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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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초록· 키워드
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Lee Jung Seob Catalogue Raisonné Research Team attempts to examine the life and artworks of Lee Jung Seob in various viewpoints by analyzing the current state and features of the archives of Lee Jung Seob that the representative art archives in Korea and the family of Lee has through this thesis. In addition, this thesis also goes through his ties with the literary circles at that time by looking at the visitors’ book of his solo exhibition at Midopa Gallery in January 1955 and his illustration for a book.
The archives of Lee Jung Seob have great gaps in the aspects of the volume of reference materials, recorders and categories of the records when looked according to the years before and after his death. The reference materials of the year after his death are greatly more and the most of them are printings related to his exhibitions while the most of the reference materials of the year before his death are personal documents such as letters and postcards that his wife and friends kept. This is because his reference materials could not be kept well during his life time due to his frequent travel without a specific basement but after his death, the public’s interest in him activated the research on his works and as a result, the various events and exhibition relating to him produced a great amount of reference materials.
The other feature of the archives of Lee Jung Seob is that the boarder between his artworks and reference materials is vague. Therefore, the interpretation of the boarder between the artworks and reference materials may differ from the focus of a researcher. In the case of the drawings on his letters and postcards, the public’s interest has been huge and as a result, they became the representative examples that the personal records attained the value of an artwork unlike the original purpose. However, since they have been produced as the personal use, the manner of creation and method of expression are different from the illustration for official use. Those aspects can be also found in his drawings on silver foil paper.
Moreover, the archives of Lee Jung Seob include a lot of the reference materials relating to the literary circles. The visitors’ book and his illustrations for a book are important clues to reveal Lee’s exchange with the literary circles at that time. The visitor’s book of his solo exhibition at Midopa Gallery in 1955 especially has the value to find out not only about his relationship with the writers and artists at that time but also about the background of the exhibition and response of the audiences to the exhibition.
His illustrations for the cover of a book were born in the pressing circumstances of the war and division of the country at that time so most of them went through many twists and turns. However, the relationship with the literary circles that supported him by using his illustrations can be the significant matter to look at. His illustrations now work as the evidences showing the fruits of the special friendship with a poet Ku Sang and the relationship with the writers who moved to South Korea from North Korea. The opportunity of drawing illustrations for the cover of a book in those relationships offered Lee to make literary imagination and think about new images. Thus, his ties with the literary circles is significant in this research in terms of how it extended Lee Jung Seob’s practice.
Meanwhile, the illustrations of Lee Jung Seob show the characteristic and the power of influence of the printed art that allows reproduction of the same images with a machine. His illustrations in the literary magazines were small but they impliedly became the images representing Lee Jung Seob. While the composition of his drawings on silver foil paper were complex as many images filled in a small frame, his illustrations simply showed one image and highlighted the characteristic of Lee Jung Seob’s art practice well. Moreover, as the same images were repeatedly exposed in the printing media, they even became the symbol representing Lee Jung Seob’s art practice. In this respect, his illustrations are good examples showing the method of popularizing art through the printed art. Also, they work as the reference materials to understand Lee Jung Seob’s sincere attitude towards art and the characteristic of his artworks.
The archives of Lee Jung Seob have great gaps in the aspects of the volume of reference materials, recorders and categories of the records when looked according to the years before and after his death. The reference materials of the year after his death are greatly more and the most of them are printings related to his exhibitions while the most of the reference materials of the year before his death are personal documents such as letters and postcards that his wife and friends kept. This is because his reference materials could not be kept well during his life time due to his frequent travel without a specific basement but after his death, the public’s interest in him activated the research on his works and as a result, the various events and exhibition relating to him produced a great amount of reference materials.
The other feature of the archives of Lee Jung Seob is that the boarder between his artworks and reference materials is vague. Therefore, the interpretation of the boarder between the artworks and reference materials may differ from the focus of a researcher. In the case of the drawings on his letters and postcards, the public’s interest has been huge and as a result, they became the representative examples that the personal records attained the value of an artwork unlike the original purpose. However, since they have been produced as the personal use, the manner of creation and method of expression are different from the illustration for official use. Those aspects can be also found in his drawings on silver foil paper.
Moreover, the archives of Lee Jung Seob include a lot of the reference materials relating to the literary circles. The visitors’ book and his illustrations for a book are important clues to reveal Lee’s exchange with the literary circles at that time. The visitor’s book of his solo exhibition at Midopa Gallery in 1955 especially has the value to find out not only about his relationship with the writers and artists at that time but also about the background of the exhibition and response of the audiences to the exhibition.
His illustrations for the cover of a book were born in the pressing circumstances of the war and division of the country at that time so most of them went through many twists and turns. However, the relationship with the literary circles that supported him by using his illustrations can be the significant matter to look at. His illustrations now work as the evidences showing the fruits of the special friendship with a poet Ku Sang and the relationship with the writers who moved to South Korea from North Korea. The opportunity of drawing illustrations for the cover of a book in those relationships offered Lee to make literary imagination and think about new images. Thus, his ties with the literary circles is significant in this research in terms of how it extended Lee Jung Seob’s practice.
Meanwhile, the illustrations of Lee Jung Seob show the characteristic and the power of influence of the printed art that allows reproduction of the same images with a machine. His illustrations in the literary magazines were small but they impliedly became the images representing Lee Jung Seob. While the composition of his drawings on silver foil paper were complex as many images filled in a small frame, his illustrations simply showed one image and highlighted the characteristic of Lee Jung Seob’s art practice well. Moreover, as the same images were repeatedly exposed in the printing media, they even became the symbol representing Lee Jung Seob’s art practice. In this respect, his illustrations are good examples showing the method of popularizing art through the printed art. Also, they work as the reference materials to understand Lee Jung Seob’s sincere attitude towards art and the characteristic of his artworks.
목차
Ⅰ. 시작하며
Ⅱ. 이중섭 아카이브의 현황과 특징
Ⅲ. 방명록-1950년대 문학·예술인들과의 관계도
Ⅳ. 표지화와 삽화-문학과 미술의 만남
Ⅴ. 마치며
참고문헌
Abstract
참고문헌 (44)
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UCI(KEPA) : I410-ECN-0101-2017-605-001987586