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- Other Titles
- ON KOREAN MODERN PAINTINGS : Since 1945 to 1965
- Issue Date
- 대학원 회화학과
- 이화여자대학교 대학원
- The painting exhibition of modern painters sponsored by the Chosun Il Bo in 1957 motivated as a mile stone for participation of all "NEW PAINTINGS", and this fruitfulness of filterization of Korean paintings had given a hope to Modern Korean paintings.
The modern movement of paintings was due inevitable out of non-participant groups since all national arts exhibitions were overwhelmingly characterized by Japanized naturalistic real paintings at these days.
After Korean War of 1950 a trend of western paintings had given the after-war generation to indulge for informel and Action paintings. However, they were fall on their persistence only rather than pretty-well-arranged esthetic results, and because of this they were ruined by themselves. Paintings were "HOT ABSTRACT" of Neo Dada.
Members of 1960's Modern Painters Association were came to gather at Actuelle among themselves for intellectual activities, but they were also bombed by themselves due to non-existence of a "NEW". Since 1960 it was sufficient to prove by the participation into international affairs that the conflict between embodiment and abstract was revealed as only a matter of mis-understanding and error in an epoch.
After the self-bombardment of Actuelle the expression trend of international modern arts were transformed form "HOT" to "COOL" abstract, and, in Korea the experiment and grope for new idea of Korean younger generations were came to a stage of non-movement.
The tradition of Korea was lyricism leaded by inclination of irrationalism and therefore, geometrical and irrational paintings were unable to find their ground to grow in Korea.
International trend of geometrical paintings influenced the Korean to act for creative activities, and at this moment the chief object of Korean is really required for participation of Korean paintings to the international affairs.
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