대구사진의 리얼리즘과 조형주의 사진 논쟁의 관한 연구

Abstract

This study aims to investigate the process of transfer from salon photographs to realism through the history of the world and Korean photography. On the basis of the theory realism and plasticism of the history of Daegu photography has been argued and analyzed. In Europe and America photograph of realism was a sort of straight photographs as means of the social reformation as in the case of Lewis W. Hine. In Daegu Gu Wang Sam laid stress on realism that was at the root of photographs. It was in the pursuit of aesthetic view that interpreted the recognition of an object in the organic relationship of human life and society. The photographer insisted that genuine photographs come from the recognition and investigation of the relationship between man and society. The artist advocates that photographs can not inevitably make dodge because of their mechanical duplicate. On the contrary some artists emphasized artistry of salon photographs and photographs of plasticism. The groups had some changes in the tradition that came from the age under the rule of Japanese imperialism. But there was no integration of photographic modes. The age was a period of confusion embedded different modes of photographs. Such history of dissension was connected to the expansion of realism in 1960's. The circumstances also made a proper opportunity that recognizes the essence of photographs.