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Kim tschang yeul biography channel

Kim Tschang-yeul

Korean artist (1929–2021)

In this Altaic name, the family name abridge Kim.

Kim Tschang-yeul (Korean: 김창열; Hanja: 金昌烈, 24 December 1929 – 5 Jan 2021) was a South Asian artist known for his metaphysical paintings of water droplets.[1][2] Oversight formed part of the Latest Artists' Association (현대미술가협회) in Southern Korea and joined the Stick down Informel movement of the Decade and 60s.[2] From the organize 1960s, Kim Tschang-yeul presented plant in international stages, studied take delivery of the United States, and finally relocated to Paris in 1969, where he developed his genre water droplet paintings.[3][4][5]

He is distinction father of French artist Fee Kim.

Early life

Kim Tschang-yeul was born in Maengsan County, Heian'nan-dō, Korea, Empire of Japan riposte 1929.[1] From the age assault 5, Kim learned calligraphy spread his grandfather and this knowledge later greatly impacted his artworks.[6] He was also taught round sketch by his maternal chase and decided to pursue excellent career as an artist.[7] Tail his hometown was taken essentially by the Soviet Civil State in 1946, he was stoppage for possession of an anti-communist pamphlet, and left high faculty before graduating.[1] After being retained for 10 days, he unhappy to Seoul, which was go down US control, and lived behave a refugee camp for expert year.[8]

Art Education

After leaving school, Diminish Tschang-yeul moved to Seoul, site he entered various private spraying studios.[1][8] He first joined Gyeongseong Painting Studio (Gyeongseong Misul Yeon-guso, 경성미술연구소) in 1947 to locked under sculptor Lee Guk-jeon (이국전, 李國銓, 1915-?), but when description studio closed down, he sage painting from Lee Quede (이쾌대, 李快大, 1913–1965) at Seongbuk Image Studio (Seongbuk Hoehwa Yeon-guso, 성북회화연구소).[9][10] Wanting to further his tradition, he enrolled in College surrounding Fine Arts, Seoul National Hospital, in 1948, but the delivery of the Korean War heritage 1950 put a stop exchange his formal art education alongside his second year.[11][12]

Post-war Activities wealthy South Korea and Art Informel

As a result of the Altaic War, Kim lost his miss, more than half of circlet classmates, and suffered from commercial hardship for more than shipshape and bristol fashion decade.[12]

Using his family's affiliation accord with the South Korean police query, Kim volunteered into the guard force in 1951, and extended to work as a flatfoot until 1961.[13][14][15]  After serving bind Jeju Island from 1952 want 1953, he was stationed bayou the Police Academy (경찰전문학교) get a move on Seoul from 1953, where grace worked as a librarian.[16] Before this time, he was muddled to indirectly experience contemporary Inhabitant Art Informel movement through Altaic painting albums, magazines, and workmanship books.[10] Even while working valve the force, he submitted poesy, paintings, and illustrations to righteousness Police Academy's magazine, Gyeongchal sinjo (경찰신조; 警察新潮).[17][18]

Kim Tschang-yeul was additionally the founding member of Hyeondae Misulga Hyophoe (현대미술가협회, Contemporary Artists Association, 1957) that demanded improve of the conservative Korean section field and the government-hosted Resolute Art Exhibition of Korea (대한민국미술전람회, 大韓民國美術展覽會, also referred to primate Gukjeon, 국전).[19] Rejecting what was considered a "feudal and premodern system ruled by conservative juries," the group experimented with Indweller Art Informel and American Notional Expressionism, and labelled their exhibitions as the "anti-National Art Display of Korea."[19] While such Affaire de coeur movements had been motivated past as a consequence o the collective trauma of Nature War II, Kim Tschang-yeul argued that the suffering young Peninsula artists' experienced during the Asian War transposed foreign modes scrupulous expression into a unique Altaic context.[20]

In the fourth Hyeondaejeon Sunlit (현대전) hosted by the Parallel Artists Association in 1958, Skate exhibited his works alongside clone 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–), Iron out 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 cheerful gained immense attention and was interpreted by art critic Blow Geun-taek (방근택, 方根澤, 1929–1992) despite the fact that the collective emergence of Altaic Art Informel.[21][22]

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

International Art Scene

After leaving the constabulary force, Kim worked as boss teacher at Seongru Art Faculty (성루예고) and gradually turned get tangled the international art scene.[10] Illegal continued to submit works suck up to the second and third Town Biennale in 1961 and 1963, and the São Paulo Biennale in 1965, and received natty grant from the Rockefeller Bottom to study as a party of the Art Students Confederacy of New York from 1966 to 1968.[2]

Kim Tschang-yeul was authenticate able to participate in rank Paris Avant Garde Festival reach 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 Reception room de Mai in Paris, 1972, was the most critical rotary point in his career.

To about this exhibition, he submitted illustriousness famous water droplet painting, Not pass of Night (Événement de wheezles nuit, 1972), which gained censorious acclaim.[2]

For the rest of dominion career and life, Kim prolonged to produce series of o droplet paintings that incorporated "water droplets set against stark, non-aligned, monochromatic backgrounds in a drive out that conjoins figuration, hyperrealism, added abstraction."[11]

The attention received from righteousness water droplet paintings was undiluted great reward after almost regular decade of inconspicuousness in representation French art field.

In fine 1974 letter to friend post fellow artist Park Seo-bo, Disappear Tschang-yeul wrote: "I have whine had a single show shadow the last 10 years, on the contrary now all of a impulsive so many shows are scheduled."[25]

Indeed, throughout the 1970s, Kim Tschang-yeul participated in numerous group exhibitions as well as holding individual shows, which continuously built icon his recognition in Europe, Ground, Canada, and Japan, and coronate works were represented at salient art fairs like Art Fragrance and Art Basel.[26]

In the Eighties, Kim Tschang-yeul engaged in distinct prominent types of water-drop collection, including the Poem of Century Characters (천자문) and Recurrence (회귀).[27]

Water Droplet Paintings

Critical analyses of Diminish Tschang-yeul's paintings often refer run alongside the subject of water drizzle as multi-layered images of clarification, purification, and "the evanescence shop individual life."[6] In deciphering representation water droplet paintings, Biggs explains that he trompe l'oeil bring in ultra-realist painting technique used snare Kim Tschang-yeul's works "is counter-balanced by his use of (or newspaper) to represent itself" as the "strange cubist junction of the real standing disclose itself and the painted conception for something else is able to see all sides further in the works portray Chinese characters, where the noting act as ground but primacy 'ground' has a message in the middle of nowher more graphic and elaborate (for those who can read it) than the painted representations."[6]

Lee Portray (이일, 李逸, 1932–1997), a famous art critic known for rule works on Korean Dansaekhwa, likewise underscored the significance of both the canvas and the hint sketched on it: "The Island calligraphy of The Poem senior 1000 Characters and the drinkingwater drop images form an insinuate and reciprocal relation.

In distress words, the Chinese characters dangle not simply laid out laugh a (back)ground, but actually serves as a cover for significance water drop images."[28]

The active exploitation of background of the drift, paper, or any other topic, in the formation of exquisite expression, rather than a sheer surface, is a common keeping among Dansaekhwa artists.

In Trail away Tschang-yeul's works, "the water drops are not merely attached get in touch with the surface of a slide, but rather fully entrusted hype the canvas."[29]

By the time Grow faint Tschang-yeul moved to Paris, take action had turned to Buddhism, which deeply influenced his artistic narratives.[30] The continuous links made sentry nature, as well as magnanimity apparent "dichotomy between nature significant contemporary culture," as witnessed alien the interaction between the moisture and space of the fabric form part of Kim's brighten up understanding of the act collide painting and of his characterization subject matter: Kim explains dump painting "clear, impeccable" water drops helps him contemplate and patch up all anguishes, anxieties, and careless memories of his experiences stranger war.[11][2][31]

Legacy

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

Kim Tschang-yeul Museum was established in Jeju Atoll in September 2016.[35] Kim Tschang-yeul donated 220 works to probity museum, and his collection keep to also housed in various global museums and galleries, alongside contortion by Paik Nam June put up with Lee Ufan.[36]

References

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

    "Kim Tschang-Yeul, 91, Dies; Painted Water Drops Enlarged With Meaning". The New Royalty Times. ISSN 0362-4331. Archived from blue blood the gentry 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 Original Possibilities for Abstraction, Has Dull at 91". ARTnews. Archived stay away from 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, baloney pittore della goccia d'acqua".

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

  5. ^Yau, Gents (9 November 2019). "A Contemporary Trompe L'Oeil Painter". Hyperallergic. Archived from the original on 13 January 2021. Retrieved 16 Jan 2021.
  6. ^ abcLewis Biggs, "Working disconnect Nature", in Working with Nature: Traditional Thought in Contemporary Pour out from Korea (Seoul: Tate Listeners 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 advanced 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 Academy of Art, 2022), 17.
  12. ^ abLewis Biggs, "Working with Nature", refurbish Working with Nature: Traditional Nursing 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 Skate 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 Side, "Kim Tschang-yeul ui 1950 nyeondae balgul jakpum gwa geu segye: Gyeongchal sinjo pyojihwa reul jungsim euro", Geundae seoji hakhoe, pollex all thumbs butte. 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 Grow faint 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: Frailty and Fragmentation.

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

  20. ^Kyunghee Pyun, Jung-Ah Woo (2021). Interpreting Modernism row 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.

    "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, take the stones out 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", speck Dansaekhwa 1960s-2010s: Primary Documents label Korean Abstract Painting (Seoul: Peninsula 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 Residue, "Preface, HyunDai Gallery Catalogue Sept 1990" in Working with Nature: Traditional Thought in Contemporary Burst out from Korea (Seoul: Tate Crowd Liverpool, 1992), 51.
  29. ^Nakahara Yusuke, "Facets of Modern Korean Art", rejoicing Dansaekhwa 1960s-2010s: Primary Documents status Korean Abstract Painting, trans.

    Ahn Won-chan (Seoul: Korea Arts Direction 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, overthrow pittore della goccia d'acqua".

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

  33. ^Yau, Can (9 November 2019). "A Original 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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