emotions and inspirations they received from nature in their paintings. As abstract painters began to emerge in Namdo, Namdo’s Western-style painting scene evolved and unfurled in two directions: naturalist figurative painting by disciples of Oh Ji-ho and Im Jik-sun as well as Yang In-ok, Kim Heung-nam, Jin Yang-uk, Hwang Young-seong, and Jeong Seung-ju who were influenced by them; and abstract painting by Kang Yong-un, Yang Su-ah, and their pupils. Kang Yong-un and Yang Su-ah worked in abstract painting in Gwangju in earnest and went on to launch the Joennam Contemporary Art Association in 1960. Meanwhile, young abstract painters spearheaded the abstract modernist movement in the region with the founding of Epoque (1964). Following the country’s liberation, Namdo sculpture began with Kim Young-jung and Tak Yeon-ha and was recognized as an art genre with the outset of the Jeollanam-do Grand Art Exhibition in 1965. Sculptors began being fostered at universities in the 1970s after Ko Young-su was appointed as a professor at Chosun University in 1974 and Kim Haeng-shin as a professor at Chonnam National University in 1976. With the founding of the Namdo Sculpture Society in 1978, Namdo sculpture began to evolve in earnest.

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