1920년대 나혜석의 농촌풍경화 연구

서지정보

ㆍ발행기관 : 한국미술연구소 ㆍ수록지정보 : 美術史論壇 / 31권
ㆍ저자명 : 구정화

영어 초록

In the liberal atmosphere of Taishō period of Japan during her studying in Japan, Hye-suk Nah(1896-1948), the first woman painter of the modern times of Korea and women’s liberation activist, formed her own artistic idea through accepting an aesthetic anarchism which was the trend. The engraving works she published in the magazines called the “Gyebuk(meaning The Dawn of Civilization in Korean)” and “Gongjae(meaning Cooperation in Korean)” such as “Gaechukja(meaning Pioneer in Korean)” and “Jojo(meaning Early Morning in Korean)” have visualized a new image of farmers based on the Tolstoyism of liberating and awakening of ego through sacred labor as well as a construction of a community through such and on the mutualism.
As her husband, Woo-young Kim, was appointed to be a vice-consul of Andong Consulate in September 1921, Hye-suk Nah moved to Manchuria. Then, she grasped reflections of Korean residents who migrated to Manchuria to avoid the suppressions of Japanese Imperialism in her works such as <Nongga(meaning Farmhouse in Korean)>(1922), <Bomi Oda(meaning The Spring Has Come)>(1922), and <Bongwhangsan(meaning Mountain Bongwhang in Korean)>(1923). Her landscape paintings of farms has combined the cultivation which is a labor act that proves a life of farmer and the vitality of the nature(land) to present a new model of peasant art in the 1920s. Although the works of Hye-suk Nah during this period are distinguished from the landscape paintings of farms in the 1930s that are the pastoral and bucolic, they do not necessarily reflect the reality of the impoverished farms as the ones KAPF art advocated. What was important to Hye-suk Nah was not revealing the impoverished reality but having an awakening of ego and a converting of will as power to convert such an impoverished reality. And she captured the trend of new era of concept of labor of Tolstoy and mutal aid of anarchism in her landscape paintings of farms.

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