한국 근대 나체화 연구

Abstract

The study aims at researching about the peculiar characteristics of nude paintings during the modern age in Korea, not only examining the shift of the meaning of the concept of nude paintings that was created by Ancient Greeks but getting to know all the main artists who painted nude subjects during the first half of the 20th century starting with Gwanho Kim. First of all, the concept of ‘nude’ and the difference between ‘nude’ and ‘naked’ is explained and the history of nude painting starting from Ancient Greece through Middle ages, when was prohibited, and Renaissance, when became very popular once again, and lastly 20th century in Europe. In this period, prostitutes where the main subject for the artist and the relationship between the artist and the model was essential because this portrayed very faithfully the social and economical situation at the time. In the second part, how the nude concept arrived in Korea, even after many cultural exchanges with the West. Japanese people got in contact with western people first and got to know about the concept of nude. During the Japanese colonial era in Korea, many Korean art students went to Japan to study and found out about this new idea through the Japanese point of view. It was difficult to accept for Koreans because of their confucian influence from their past that prohibited the misuse of the body for illicit uses, but after few decades the nude was accepted not only in the art industry but also by the audience. In the two main chapter, the most important artists of the first half of 20th century are introduced along their education, influences and art techniques, that helps to understand deeper their ideas and values, along their art pieces. In the third chapter, Gwanho Kim is introduced as the first artist to paint a nude and not only the different reactions between the Korean and the Japanese audience is discussed but also the various influences that Gwanho Kim got from other artists from the West and Japan. This is the starting point for the trend of nude paintings that is strongly influenced by Japanese artists and professors who taught at those Japanese universities that Korean artist attended. In fact, most of the Korean painters at the time studied in Japan and they were directly influenced by Japanese people’s view on nude paintings, art trends and Western art. But Jungwoo Lee and Hyesok Na also had the opportunity to study in France and this help them to learn about new artists, new art trends and new techniques not through the Japanese people’s eyes but their direct experience. The similarities and the differences between the artist who just studied in Japan and the two who also lived in France are discussed at the end. In the last chapter, the development and the abrupt decrease of interest towards nude painting towards the 50s are explained along the description of artists and their pieces. Also the chapter is divided in two minor ones: the first included just two artists who followed the traditional nude that was perfect for Academical standards while, in the second part, the artists who followed the modernism influence are introduced. In this chapter, it’s clear how much the initial negative reception of the nude concept changed and was seen as interesting and different from the traditional Korean art. In fact, the amount of artists and art pieces produces in the 30s and 40s was few times more than in the beginning. Not only this shows how much the art industry changed in just few years but also the general public’s view about the nude changed quickly. In these years, most of the artists left the Japanese influenced and tried to find their personal style and personal point of view of the nudes. Diversity, distinction and personality were the most important characteristics for artists and art pieces. After observing the fall of the nude right before the liberation from Japan, the difference between the formal concept of nude and the Korean one is told and the differences between the Western and Korean point of view on nude are being argued at the end of the study. This study has the goal of exploring the concept of nude painting in Korea during the modern area, starting from the beginning in Ancient Greece and examining the development in Western Art and comparing it to Western and Japanese nudes.;본 연구는 한국 근대기 나체화에 주목하여, 나체화의 도입 배경, 시기, 경위와 현황을 총체적으로 고찰하는데 목적을 두었다. 이에 먼저 나체 및 나체화에 대한 역사적인 배경을 고찰하고, 한국 근대기 주요 작품을 분석하여 나체화의 대상, 기법, 의미에 대한 연구하고자 하였다. 근대기에 이르러 한국은 일본을 통해 서양 문화인 나체화를 조우하게 되며, 1916년 동경 유학생 김관호가 최초의 나체화 <해질녘>을 제작한다. 동경미술학교에 유학했던 초창기 일본 유학생들이 나체화 도입의 선두에 있었으나, 나체화 개념을 본격적으로 국내에 도입하는 과정은 순탄치 않았다. 근대기 나체화의 국내 도입 당시에는 부정적 인식이 팽배했는데, 본래 한국문화에는 춘화 외에는 인간의 나체 그림이 존재하지 않았으며, 강한 유교사상으로 인해 나체화의 개념을 받아들이는데 있어 내부적 반발이 상당했다. 그렇지만 근대의 심화와 함께, 나체화는 조선미술전람회와 같은 관설전람회에서 점차 근대인들에게 익숙한 주제로 변화해갔고, 수많은 작가들이 나체화를 다루게 되었다. 미술 유학은 초기 나체화의 국내 도입에 가장 직접적인 관련성을 지닌다. 이에 본 연구에서는 일본 유학과 프랑스 유학이 나체화 작업에 어떠한 영향을 미쳤는지, 김관호, 이종우, 나혜석, 이제창, 나혜석, 도상봉, 오지호의 작품을 통해 분석해 보았다. 이후 1930년대에 이르면 나체화의 제작량이 증가하면서, 다양한 시대사조를 적극적으로 반영하게 된다. 따라서 관학적 아카데미즘을 추구한 작가들과 모더니즘의 새로운 형식에 도전했던 작가들로 구분하여 작품을 본격적으로 분석해 보았다. 이와 같이 본 연구는 나체의 개념 및 역사적인 배경 뿐만 아니라, 한국 근대 나체화의 전반적 흐름 및 대표작, 작가를 면밀하게 분석하고 파악했다는 점에서 연구의 의의를 찾고자 한다.