김환기의 <종달새 노래할 때>(1935)에서 <항아리와 여인들>(1951)까지

서지정보

ㆍ발행기관 : 한국미술연구소 ㆍ수록지정보 : 美術史論壇 / 34권
ㆍ저자명 : 문정희

영어 초록

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.

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