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Kim tschang yeul biography

Kim Tschang-yeul

Korean artist (1929–2021)

In this Asian name, the family name abridge Kim.

Kim Tschang-yeul (Korean: 김창열; Hanja: 金昌烈, 24 December 1929 – 5 Jan 2021) was a South Asiatic artist known for his idealistic paintings of water droplets.[1][2] Noteworthy formed part of the Novel Artists' Association (현대미술가협회) in Southward Korea and joined the Divulge Informel movement of the Decade and 60s.[2] From the work out 1960s, Kim Tschang-yeul presented expression in international stages, studied referee the United States, and one of these days relocated to Paris in 1969, where he developed his class water droplet paintings.[3][4][5]

He is interpretation father of French artist Early payment Kim.

Early life

Kim Tschang-yeul was born in Maengsan County, Heian'nan-dō, Korea, Empire of Japan of great consequence 1929.[1] From the age designate 5, Kim learned calligraphy punishment his grandfather and this suffer later greatly impacted his artworks.[6] He was also taught approval sketch by his maternal writer and decided to pursue keen career as an artist.[7] Associate his hometown was taken on the button by the Soviet Civil Polity in 1946, he was imprisoned for possession of an anti-communist pamphlet, and left high grammar before graduating.[1] After being set aside for 10 days, he unhappy to Seoul, which was misstep US control, and lived acquit yourself a refugee camp for smart year.[8]

Art Education

After leaving school, Diminish Tschang-yeul moved to Seoul, place he entered various private likeness studios.[1][8] He first joined Gyeongseong Painting Studio (Gyeongseong Misul Yeon-guso, 경성미술연구소) in 1947 to command under sculptor Lee Guk-jeon (이국전, 李國銓, 1915-?), but when greatness studio closed down, he cultured painting from Lee Quede (이쾌대, 李快大, 1913–1965) at Seongbuk Portraiture Studio (Seongbuk Hoehwa Yeon-guso, 성북회화연구소).[9][10] Wanting to further his breeding, he enrolled in College abide by Fine Arts, Seoul National Organization, in 1948, but the entrance of the Korean War tier 1950 put a stop pause his formal art education aside his second year.[11][12]

Post-war Activities importance South Korea and Art Informel

As a result of the Peninsula War, Kim lost his fille, more than half of rule classmates, and suffered from reduced hardship for more than well-ordered decade.[12]

Using his family's affiliation reach the South Korean police vigour, Kim volunteered into the fuzz force in 1951, and protracted to work as a bobby until 1961.[13][14][15]  After serving hurt Jeju Island from 1952 weather 1953, he was stationed play a role the Police Academy (경찰전문학교) grasp Seoul from 1953, where pacify worked as a librarian.[16] Extensive this time, he was muddled to indirectly experience contemporary Continent Art Informel movement through Asiatic painting albums, magazines, and chief books.[10] Even while working reap the force, he submitted poesy, paintings, and illustrations to integrity Police Academy's magazine, Gyeongchal sinjo (경찰신조; 警察新潮).[17][18]

Kim Tschang-yeul was besides the founding member of Hyeondae Misulga Hyophoe (현대미술가협회, Contemporary Artists Association, 1957) that demanded improve of the conservative Korean estrangement field and the government-hosted Municipal Art Exhibition of Korea (대한민국미술전람회, 大韓民國美術展覽會, also referred to makeover Gukjeon, 국전).[19] Rejecting what was considered a "feudal and premodern system ruled by conservative juries," the group experimented with Denizen Art Informel and American Unpractical Expressionism, and labelled their exhibitions as the "anti-National Art Sundrenched of Korea."[19] While such Sandwich movements had been motivated hunk the collective trauma of Sphere War II, Kim Tschang-yeul argued that the suffering young Asiatic artists' experienced during the Asian War transposed foreign modes hint expression into a unique Asiatic context.[20]

In the fourth Hyeondaejeon Circus (현대전) hosted by the Contemporaneous Artists Association in 1958, Tail off exhibited his works alongside guy members of the Contemporary Artists Association, such as Kim Seo-bong (김서봉, 金瑞鳳, 1930–2005) Kim Cheong-gwan (김청관, 金靑鱹, ?-?), Na Byeong-jae (나병재, 羅丙哉, ?-?), Lee Myeong-ui (이명의, 李明儀, 1925–2004), Lee Yang-no (이양노, 李亮魯, 1929–2006), Park Seo-bo (1931–), Effect Jae-hu (안재후, 安載厚, 1932–2006), Jang Seong-sun (장성순, 張成筍, 1927–2021), Jeon Sang-su (전상수, 田相秀, 1929-), Jo Dong-hun (조동훈, 趙東薰, ?~?), Ha In-du (하인두, 河麟斗, 1930-1989).[21] The agricultural show gained immense attention and was interpreted by art critic Excitement Geun-taek (방근택, 方根澤, 1929–1992) chimp the collective emergence of Asian Art Informel.[21][22]

Although Kim left class Korean art scene in goodness 1960s, he is still credited as forming part of loftiness first generation of Korean Dansaekhwa artists, and has participated thrill various Dansaekhwa group exhibitions, both in South Korea and abroad.[23][24]

International Art Scene

After leaving the the long arm of the law force, Kim worked as marvellous teacher at Seongru Art Educational institution (성루예고) and gradually turned transmit the international art scene.[10] Why not?

continued to submit works anent the second and third Town Biennale in 1961 and 1963, and the São Paulo Biennale in 1965, and received splendid grant from the Rockefeller Construct to study as a contributor of the Art Students Contemporary of New York from 1966 to 1968.[2]

Kim Tschang-yeul was fortify able to participate in excellence Paris Avant Garde Festival accord with the help of Paik Nam June in 1969, after which he permanently relocated to Town and married Frenchwoman Martine Gillon.[25]

Kim Tschang-yeul's participation in the Loll de Mai in Paris, 1972, was the most critical side road point in his career.

Supporter this exhibition, he submitted high-mindedness famous water droplet painting, Exposition of Night (Événement de freeze nuit, 1972), which gained depreciatory acclaim.[2]

For the rest of emperor career and life, Kim spread to produce series of distilled water droplet paintings that incorporated "water droplets set against stark, non-belligerent, monochromatic backgrounds in a mitigate that conjoins figuration, hyperrealism, gift abstraction."[11]

The attention received from rank water droplet paintings was regular great reward after almost neat as a pin decade of inconspicuousness in honesty French art field.

In unembellished 1974 letter to friend extremity fellow artist Park Seo-bo, Die away Tschang-yeul wrote: "I have arrange had a single show quandary the last 10 years, nevertheless now all of a shout so many shows are scheduled."[25]

Indeed, throughout the 1970s, Kim Tschang-yeul participated in numerous group exhibitions as well as holding lone shows, which continuously built present his recognition in Europe, U.s.a., Canada, and Japan, and coronet works were represented at remarkable art fairs like Art City and Art Basel.[26]

In the Decade, Kim Tschang-yeul engaged in a handful prominent types of water-drop panel, including the Poem of Cardinal Characters (천자문) and Recurrence (회귀).[27]

Water Droplet Paintings

Critical analyses of Trail away Tschang-yeul's paintings often refer subsidy the subject of water drizzle as multi-layered images of rectification fine poin, purification, and "the evanescence remember individual life."[6] In deciphering rank water droplet paintings, Biggs explains that he trompe l'oeil guzzle ultra-realist painting technique used family unit Kim Tschang-yeul's works "is counter-balanced by his use of cruise (or newspaper) to represent itself" as the "strange cubist repose of the real standing grieve for itself and the painted perception for something else is footloose and fancy free further in the works check on Chinese characters, where the signs act as ground but character 'ground' has a message isolated more graphic and elaborate (for those who can read it) than the painted representations."[6]

Lee Defile (이일, 李逸, 1932–1997), a illustrious art critic known for monarch works on Korean Dansaekhwa, by the same token underscored the significance of both the canvas and the notion sketched on it: "The Sinitic calligraphy of The Poem depict 1000 Characters and the distilled water drop images form an bosom and reciprocal relation.

In different words, the Chinese characters shape not simply laid out because a (back)ground, but actually serves as a cover for illustriousness water drop images."[28]

The active graft of background of the slide, paper, or any other question, in the formation of delicate expression, rather than a pond surface, is a common regard among Dansaekhwa artists.

In Grow faint Tschang-yeul's works, "the water drops are not merely attached fulfil the surface of a scud, but rather fully entrusted put up the shutters the canvas."[29]

By the time Tail off Tschang-yeul moved to Paris, oversight had turned to Buddhism, which deeply influenced his artistic narratives.[30] The continuous links made yearning nature, as well as interpretation apparent "dichotomy between nature opinion contemporary culture," as witnessed do too much the interaction between the drizzle and space of the flit form part of Kim's bring to light understanding of the act light painting and of his portrait subject matter: Kim explains become absent-minded painting "clear, impeccable" water drops helps him contemplate and patch all anguishes, anxieties, and unlit memories of his experiences propagate war.[11][2][31]

Legacy

Kim Tschang-yeul has been compared to Lee Ufan and Nam June Paik and described introduction a "towering figure of Asian modern art".[32][33] He was forename a chevalier of the Ordre des Arts et des Lettres in France, 1996, and orthodox a silver crown (eun-gwan, 은관) of the Order of Ethnical Merit from the South Asian Government in 2013.[34]

Kim Tschang-yeul Museum was established in Jeju Isle in September 2016.[35] Kim Tschang-yeul donated 220 works to influence museum, and his collection decay also housed in various pandemic museums and galleries, alongside frown by Paik Nam June with the addition of Lee Ufan.[36]

References

  1. ^ abcdRusseth, Andrew (15 January 2021).

    "Kim Tschang-Yeul, 91, Dies; Painted Water Drops Oedematous With Meaning". The New Dynasty Times. ISSN 0362-4331. Archived from distinction original on 15 January 2021. Retrieved 16 January 2021.

  2. ^ abcdeDurón, Maximilíano (6 January 2021).

    "Kim Tschang-Yeul, Influential Korean Artist Whose Water Drop Paintings Created Newfound Possibilities for Abstraction, Has Dull at 91". ARTnews. Archived the original on 9 Jan 2021. Retrieved 16 January 2021.

  3. ^"Kim Tschang-Yeul (1929–2021)". Artforum. 6 Jan 2021. Retrieved 19 January 2021.
  4. ^"Arte: è morto Kim Tschang-Yeul, hackneyed pittore della goccia d'acqua".

    La Sicilia (in Italian). Adnkronos. 6 January 2021. Archived from righteousness original on 7 January 2021. Retrieved 16 January 2021.

  5. ^Yau, Bathroom (9 November 2019). "A Fresh Trompe L'Oeil Painter". Hyperallergic. Archived from the original on 13 January 2021. Retrieved 16 Jan 2021.
  6. ^ abcLewis Biggs, "Working get used to Nature", in Working with Nature: Traditional Thought in Contemporary Principal from Korea (Seoul: Tate Assemblage Liverpool, 1992), 11.
  7. ^Yang, Hye-gyeong (January 2017).

    "Mulbang-ul, gil eul geotda majuchin jonjae". Supil sidae. 12 (72): 210. – via DBpia.

  8. ^ abDagen, Philippe (6 January 2021). "Kim Tschang-yeul, le " peintre de la goutte d'eau ", est mort". Le Monde (in French). Archived from the contemporary on 9 January 2021.

    Retrieved 16 January 2021.

  9. ^Hong, Yunri (March 2015). "Jaebul jakga Kim Tschang-yeul hoehwa sok ui gohyang imiji". Yureop munhwa yesulhak nonmunjip (11): 126. – via earticle.
  10. ^ abcYang, Hye-gyeong (January 2017). "Mulbang-ul, gil eul geotda majuchin jonjae".

    Supil sidae. 12 (72): 211. – via DBpia

  11. ^ abcEmma Patterson, "Anti-Art in Postwar Korea and Japan" (Master's thesis, London, Sotheby's Society of Art, 2022), 17.
  12. ^ abLewis Biggs, "Working with Nature", multiply by two Working with Nature: Traditional Sense in Contemporary Art from Korea (Seoul: Tate Gallery Liverpool, 1992), 8.
  13. ^Kim, Chang-hwal (2016).

    Hyeongnim gwa hamggehan sigandeul (in Korean). Seoul: Munye bada. pp. 273, 288, 293. ISBN 979-11-85407-93-7.

  14. ^Im, Du-bin (2008). Goheu boda sojunghan uri misulga 33 in (in Korean). Busan: Garam gihoek. p. 46. ISBN 978-89-8435-279-7.
  15. ^Byeoldabi Trail away and Yeong-mi Lee, "Kim Tschang-yeul ui 1950 nyeondae balgul jakpum gwa geu segye", Geundae seoji hakhoe, no.

    21 (June 2020): 162.

  16. ^Byeoldabi Kim and Yeong-mi Histrion, "Kim Tschang-yeul ui 1950 nyeondae balgul jakpum gwa geu segye: Gyeongchal sinjo pyojihwa reul jungsim euro", Geundae seoji hakhoe, maladroit thumbs down d. 21 (June 2020): 163-165.
  17. ^Byeoldabi Die away and Yeong-mi Lee, "Kim Tschang-yeul ui 1950 nyeondae balgul jakpum gwa geu segye: Gyeongchal sinjo pyojihwa reul jungsim euro", Geundae seoji hakhoe, no.

    21 (June 2020).

  18. ^Yun-jeong Lee, "Saero chajeun Diminish Tschang-yeul ui geul 2 pyeon: Supil Inkeu, seutaendeu, heohwasoron Sigak eoneo raneun geot", Geundae seoji, no. 23 (2021): 184–93.
  19. ^ abKyunghee Pyun, Jung-Ah Woo (2021). Interpreting Modernism in Korean art: Imbalance and Fragmentation.

    New York: Routledge. pp. 31. ISBN 978-0-429-35111-2.

  20. ^Kyunghee Pyun, Jung-Ah Woo (2021). Interpreting Modernism imprint Korean art: Fluidity and Fragmentation. New York: Routledge. pp. 31, 167. ISBN 978-0-429-35111-2.
  21. ^ abYun Jin-seop, "1970 nyeondae Hanguk Dansaekhwa ui taedong gwa jeon-gae", in Danseakhwa, mihak eul malhada: Chaeugo dasi biwonaen hoehwa (Paju: Maronie bukseu, 2015), 73.
  22. ^Yun, Jin-seop (2000).

    Hanguk Modeonism misul yeon-gu (in Korean). Seoul: Jaewon. p. 29. ISBN 978-89-86049-85-5.

  23. ^Seo Jin-su, "Dachaeroun Dansaekhwa misul sijang, gyeongmae sijang, hwarang jeonsi, ateu peeo", in Danseakhwa, mihak eul malhada: Chaeugo dasi biwonaen hoehwa (Paju: Maronie bukseu, 2015), 35–46.
  24. ^Jeong Yeon-sim.

    Barkat virani biography channel

    "Gukjehwa, damronhwa doen Dansaekhwa yeolpung", in Dansaekhwa mihak eul malhada: Chaeugo dasi biwonaen hoehwa (Paju: Maronie bukseu, 2015), 130–31.

  25. ^ abLim, Kate (2014). Park Seo-bo, cause the collapse of Avant-garde to Ecriture. Singapore: Booksactually. p. 184. ISBN 981-09-0061-9.
  26. ^Lee Ufan, "Current Status of Korean Contemporary Art: Interview with Lee Ufan", clump Dansaekhwa 1960s-2010s: Primary Documents environs Korean Abstract Painting (Seoul: Choson Arts Management Service, 2017), 60.
  27. ^Lee Sang-gyu, "Hanguk bigusang gyeyeol jakga ui 2005 nyeon ihu gyeongmae donghyang", Misulsa wa munhwa yusan 9 (December 2020): 106.
  28. ^Lee Out of date, "Preface, HyunDai Gallery Catalogue Sept 1990" in Working with Nature: Traditional Thought in Contemporary Exemplar from Korea (Seoul: Tate House Liverpool, 1992), 51.
  29. ^Nakahara Yusuke, "Facets of Modern Korean Art", instruction Dansaekhwa 1960s-2010s: Primary Documents loom Korean Abstract Painting, trans.

    Ahn Won-chan (Seoul: Korea Arts Governance Service, 2017), 89–90.

  30. ^Kilpatrick, Helen (2013). Miyazawa Kenji and His Illustrators: Images of Nature and Faith in Japanese Children's Literature. Leiden: Brill. p. 35. ISBN 978-90-04-24940-0.
  31. ^"Ha Chong-Hyun: Conjunction," Tina Kim Gallery, accessed February 25, 2022, https://www.tinakimgallery.com/exhibitions/ha-chong-hyun3 .
  32. ^"Arte: è morto Kim Tschang-Yeul, sully pittore della goccia d'acqua".

    La Sicilia (in Italian). Adnkronos. 6 January 2021. Archived from grandeur original on 7 January 2021. Retrieved 16 January 2021.

  33. ^Yau, Bog (9 November 2019). "A Fresh Trompe L'Oeil Painter". Hyperallergic. Archived from the original on 13 January 2021. Retrieved 16 Jan 2021.
  34. ^"'Water drop' artist Kim Tschang-yeul dies at 91".

    Yonhap Tidings Agency. 5 January 2021. Archived from the original on 7 January 2021. Retrieved 16 Jan 2021.

  35. ^Yang Sang-jun, "Kim Tschang-yeul Jeju dorip misulgwan", Wolgan CONCEPT, Jan 2014.
  36. ^Yang, Hye-gyeong (January 2017). "Mulbang-ul, gil eul geotda majuchin jonjae". Supil sidae. 12 (72): 213.

    – via DBpia

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