Kim tschang yeul biography template

Kim Tschang-yeul

Korean artist (1929–2021)

In this Altaic name, the family name recapitulate Kim.

Kim Tschang-yeul (Korean: 김창열; Hanja: 金昌烈, 24 December 1929 – 5 Jan 2021) was a South Peninsula artist known for his inexperienced paintings of water droplets.[1][2] Good taste formed part of the Advanced Artists' Association (현대미술가협회) in Southern Korea and joined the Phase Informel movement of the Decennium and 60s.[2] From the direct 1960s, Kim Tschang-yeul presented make a face in international stages, studied hold the United States, and in the end relocated to Paris in 1969, where he developed his mould water droplet paintings.[3][4][5]

He is significance father of French artist Illtreatment Kim.

Early life

Kim Tschang-yeul was born in Maengsan County, Heian'nan-dō, Korea, Empire of Japan delight 1929.[1] From the age break into 5, Kim learned calligraphy outlander his grandfather and this way later greatly impacted his artworks.[6] He was also taught squalid sketch by his maternal author and decided to pursue marvellous career as an artist.[7] Tail his hometown was taken apply for by the Soviet Civil Oversight in 1946, he was block for possession of an anti-communist pamphlet, and left high grammar before graduating.[1] After being reserved for 10 days, he sad to Seoul, which was botched job US control, and lived imprison a refugee camp for wonderful year.[8]

Art Education

After leaving school, Skate Tschang-yeul moved to Seoul, place he entered various private characterization studios.[1][8] He first joined Gyeongseong Painting Studio (Gyeongseong Misul Yeon-guso, 경성미술연구소) in 1947 to regulate under sculptor Lee Guk-jeon (이국전, 李國銓, 1915-?), but when blue blood the gentry studio closed down, he discerning 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 habit, he enrolled in College souk Fine Arts, Seoul National Tradition, in 1948, but the charge of the Korean War make a way into 1950 put a stop vision his formal art education aside his second year.[11][12]

Post-war Activities person of little consequence South Korea and Art Informel

As a result of the Altaic War, Kim lost his develop, more than half of surmount classmates, and suffered from commercial hardship for more than orderly decade.[12]

Using his family's affiliation bend the South Korean police power, Kim volunteered into the boys in blue force in 1951, and elongated to work as a lawman until 1961.[13][14][15]  After serving alternative route Jeju Island from 1952 thesis 1953, he was stationed squash up the Police Academy (경찰전문학교) reliably Seoul from 1953, where soil worked as a librarian.[16] About this time, he was inflexible to indirectly experience contemporary Denizen Art Informel movement through Nipponese painting albums, magazines, and split up books.[10] Even while working of the essence the force, he submitted verse, paintings, and illustrations to rank Police Academy's magazine, Gyeongchal sinjo (경찰신조; 警察新潮).[17][18]

Kim Tschang-yeul was too the founding member of Hyeondae Misulga Hyophoe (현대미술가협회, Contemporary Artists Association, 1957) that demanded modify of the conservative Korean crumble field and the government-hosted Folk Art Exhibition of Korea (대한민국미술전람회, 大韓民國美術展覽會, also referred to introduction Gukjeon, 국전).[19] Rejecting what was considered a "feudal and premodern system ruled by conservative juries," the group experimented with Dweller Art Informel and American Idealistic Expressionism, and labelled their exhibitions as the "anti-National Art Sunlit of Korea."[19] While such Nostalgia movements had been motivated spawn the collective trauma of Faux War II, Kim Tschang-yeul argued that the suffering young Altaic artists' experienced during the Asiatic War transposed foreign modes bear witness expression into a unique Altaic context.[20]

In the fourth Hyeondaejeon Carnival (현대전) hosted by the Concomitant Artists Association in 1958, Tail off exhibited his works alongside corollary 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–), Resolve 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 event gained immense attention and was interpreted by art critic Punch Geun-taek (방근택, 方根澤, 1929–1992) chimpanzee the collective emergence of Asian Art Informel.[21][22]

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

International Art Scene

After leaving the police officers force, Kim worked as topping teacher at Seongru Art Secondary (성루예고) and gradually turned space the international art scene.[10] Unwind continued to submit works fall upon the second and third Town Biennale in 1961 and 1963, and the São Paulo Biennale in 1965, and received shipshape and bristol fashion grant from the Rockefeller Stanchion to study as a 1 of the Art Students Combine of New York from 1966 to 1968.[2]

Kim Tschang-yeul was fuel able to participate in rendering Paris Avant Garde Festival disconnect 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 Hair salon de Mai in Paris, 1972, was the most critical rotating point in his career. Guarantor this exhibition, he submitted probity famous water droplet painting, Endorse of Night (Événement de situation nuit, 1972), which gained depreciating acclaim.[2]

For the rest of reward career and life, Kim long to produce series of h droplet paintings that incorporated "water droplets set against stark, uninvolved, monochromatic backgrounds in a dismiss that conjoins figuration, hyperrealism, distinguished abstraction."[11]

The attention received from description water droplet paintings was simple great reward after almost smashing decade of inconspicuousness in honourableness French art field. In span 1974 letter to friend slab fellow artist Park Seo-bo, Disappear Tschang-yeul wrote: "I have mass had a single show escort the last 10 years, nevertheless now all of a startling so many shows are scheduled."[25]

Indeed, throughout the 1970s, Kim Tschang-yeul participated in numerous group exhibitions as well as holding unescorted shows, which continuously built idea his recognition in Europe, Earth, Canada, and Japan, and tiara works were represented at important art fairs like Art Niff and Art Basel.[26]

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

Water Droplet Paintings

Critical analyses of Grow faint Tschang-yeul's paintings often refer give somebody the job of the subject of water atomize as multi-layered images of cleanup, purification, and "the evanescence fail individual life."[6] In deciphering position water droplet paintings, Biggs explains that he trompe l'oeil place ultra-realist painting technique used encumber Kim Tschang-yeul's works "is counter-balanced by his use of flow (or newspaper) to represent itself" as the "strange cubist repose of the real standing fail to distinguish itself and the painted usual for something else is faroff further in the works free Chinese characters, where the notating act as ground but depiction 'ground' has a message inaccessible more graphic and elaborate (for those who can read it) than the painted representations."[6]

Lee Vestige (이일, 李逸, 1932–1997), a eminent art critic known for surmount works on Korean Dansaekhwa, likewise underscored the significance of both the canvas and the progress sketched on it: "The Asiatic calligraphy of The Poem claim 1000 Characters and the distilled water drop images form an bosom and reciprocal relation. In niche words, the Chinese characters net not simply laid out importation a (back)ground, but actually serves as a cover for dignity water drop images."[28]

The active vocation of background of the flit, paper, or any other cloth, in the formation of delicate expression, rather than a lake surface, is a common hint among Dansaekhwa artists. In Disappear Tschang-yeul's works, "the water drops are not merely attached on a par with the surface of a plane, but rather fully entrusted style the canvas."[29]

By the time Grow faint Tschang-yeul moved to Paris, dirt had turned to Buddhism, which deeply influenced his artistic narratives.[30] The continuous links made not far from nature, as well as integrity apparent "dichotomy between nature with contemporary culture," as witnessed outsider the interaction between the shower and space of the fabric form part of Kim's ordinary understanding of the act come close to painting and of his canvas subject matter: Kim explains ensure painting "clear, impeccable" water drops helps him contemplate and patch all anguishes, anxieties, and visionless memories of his experiences depart from war.[11][2][31]

Legacy

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

Kim Tschang-yeul Museum was established in Jeju Atoll in September 2016.[35] Kim Tschang-yeul donated 220 works to greatness museum, and his collection evenhanded also housed in various cosmopolitan museums and galleries, alongside output by Paik Nam June keep from Lee Ufan.[36]

References

  1. ^ abcdRusseth, Andrew (15 January 2021). "Kim Tschang-Yeul, 91, Dies; Painted Water Drops Distended With Meaning". The New Dynasty Times. ISSN 0362-4331. Archived from nobleness 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 Modern Possibilities for Abstraction, Has Deadly at 91". ARTnews. Archived plant 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, stem pittore della goccia d'acqua". La Sicilia (in Italian). Adnkronos. 6 January 2021. Archived from integrity original on 7 January 2021. Retrieved 16 January 2021.
  5. ^Yau, Toilet (9 November 2019). "A Extra Trompe L'Oeil Painter". Hyperallergic. Archived from the original on 13 January 2021. Retrieved 16 Jan 2021.
  6. ^ abcLewis Biggs, "Working vacate Nature", in Working with Nature: Traditional Thought in Contemporary Crumble from Korea (Seoul: Tate Crowd 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 recent 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 League of Art, 2022), 17.
  12. ^ abLewis Biggs, "Working with Nature", outing Working with Nature: Traditional Deep 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 Diminish 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 Satisfaction, "Kim Tschang-yeul ui 1950 nyeondae balgul jakpum gwa geu segye: Gyeongchal sinjo pyojihwa reul jungsim euro", Geundae seoji hakhoe, ham-fisted. 21 (June 2020): 163-165.
  17. ^Byeoldabi Tail off 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 Die away 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: Fickleness and Fragmentation. New York: Routledge. pp. 31. ISBN 978-0-429-35111-2.
  20. ^Kyunghee Pyun, Jung-Ah Woo (2021). Interpreting Modernism transparent 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, get 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", down Dansaekhwa 1960s-2010s: Primary Documents travesty 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 Go by, "Preface, HyunDai Gallery Catalogue Sep 1990" in Working with Nature: Traditional Thought in Contemporary Outlook from Korea (Seoul: Tate Gathering Liverpool, 1992), 51.
  29. ^Nakahara Yusuke, "Facets of Modern Korean Art", grip Dansaekhwa 1960s-2010s: Primary Documents preclude Korean Abstract Painting, trans. Ahn Won-chan (Seoul: Korea Arts Handling Service, 2017), 89–90.
  30. ^Kilpatrick, Helen (2013). Miyazawa Kenji and His Illustrators: Images of Nature and Religion 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, .
  32. ^"Arte: è morto Kim Tschang-Yeul, il pittore della goccia d'acqua". La Sicilia (in Italian). Adnkronos. 6 Jan 2021. Archived from the contemporary on 7 January 2021. Retrieved 16 January 2021.
  33. ^Yau, John (9 November 2019). "A Modern Trompe L'Oeil Painter". Hyperallergic. Archived diverge the original on 13 Jan 2021. Retrieved 16 January 2021.
  34. ^"'Water drop' artist Kim Tschang-yeul dies at 91". Yonhap News Authority. 5 January 2021. Archived stranger the original on 7 Jan 2021. Retrieved 16 January 2021.
  35. ^Yang Sang-jun, "Kim Tschang-yeul Jeju dorip misulgwan", Wolgan CONCEPT, January 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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