일본 근대미술사학계의 동향

김영나(Youngna Kim) 서양미술사학회 1991 서양미술사학회논문집 Vol.3 No.-

西洋의 美術史學史

김영나(Youngna Kim) 서양미술사학회 1989 서양미술사학회논문집 Vol.1 No.-

‘박람회’ 라는 전시공간 : 1893년 시카고 만국박람회와 조선관 전시

김영나(Youngna Kim) 서양미술사학회 2000 서양미술사학회논문집 Vol.13 No.-

Since London’s 1851 Crystal Palace exhibition, universal exposition came to exist as a new showcase to exhibit industrial products and scientific inventions as well as fine arts in one place-thus displaying technological advance and the progress of mankind. The World Columbian Exposition held in Chicago 1893 was the height of such nineteenth century expositions. World Columbian Exposition, Chicago of 1893 holds a special meaning to Korea because it was the first universal exposition Korea has participated abroad. Unlike Japan, who had been participating in universal expositions since 1862, stimulating new popularity for Japanese art in the Western world, it was not until 1880s when Korea began open-door policy toward the Western world. Following signing a treaty with the United States in 1882, King Kojong decided to participate in the 1893 Chicago Exposition, and later to 1900 Paris Universal Exposition. This suggests that King Kojong and the court recognized the universal expositions as an important exhibitionary space to present Korea to the international society, and also to acquire knowledge on advanced Western technology and products. However, despite these effort for modernization, Korea was unable to escape the aggression of neighboring Japan and became protectorate of Japan in 1905. Korea was again displayed in 1910 at Japanese-British Exhibition as a colony along with Taiwan. In Chicago Exposition, Korea built a small traditional Korean-style house in the Manufactures and Liberal Arts Building and exhibited handicrafts, men and women’s cloths, weapons, musical instruments, and etc. The Korean exhibition was too small in scale to receive much recognition, and the newspapers and the magazines of the time described the Korean exhibition as that of an isolated and strange country. Nevertheless, the Chicago exhibition serves as an important research area in Korea’s modern art history. It not only happened to be the first place where Korea officially encountered the cultures of various countries in the world, but it worked as an impetus in establishing several cultural institutions, including Hansong Art Studio to promote the productions of crafts. The study also brought to light some of the documents and visual images that had not been known by conducting researches both in Korea, Japan and in the United States, By examining these materials and comparing the exhibitions of three East Asian countries of Korea, Japan, and china, the article attempted to analyze the historic significance of the Korea’s participation in Chicago and Paris Exposition, and how the image of East Asia was constructed as the cultural other through display of exotic and mostly handicraft products in face of technologically advanced Western Civilization.

화가와 초상화

金英那(Kim Youngna) 미술사연구회 2006 미술사연구 Vol.- No.20

Portraiture is the representation of a specific individual through drawing, painting or photography. Portraiture is a genre that has a longer tradition than any other genres in the history of art. However, the efforts to define portraiture have proved to be difficult because of the genre’s several inherent contradictions. Firstly, although a portrait represents a mere moment in a person’s life, it is perceived to encapsulate his or her essential being, which cannot be grasped by pure physical resemblance. Thus, a portrait also addresses one’s personality, occupation, psychology, social status, etc.; in short, it contains all that would constitute an individual’s identity. Secondly, the focus of a portrait lies on the sitter, the one who is portrayed. However, emphasis can also lie on the artist who is looking at the sitter. As Walter Benjamin said, “the portraiture, if they last, do so only as testimony to the art of the painter.” For Benjamin, traditional portraits are first and foremost a document of the artist’s hand and eye. This argument greatly diverges from the definition offered by the Oxford English Dictionary: “A representation or delineation of a person, esp. of the face, made from life, by drawing, painting, photography, engraving, etc.; a likeness.” Another difficulty in answering what a portrait is the way portraiture is practiced in modern and contemporary art. In the 20th century, portraits no longer obsessively adhere to the principle of ‘likeness’ on account of the advent of movements such as abstract art as well as a shift in the art world where portraits are rarely produced to meet the demands of a certain patron. This makes it all the more difficult to designate portraiture. On the other hand, there is photography, which occupies that empty place of ‘likeness’ with a supposed guarantee of physical resemblance. Does this mean that when discussing the technical reproduction of portrait photography, we have to change the perspective from which portraits have traditionally been discussed? In this article, I propose the following categories for understanding portraiture in art history: state portrait, individual and group portrait, self-portrait, contemporary portrait. This enables us to recognize that the portrait occupies a sphere where its very definition as well as reception cannot but be unstable, fluid and flexible.

클레멘트 그린버그의 미술이론과 비평

김영나(Youngna Kim) 서양미술사학회 1996 서양미술사학회논문집 Vol.8 No.-

The American formalist art critic Clement Greenberg has been the most influential figure in art criticism in the twentieth century. The art criticism of Greenberg was directly founded on a particular understanding of art history that it could be labeled as a separate reading of modernism in modem art. Premised on his art historical and aesthetical perspective, he would theoretically advocate, critique, and give directions to, where appropriate, an artistic mode or an artist, and thereby excersized substantial influence on artists" work from the 1940 throughout the 60s. The essence of Greenberg"s formalist art theory was already established by 1939 and 1940 in his two essays, “Avant-garde and Kitsch,” and “Toward a Newer Laokoon.” During the 1930s, the then Marxist Greenberg was witness to the impact of Nazi Fascism and Stalin"s Communism upon the arts in Europe, and was to thereupon assimilate the writings of Eliot, Trotsky and Kant, reaching the conclusion that it is only the purely aesthetic quality in the visual arts that sustains its value through time. He believed that the value in art lay in art works untained by politics, ideology or literalism, which was determined by the distinctive ways in which the artist each dealt with the inherent properties of a medium. And in this art, the quality of the work and its artistic value exist beyond temporal history and can be judged objectively. By such claims, he propelled European modernism into a new phase, that is, into a Greenbergian modernism. His art theory, albeit the radical changes in the political and economical contexts that were to follow, remained constant throughout his life. Such narrow notion of art theory and history, especially his notion of the objective judgement of art, was to be the target of opposition in the early 1960s from various artists that he did not support, followed by art historians and critics of the next generation. And particularly during the last twenty five years, a postmodem critique has focused on Greenberg"s theory that high art and everyday life must be segregated as the target for debate. This paper first of all studies the art and polities and the ideological discourse during the 1930s which was the time-frame that shaped Greenberg"s perspective on art, and it will examine the process through which the Marxist Greenberg transgressed into formalist. Although this problem is crucial to the understanding of his later critical writings it is an area that has been little discussed in Korea. Furthermore, this paper will review the major issues in his art theory, his achievement and limits as an art critic and assess the historical place of Greenberg in the twentieth century art criticism.

한국 근대 조각의 흐름과 성격

김영나(Kim Youngna) 한국미술사교육학회 1994 美術史學 Vol.8 No.-

한국미술의 아방가르드 시론

김영나(Kim Youngna) 한국근현대미술사학회 2010 한국근현대미술사학 Vol.21 No.-

The tradition of the avant-garde to break the conventional forms of art and to actively intervene in the operations of society is a product of the Modern West. In the West, too, there were different kinds of avant-gardes. If the early twentieth century avant-gardes pursued radical aesthetics, the Russian avant-garde group dreamed to reform life from its root and to achieve social reform. The avant-garde movements in Korea have oscillated between these1) two poles?the purely aesthetic and the avidly political. In early 20th century Colonial Korea, the Proletarian Art emerged as an avant-garde movement, but was oppressed because of its association with social and political ideologies. As a result, in the popular mind of Korea, avant-garde came to be defined as those of aesthetic and formalistic radicalism. Even after Korea regained its independence from Japan in 1945, this perception of the avant-garde persisted. The first Korean art to be properly recognized as avant-garde was Informel, which appeared in late 1950s. With its emphasis on radical abstract art, Informel resisted realistic art which dominated the National Art Exhibitions. The group was perceived as avant-garde because it demanded the reform of established institutions, and attempted to change the existing views of aesthetic value by challenging them. The rise of Informel can ultimately be attributed to the rebellious social aspirations of the generation which emerged in the decade following the Korean War. Following the example of Informel, later art groups such as AG, ST, and the participants of 1967’s United Exhibition of Korean Young Artists actively claimed the avant-garde label for themselves. Nevertheless, the sincerity of their avant-garde status was still questioned at the time. This doubt likely stemmed from the fact that these groups were simply experimented with various newest artistic forms, and did not necessarily seek to transform life and society through their belligerence and heresy. Informel was primarily concerned with voicing their opposition to conservative mainstream art, but the Minjung (“people’s”) Art of the 1980s was part of a larger cultural movement which defined itself as “an anti-mainstream culture movement which attempts to topple the dominant culture.” The Minjung artists had a strong belief that art could have a decisive effect on social change, and they used their works to actively oppose the dominant culture. Even though Informel and Minjung Art, two most representative avant-garde movements, are located on opposite ends of the avant-garde spectrum, they are alike in that they each emerged during a transitional social period. Also, both movements failed to produce work which was aesthetically unique from the Western avant-garde. But this issue of aesthetic dependence is found not only in the Korean avantgarde, but also in non-Western avant-garde in general.

동양이 서양을 만나다 : 미술품 수집과 전시, 1850~1930

金英那(Kim Youngna),김이순 미술사연구회 2009 미술사연구 Vol.- No.23

This paper examines the cultural exchanges between the East and the West from around the 1850s to the 1930s. During this period, the East and the West both influenced and inspired the other’s culture through various routes. Especially, the collecting and display of Eastern art began to receive attention in the West in a modern context. The international expositions, which opened almost every other year both in Europe and the United States since 1851, played a crucial role in introducing East Asian art works to the Western audience. The East Asian art works, which had been available to only a limited and privileged group of people, were now available to the public’s viewing pleasure at the world expositions. It was through world expositions where Japanese elegant and subtle display of decorative arts caught the eyes of the Westerners. Japan, however, surprised the Westerners at the Paris Exposition of 1900 and the Louisiana Exposition of 1904 by showing traditional paintings and modern Western-style paintings instead of the usual decorative arts. This reveals Japan’s confidence as a modern country as he joined the ranks of the Western imperialists after the victories of the Sino-Japanese and Russo-Japanese wars. Unlike Japan, China did not attract much interest from Western countries. It was regarded as a country in decline and unresponsive to Western countries and idealism. Korea participated in the Chicago and Paris expositions in 1893 and 1900 yet remained a little known country. It is also this period when the Western countries were able to built up a number of fine Eastern collections in their museums, either through acquisitions from dealers or from donations by individuals but, also from the excavation of Central Asia. While East Asian art was being collected and studied in the West, the collecting and displaying of Western art in Asia was only initiated by Japan. Japan began collecting Western art works, envisioning the dream of establishing a museum with a fine Western art collection. The West became an object of study. During the period from the 1850s to the 1930s, The West began breaking free from the myth and the fantasy of the East which led to the serious study of the East, while the East realized that art could be more than an aesthetic object. It possessed the potential to built up the image of a nation. This was well exemplified by Japan, who was the most successful in promoting their national image as a equal to that of the West.

한국 근대회화에서의 누드

김영나(Youngna Kim) 서양미술사학회 1993 서양미술사학회논문집 Vol.5 No.-

The depiction of a nude figure is an art form born out of the Humanist tradition of Western civilization. Based on the belief that man can be improved by intellectual and physical disciplines, the ultimate state of this ideal man is expressed in the painted or sculpted image of a naked human body. Except for the Middle Ages, the representation of the nude figure constituted a primary link with the classical past and stood at the core of academic European painting curriculum. When Korea, which had long been a hermit kingdom, opened her doors to the West near the end of the nineteenth century, she found herself exposed to a Western culture that was totally foreign. Western style painting, one representative of this culture, included paintings of the nude. Without a proper understanding of the concept of the nude in Western art history, the artistic representation of naked bodies was not considered a form of beauty. Particularly for members of the general public, brought up in a strictly Confucian society, paintings of the nude were seen as shameful, embarassing, and even vulgar. Despite the fact that, at least among Western style painters, lifedrawing or painting from the nude are considered an important means of mastering technique, even today, nude painting is not a popular genre in Korea. There are no famous contemporary paintings of the nude or painters of the genre. One can safely say that painting the nude enjoyed its heyday during the Colonial period(1910~45). Most of the painters of the period had graduated from Tokyo’s art schools and had undergone thorough training in the drawing of the nude in their classrooms. This suggests that it was the Japanized version of European nude painting which was transmitted to Korea. For the painters of the period, drawing from a nude model and using the newly introduced technique of chiaroscuro to render the figure realistically were, in themselves, fascinating experiences. While the majority of the Korean nude paintings from the Colonial period rely on monotonous standing or reclining postures, artists such as Yi In-s?ng, or Im Kun-hong revealed their own sensitivity as they tried to express the characteristics of the Korean female body. Similarly, Yi K’wae-dae attempted grand compositions with dynamic movement in his depictions of various types of nude figures. While Korean artists worked hard to catch up with several centuries of Western realism, European art went through radical changes and developed the abstract styles of painting which would become the mainstream of the first half of the 20th century art. It wasn’t until after the 1950’s that Korean painters finally looked directly at the European art world, and developed an interest in abstract art. Although Kim soo and Ch’oe Y?ng-lim have consistently painted images of the nude, the subject of the nude has not had an important role in Korea’s artistic scene since the introduction of abstract art. There seems to have been a revival of figurative art with the emergence of Post-Modernism in the 1980’s, and there are some artists who use naked bodies in their expression of the passion, suffering, frustration, and impersonalization of modern man. For the majority of painters, however, painting from the nude is only important as a training method. * This is an expanded version of the original paper, presented in Japanese, at the 16th International Symposium on 《Human Figure in the Visual Arts of East Asia》, sponsored by the Tokyo National Research Institute of Cultural Properties, in 1992.

Millet's Peasant Image: the Receptive Phenomenon in Asia

김영나 ( Kim Youngna ) 서울대학교 규장각한국학연구원 2001 Seoul journal of Korean studies Vol.14 No.-

Jean Francois-Millet is one of the few artists blessed with high popularity. Millet's The Sower, The Angelus, or The Gleaners are well known, even amongst lay people. However when Millet's works were first shown in Paris around 1850, the reaction was mixed and they aroused controversy amongst the critics. It was felt that these peasant images implied a socio-political connotations. Yet Millet's reputation changed from the mid-1860s as his peasants were read as following the laws of nature, and his works were received as nostalgic and pastoral depictions of rural life. Millet, the peasant painter, was widely recognized internationally, especially in the United States. In Asia, the belated interest in Millet started in the first half of the 20th century. By the mid-1930s, Millet had become the most widely known Western painter in Korea, Japan and China. The reproductions of The Angelus or The Gleaner could be seen in homes or public places. This paper started out as a simple question as to why Millet was so popular in Korea. The recollection of having to memorize the text of Millet's The Angelus in the fifth grade of elementary school in the 1960s is still fresh in my mind. The paper traces how Millet was introduced to Asia and what the Korean people saw or read in Millet's peasant images.