1950년대 전통화단의 ‘인물화’

Abstract

This study focuses on aspects of the figurative within Korean painting of the 1950s, analyzing the tendencies found within them and thereby tracing the methods by which the inherent traditional legacies had been interpreted. There was a predominance of abstract painting and work inspired by Art Informal within art at this time；painters reengaging with traditional Korean legacies in order to cast off the historical residues of colonization, while responding to the changes surrounding them by embracing Western modernism. These influences began to steadily make more impact on Korean painters. Though there were still a large number of works that continued to use traditional materials, such as paper and ink, there were noticeable efforts being made to simplify or transform the objects being depicted. Alongside this embracing of modernism there was a sense of nationalism prevalent among Korean painters after the 1950s, as they sought to reengage with their own history. During this period, a significant amount of Korean painting incorporated a visual language that sought to connect with this zeitgeist, based on theories that emphasized the importance of tradition after the Korean War, as well as the belief that Korean culture might now operate within a global context. There were also a number of artworks appearing during that time that fully embraced existing Western art styles, such as Cubism, Art Informal and Abstract Expressionism. Projects of major national development, vigorously being promoted by the government, were a common subject for the works made during this period. The figurative painting discussed in this study simultaneously embodies an investment in traditional legacies as well as an acceptance of modernism, and demonstrated how promptly the Korean painters reacted to the changes of the times. It sufficiently acted as an accomplishment for them to seek a new visual language to define themselves. They were successful in being able to develop personal characteristics to their work, without turning their backs on tradition, while at the same time managing to engage with Western styles of art in an appropriate way.