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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2019.7
- 수록면
- 277 - 299 (23page)
- DOI
- 10.46834/jkmcah.2019.07.37.277
이용수
초록· 키워드
오류제보하기
Han Mook, who started writing in the early 1950s as a refuge in Busan, actively published his view of art in articles until he went to France. Especially, as he wrote many articles about modern art, Han Mook recognized modern art in the flow of art history, and considered that the emergence of modern art had an inevitable age background.
Han Mook understood that Western modern art was based on avant-garde. This avantgarde can be said to be a spirit that attempts to escape from the description of existing facts and to express its subjectivity. Therefore, the style of modern art expressing subjectivity varies. Among the various avant-garde western modern arts, Han Mook paid attention to Cubism in the 1950s, which is related to the recognition of the trend of modern painting as abstractism. In other words, Han Mook became interested in Cubism because he thought that Cubism is a fundamental cause of overturning the factual description, and that the contemporary abstract paintings seem to have developed and inherited cubism. Moreover, this understanding of Western modern art and Cubism has existed since the 1920s when Western modern art was introduced to Korea.
However, unlike previous writers who conceptually discussed the relationship between cubism and abstractism, Han Mook analyzes the formative principles of cubism. And by experimenting it with his work, he verifies the steps leading up to the abstract painting. In this process, Han Mook argues that the purpose of Cubism is in expressing emotion. That is to say, he thinks that the late Cubism was developed to give human emotions again to the Cubist who gradually became typified and lost human emotions. Therefore, even in those days, artists who were making works based on the cubist style, especially Picasso, were able to express the spirit of humanity through Cubism.
In the meantime, unlike the fact that the abstraction of the Orient has been understood in the random beauty of nature so far, Han Mook finds the abstractness of the Orient in a posture of appreciation of pure formative elements in an artificial object. Han Mook goes one step further and assumes that the abstraction of Western painting is a universal formative language that has existed widely around the world from ancient times as well as the Orient. It is a reflection of his willingness to abstain from the Orient and embrace the international flow through confirming that abstract painting can be a universal language of the world. In other words, after the Liberation and the Korean War, Han Mook as a member of the independent state and a member of the world at the same time, looked closely at the flow of international art, and he, as a Korean writer, examined by percussion the possibility of realizing the abstract painting which was the basis of the international art world at that time through Cubism.
Han Mook understood that Western modern art was based on avant-garde. This avantgarde can be said to be a spirit that attempts to escape from the description of existing facts and to express its subjectivity. Therefore, the style of modern art expressing subjectivity varies. Among the various avant-garde western modern arts, Han Mook paid attention to Cubism in the 1950s, which is related to the recognition of the trend of modern painting as abstractism. In other words, Han Mook became interested in Cubism because he thought that Cubism is a fundamental cause of overturning the factual description, and that the contemporary abstract paintings seem to have developed and inherited cubism. Moreover, this understanding of Western modern art and Cubism has existed since the 1920s when Western modern art was introduced to Korea.
However, unlike previous writers who conceptually discussed the relationship between cubism and abstractism, Han Mook analyzes the formative principles of cubism. And by experimenting it with his work, he verifies the steps leading up to the abstract painting. In this process, Han Mook argues that the purpose of Cubism is in expressing emotion. That is to say, he thinks that the late Cubism was developed to give human emotions again to the Cubist who gradually became typified and lost human emotions. Therefore, even in those days, artists who were making works based on the cubist style, especially Picasso, were able to express the spirit of humanity through Cubism.
In the meantime, unlike the fact that the abstraction of the Orient has been understood in the random beauty of nature so far, Han Mook finds the abstractness of the Orient in a posture of appreciation of pure formative elements in an artificial object. Han Mook goes one step further and assumes that the abstraction of Western painting is a universal formative language that has existed widely around the world from ancient times as well as the Orient. It is a reflection of his willingness to abstain from the Orient and embrace the international flow through confirming that abstract painting can be a universal language of the world. In other words, after the Liberation and the Korean War, Han Mook as a member of the independent state and a member of the world at the same time, looked closely at the flow of international art, and he, as a Korean writer, examined by percussion the possibility of realizing the abstract painting which was the basis of the international art world at that time through Cubism.
목차
Ⅰ. 머리말
Ⅱ. 전위적 예술관 형성과 오과회(五果會)
Ⅲ. 추상주의 원류로서의 입체파와 조형실험
Ⅳ. 감성표현으로서 입체파와 추상주의
Ⅴ. 맺음말
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2019-605-000946770