이용우(李用雨, 1902-1952)의 ‘묵로’시대 회화 연구 - 인물화와 화조화를 중심으로 (Study on the Paintings of Lee Yongwoo(李用雨, 1902-1952) during the ‘Mukroe’ Period : Focusing on figure Paintings and Flower-and-Bird Paintings)

서지정보

· 발행기관 : 한국근현대미술사학회(구 한국근대미술사학회)
· 수록지 정보 : 한국근현대미술사학(구 한국근대미술사학) / 36호 / 7 ~ 28페이지
· 저자명 : 김소연

초록

This study aims to broaden the understanding of the paintings of Mukroe Lee Yongwoo, who played an important role as the first-generation oriental painter in the oriental painting circle, especially during the latter part of his life when he referred to himself as "Mukroe." While the academia had been interested in his enterprising landscape paintings of the 1920s, when he showed a "modern" aspect, the paintings present nowadays are mostly from the 1930s and the 1940s. This period shows remarkable paintings with themes of figures and flower-and-birds, which were understood as ordered paintings to the demand for paintings and calligraphy, and outdated retrogressive artworks restrained by genre painting and traditional style; such interpretations hindered an objective assessment of the painter Lee Yongwoo.
Thus, in this study, historical figure paintings are primarily researched through analyses of <The Old Song of Namwon>, <Portrait of Madame Saimdang Shin>, and <Hong-ik In-gan [Humanitarianism]>; then, it is revealed that <Chunghon>, the entry work of the first National Art Exhibition, is a historical portrait of the Six Martyred Ministers; and at the same time, a contemplation on the direction of his works after the Liberation of Korea, when he pursued matiere through three-dimensional effects. Also, attention was given to the fact that after the 1930s, based on the interest on genre paintings, the traditional topics of paintings were reinterpreted in Joseon-style, as seen on <Painting of Return to Home>, <Zhulin Qixian>, and <Beautiful Meeting at Dobong>.
Flower-and-bird paintings, according to the critique of the time and preceding study, had been drawn as props with a flavor of satire, but also had been drawn for flower-and-bird folding screens of 8 to 12 pannels. In this case, the topics of plants, representing each seasons in chronological order, and a pair of birds were mostly chosen for each pennel; in choosing materials, he follows the example of traditional flower-and-bird paintings, except he left no writings, such as postscript or the title, besides the ink signature in order to emphasize only the image of the flowers and the birds. In structure, he was not bound by the basic structure of flower-and-bird paintings, which are birds sitting on branches interacting with one another, and painted birds flying through the sky without outer lines. Additionally, sensual and vivid light-colors as well as quick brush strokes are some of the most noticeable traits; this study attempts to understand the flower-and-bird paintings of Lee Yongwoo that describe parts of rocks and plants in black ink, in relation to the Jeonju painting circle.

영어초록

This study aims to broaden the understanding of the paintings of Mukroe Lee Yongwoo, who played an important role as the first-generation oriental painter in the oriental painting circle, especially during the latter part of his life when he referred to himself as "Mukroe." While the academia had been interested in his enterprising landscape paintings of the 1920s, when he showed a "modern" aspect, the paintings present nowadays are mostly from the 1930s and the 1940s. This period shows remarkable paintings with themes of figures and flower-and-birds, which were understood as ordered paintings to the demand for paintings and calligraphy, and outdated retrogressive artworks restrained by genre painting and traditional style; such interpretations hindered an objective assessment of the painter Lee Yongwoo.
Thus, in this study, historical figure paintings are primarily researched through analyses of <The Old Song of Namwon>, <Portrait of Madame Saimdang Shin>, and <Hong-ik In-gan [Humanitarianism]>; then, it is revealed that <Chunghon>, the entry work of the first National Art Exhibition, is a historical portrait of the Six Martyred Ministers; and at the same time, a contemplation on the direction of his works after the Liberation of Korea, when he pursued matiere through three-dimensional effects. Also, attention was given to the fact that after the 1930s, based on the interest on genre paintings, the traditional topics of paintings were reinterpreted in Joseon-style, as seen on <Painting of Return to Home>, <Zhulin Qixian>, and <Beautiful Meeting at Dobong>.
Flower-and-bird paintings, according to the critique of the time and preceding study, had been drawn as props with a flavor of satire, but also had been drawn for flower-and-bird folding screens of 8 to 12 pannels. In this case, the topics of plants, representing each seasons in chronological order, and a pair of birds were mostly chosen for each pennel; in choosing materials, he follows the example of traditional flower-and-bird paintings, except he left no writings, such as postscript or the title, besides the ink signature in order to emphasize only the image of the flowers and the birds. In structure, he was not bound by the basic structure of flower-and-bird paintings, which are birds sitting on branches interacting with one another, and painted birds flying through the sky without outer lines. Additionally, sensual and vivid light-colors as well as quick brush strokes are some of the most noticeable traits; this study attempts to understand the flower-and-bird paintings of Lee Yongwoo that describe parts of rocks and plants in black ink, in relation to the Jeonju painting circle.

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