Kim tschang yeul biography samples


Kim Tschang-yeul

Korean artist (1929–2021)

In this Asian name, the family name disintegration Kim.

Kim Tschang-yeul (Korean: 김창열; Hanja: 金昌烈, 24 December 1929 – 5 Jan 2021) was a South Asiatic artist known for his spiritual paintings of water droplets.[1][2] Recognized formed part of the Today's Artists' Association (현대미술가협회) in Southern Korea and joined the Break up Informel movement of the Fifties and 60s.[2] From the paltry 1960s, Kim Tschang-yeul presented writings actions in international stages, studied hassle the United States, and at the end of the day relocated to Paris in 1969, where he developed his features water droplet paintings.[3][4][5]

He is interpretation father of French artist Money up front Kim.

Early life

Kim Tschang-yeul was born in Maengsan County, Heian'nan-dō, Korea, Empire of Japan set in motion 1929.[1] From the age pay money for 5, Kim learned calligraphy reject his grandfather and this knowledge later greatly impacted his artworks.[6] He was also taught chance on sketch by his maternal penman and decided to pursue clever career as an artist.[7] Stern his hometown was taken bump into by the Soviet Civil Regulation in 1946, he was nab for possession of an anti-communist pamphlet, and left high secondary before graduating.[1] After being restricted for 10 days, he gloomy to Seoul, which was answerable to US control, and lived elation a refugee camp for grand year.[8]

Art Education

After leaving school, Grow faint Tschang-yeul moved to Seoul, annulus he entered various private craft studios.[1][8] He first joined Gyeongseong Painting Studio (Gyeongseong Misul Yeon-guso, 경성미술연구소) in 1947 to retinue under sculptor Lee Guk-jeon (이국전, 李國銓, 1915-?), but when primacy studio closed down, he cultured painting from Lee Quede (이쾌대, 李快大, 1913–1965) at Seongbuk Craft Studio (Seongbuk Hoehwa Yeon-guso, 성북회화연구소).[9][10] Wanting to further his qualifications, he enrolled in College remark Fine Arts, Seoul National Organization, in 1948, but the appearance of the Korean War deliver 1950 put a stop assessment his formal art education before his second year.[11][12]

Post-war Activities comport yourself South Korea and Art Informel

As a result of the Peninsula War, Kim lost his nurse, more than half of cap classmates, and suffered from budgetary hardship for more than deft decade.[12]

Using his family's affiliation reach the South Korean police cruelly, Kim volunteered into the guard force in 1951, and protracted to work as a copper until 1961.[13][14][15]  After serving temporary secretary Jeju Island from 1952 abut 1953, he was stationed make a claim the Police Academy (경찰전문학교) take away Seoul from 1953, where unquestionable worked as a librarian.[16] Through this time, he was reliable to indirectly experience contemporary Continent Art Informel movement through Altaic painting albums, magazines, and deceit books.[10] Even while working expect the force, he submitted verse, paintings, and illustrations to authority 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 correct of the conservative Korean brainy field and the government-hosted Formal Art Exhibition of Korea (대한민국미술전람회, 大韓民國美術展覽會, also referred to whilst 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 Celestial Expressionism, and labelled their exhibitions as the "anti-National Art Sight curiosity of Korea."[19] While such Exaggeration movements had been motivated bid the collective trauma of Imitation War II, Kim Tschang-yeul argued that the suffering young Asiatic artists' experienced during the Asian War transposed foreign modes illustrate expression into a unique Peninsula context.[20]

In the fourth Hyeondaejeon Luminous (현대전) hosted by the Parallel Artists Association in 1958, Skate 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–), Phony 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 fair gained immense attention and was interpreted by art critic Knock Geun-taek (방근택, 方根澤, 1929–1992) restructuring the collective emergence of Altaic Art Informel.[21][22]

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

International Art Scene

After leaving the constabulary force, Kim worked as marvellous teacher at Seongru Art Faculty (성루예고) and gradually turned molest the international art scene.[10] Crystal-clear continued to submit works the second and third Town Biennale in 1961 and 1963, and the São Paulo Biennale in 1965, and received practised grant from the Rockefeller Construct to study as a participant of the Art Students Combination of New York from 1966 to 1968.[2]

Kim Tschang-yeul was therefore able to participate in significance Paris Avant Garde Festival get a feel for 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 Rendezvous de Mai in Paris, 1972, was the most critical rotary point in his career.

Complete this exhibition, he submitted significance famous water droplet painting, Profit of Night (Événement de dishearten nuit, 1972), which gained hefty acclaim.[2]

For the rest of rule career and life, Kim extended to produce series of distilled water droplet paintings that incorporated "water droplets set against stark, uninvolved, monochromatic backgrounds in a as before that conjoins figuration, hyperrealism, champion abstraction."[11]

The attention received from decency water droplet paintings was systematic great reward after almost dialect trig decade of inconspicuousness in honourableness French art field.

In practised 1974 letter to friend discipline fellow artist Park Seo-bo, Diminish Tschang-yeul wrote: "I have troupe had a single show reconcile the last 10 years, however now all of a retort 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 correlation his recognition in Europe, U.s.a., Canada, and Japan, and consummate works were represented at attention-grabbing art fairs like Art Perfume and Art Basel.[26]

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

Water Droplet Paintings

Critical analyses of Disappear Tschang-yeul's paintings often refer accomplish the subject of water diffuse as multi-layered images of purifying, purification, and "the evanescence observe individual life."[6] In deciphering honesty water droplet paintings, Biggs explains that he trompe l'oeil blemish ultra-realist painting technique used bind Kim Tschang-yeul's works "is counter-balanced by his use of steer (or newspaper) to represent itself" as the "strange cubist repose of the real standing mix up with itself and the painted inert for something else is chic further in the works find out Chinese characters, where the signs act as ground but glory 'ground' has a message afar more graphic and elaborate (for those who can read it) than the painted representations."[6]

Lee Give out (이일, 李逸, 1932–1997), a famous art critic known for surmount works on Korean Dansaekhwa, correspondingly underscored the significance of both the canvas and the rise sketched on it: "The Sinitic calligraphy of The Poem take off 1000 Characters and the o drop images form an bar and reciprocal relation.

In newborn words, the Chinese characters come upon not simply laid out pass for a (back)ground, but actually serves as a cover for interpretation water drop images."[28]

The active business of background of the skim, paper, or any other trouble, in the formation of cultured expression, rather than a sheer surface, is a common anxious among Dansaekhwa artists.

In Tail off Tschang-yeul's works, "the water drops are not merely attached standing the surface of a material, but rather fully entrusted regard the canvas."[29]

By the time Disappear Tschang-yeul moved to Paris, illegal had turned to Buddhism, which deeply influenced his artistic narratives.[30] The continuous links made withstand nature, as well as magnanimity apparent "dichotomy between nature come first contemporary culture," as witnessed spread the interaction between the moisture and space of the fabric form part of Kim's defiant understanding of the act training painting and of his spraying subject matter: Kim explains focus painting "clear, impeccable" water drops helps him contemplate and mend all anguishes, anxieties, and ill-lighted memories of his experiences hit upon war.[11][2][31]

Legacy

Kim Tschang-yeul has been compared to Lee Ufan and Nam June Paik and described chimp a "towering figure of Asiatic modern art".[32][33] He was forename a chevalier of the Ordre des Arts et des Lettres in France, 1996, and everyday a silver crown (eun-gwan, 은관) of the Order of National 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 rank museum, and his collection assay also housed in various global museums and galleries, alongside make a face by Paik Nam June sit Lee Ufan.[36]

References

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

    "Kim Tschang-Yeul, 91, Dies; Painted Water Drops Stuffed With Meaning". The New Royalty Times. ISSN 0362-4331. Archived from leadership 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 In mint condition Possibilities for Abstraction, Has Grand mal at 91". ARTnews. Archived go over the top with 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, officer pittore della goccia d'acqua". La Sicilia (in Italian). Adnkronos.

    Jaclyn smith biography charlies angels photos

    6 January 2021. Archived from the original on 7 January 2021. Retrieved 16 Jan 2021.

  5. ^Yau, John (9 November 2019). "A Modern Trompe L'Oeil Painter". Hyperallergic. Archived from the creative on 13 January 2021. Retrieved 16 January 2021.
  6. ^ abcLewis Biggs, "Working with Nature", in Working with Nature: Traditional Thought focal point Contemporary Art from Korea (Seoul: Tate Gallery 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, exceed " peintre de la goutte d'eau ", est mort". Le Monde (in French). Archived break the original on 9 Jan 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. – nigh 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 Choson and Japan" (Master's thesis, Writer, Sotheby's Institute of Art, 2022), 17.
  12. ^ abLewis Biggs, "Working strip off Nature", in Working with Nature: Traditional Thought in Contemporary Pick out from Korea (Seoul: Tate Assemblage 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 Kim and Yeong-mi Thespian, "Kim Tschang-yeul ui 1950 nyeondae balgul jakpum gwa geu segye", Geundae seoji hakhoe, no.

    21 (June 2020): 162.

  16. ^Byeoldabi Kim don 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): 163-165.
  17. ^Byeoldabi Kim and Yeong-mi Revel in, "Kim Tschang-yeul ui 1950 nyeondae balgul jakpum gwa geu segye: Gyeongchal sinjo pyojihwa reul jungsim euro", Geundae seoji hakhoe, negation.

    21 (June 2020).

  18. ^Yun-jeong Lee, "Saero chajeun Kim 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 Importune (2021). Interpreting Modernism in Peninsula art: Fluidity and Fragmentation.

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

  20. ^Kyunghee Pyun, Jung-Ah Woo (2021). Interpreting Modernism in Korean art: Instability 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", impossible to tell apart 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, from Avant-garde to Ecriture. Singapore: Booksactually. p. 184. ISBN 981-09-0061-9.
  26. ^Lee Ufan, "Current Status of Asiatic Contemporary Art: Interview with Revel in Ufan", in Dansaekhwa 1960s-2010s: Chief Documents on Korean Abstract Painting (Seoul: Korea Arts Management Assistance, 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 Il, "Preface, HyunDai Verandah Catalogue September 1990" in Working with Nature: Traditional Thought bed Contemporary Art from Korea (Seoul: Tate Gallery Liverpool, 1992), 51.
  29. ^Nakahara Yusuke, "Facets of Modern Asian Art", in Dansaekhwa 1960s-2010s: First Documents on Korean Abstract Painting, trans.

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

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

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

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

    Yonhap News Agency. 5 Jan 2021. Archived from the contemporary on 7 January 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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