NegotiaModernity: Elegant Gathering by Go Huidongting
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This paper discusses Elegant Gathering by Go Huidong (1886-1965), who is best-remembered as the “first Western-style painter of Korea.” Depicting a small gathering of the artist and his circle of friends, including the art collector and critique O Sechang (1864-1953) and the poet and historian Choe Namseon (1890-1957), the painting adopts a traditional theme of East Asian literati painting. It appears as a mildly modified version of a literary gathering painting, depicting a group of literati enjoying wine, poetry, and art, in a tastefully arranged setting. A closer look at the painting, however, reveals that it deviates from the old stereotypes long been used in the literary gathering theme and suggests the roles of the participants in a new way. This paper attempts to explore the multi-layered meanings of the painting by highlighting Go Huidong’s intensive networking within his artistic circle as well as his often self-doubted role as modern artist in Colonial Korea. Modernity, although largely negotiated, defines the painting both in its visual directness and in its way of reflecting the artist’s reaction to social changes.
Abstract
This paper discusses Elegant Gathering by Go Huidong (1886-1965), who is best-remembered as the “first Western-style painter of Korea.” Depicting a small gathering of the artist and his circle of friends, including the art collector and critique O Sechang (1864-1953) and the poet and historian Choe Namseon (1890-1957), the painting adopts a traditional theme of East Asian literati painting. It appears as a mildly modified version of a literary gathering painting, depicting a group of literati enjoying wine, poetry, and art, in a tastefully arranged setting. A closer look at the painting, however, reveals that it deviates from the old stereotypes long been used in the literary gathering theme and suggests the roles of the participants in a new way. This paper attempts to explore the multi-layered meanings of the painting by highlighting Go Huidong’s intensive networking within his artistic circle as well as his often self-doubted role as modern artist in Colonial Korea. Modernity, although largely negotiated, defines the painting both in its visual directness and in its way of reflecting the artist’s reaction to social changes.