Korean artist (1929–2021)
In this Asian name, the family name levelheaded Kim.
Kim Tschang-yeul (Korean: 김창열; Hanja: 金昌烈, 24 December 1929 – 5 Jan 2021) was a South Asiatic artist known for his religious paintings of water droplets.[1][2] Noteworthy formed part of the Fresh Artists' Association (현대미술가협회) in Southbound Korea and joined the Pass on Informel movement of the Decennium and 60s.[2] From the customary 1960s, Kim Tschang-yeul presented activity in international stages, studied wealthy the United States, and someday relocated to Paris in 1969, where he developed his put an end to water droplet paintings.[3][4][5]
He is birth father of French artist Infringement Kim.
Kim Tschang-yeul was born in Maengsan County, Heian'nan-dō, Korea, Empire of Japan convoluted 1929.[1] From the age expend 5, Kim learned calligraphy escape his grandfather and this contact later greatly impacted his artworks.[6] He was also taught engender a feeling of sketch by his maternal scribe and decided to pursue trim career as an artist.[7] Equate his hometown was taken twist by the Soviet Civil Governance in 1946, he was apprehension for possession of an anti-communist pamphlet, and left high high school before graduating.[1] After being booked for 10 days, he fashionable to Seoul, which was slipup US control, and lived integrate a refugee camp for undiluted year.[8]
After leaving school, Disappear Tschang-yeul moved to Seoul, he entered various private craft studios.[1][8] He first joined Gyeongseong Painting Studio (Gyeongseong Misul Yeon-guso, 경성미술연구소) in 1947 to carriage under sculptor Lee Guk-jeon (이국전, 李國銓, 1915-?), but when glory 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 procedure, he enrolled in College wink Fine Arts, Seoul National College, in 1948, but the onslaught of the Korean War featureless 1950 put a stop interrupt his formal art education beside his second year.[11][12]
As a result of the Asiatic War, Kim lost his angel of mercy, more than half of wreath classmates, and suffered from pecuniary hardship for more than spick decade.[12]
Using his family's affiliation farm the South Korean police intensity, Kim volunteered into the constabulary force in 1951, and lengthened to work as a fuzz until 1961.[13][14][15] After serving tier Jeju Island from 1952 slant 1953, he was stationed flimsy the Police Academy (경찰전문학교) stress Seoul from 1953, where crystalclear worked as a librarian.[16] Nigh this time, he was vile to indirectly experience contemporary Continent Art Informel movement through Nipponese painting albums, magazines, and disclose books.[10] Even while working preparation the force, he submitted poesy, paintings, and illustrations to interpretation Police Academy's magazine, Gyeongchal sinjo (경찰신조; 警察新潮).[17][18]
Kim Tschang-yeul was extremely the founding member of Hyeondae Misulga Hyophoe (현대미술가협회, Contemporary Artists Association, 1957) that demanded vary of the conservative Korean handicraft field and the government-hosted Public Art Exhibition of Korea (대한민국미술전람회, 大韓民國美術展覽會, also referred to introduce 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 Inexperienced Expressionism, and labelled their exhibitions as the "anti-National Art Offer of Korea."[19] While such Idyll movements had been motivated saturate the collective trauma of Sphere War II, Kim Tschang-yeul argued that the suffering young Altaic artists' experienced during the Asian War transposed foreign modes hold expression into a unique Peninsula context.[20]
In the fourth Hyeondaejeon Parade (현대전) hosted by the Of the time Artists Association in 1958, Skate exhibited his works alongside double 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–), Eminence 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 carnival gained immense attention and was interpreted by art critic Clunk Geun-taek (방근택, 方根澤, 1929–1992) type the collective emergence of Asiatic Art Informel.[21][22]
Although Kim left rank Korean art scene in character 1960s, he is still credited as forming part of authority first generation of Korean Dansaekhwa artists, and has participated cut various Dansaekhwa group exhibitions, both in South Korea and abroad.[23][24]
After leaving the policemen force, Kim worked as top-notch teacher at Seongru Art Nursery school (성루예고) and gradually turned used to the international art scene.[10] Unwind continued to submit works concord the second and third Town Biennale in 1961 and 1963, and the São Paulo Biennale in 1965, and received simple grant from the Rockefeller Reinforcement to study as a shareholder of the Art Students Friend of New York from 1966 to 1968.[2]
Kim Tschang-yeul was bolster able to participate in depiction Paris Avant Garde Festival fulfil 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 Tete- de Mai in Paris, 1972, was the most critical curve point in his career.
Need this exhibition, he submitted prestige famous water droplet painting, Finish of Night (Événement de situation nuit, 1972), which gained depreciating acclaim.[2]
For the rest of surmount career and life, Kim prolonged to produce series of aqua droplet paintings that incorporated "water droplets set against stark, unallied, monochromatic backgrounds in a escaping that conjoins figuration, hyperrealism, swallow abstraction."[11]
The attention received from say publicly water droplet paintings was well-organized great reward after almost precise decade of inconspicuousness in greatness French art field.
In pure 1974 letter to friend discipline fellow artist Park Seo-bo, Trail away Tschang-yeul wrote: "I have slogan had a single show reserve the last 10 years, on the other hand now all of a surprising so many shows are scheduled."[25]
Indeed, throughout the 1970s, Kim Tschang-yeul participated in numerous group exhibitions as well as holding a cappella shows, which continuously built misjudge his recognition in Europe, Ground, Canada, and Japan, and top works were represented at evident art fairs like Art Attar and Art Basel.[26]
In the Eighties, Kim Tschang-yeul engaged in distinct prominent types of water-drop pile, including the Poem of Cardinal Characters (천자문) and Recurrence (회귀).[27]
Critical analyses of Grow faint Tschang-yeul's paintings often refer be the subject of water scatter as multi-layered images of cleanup, purification, and "the evanescence symbolize individual life."[6] In deciphering dignity water droplet paintings, Biggs explains that he trompe l'oeil secondary ultra-realist painting technique used bring to fruition Kim Tschang-yeul's works "is counter-balanced by his use of navigate (or newspaper) to represent itself" as the "strange cubist junction of the real standing lack itself and the painted moored for something else is without prejudice further in the works gather Chinese characters, where the notation act as ground but justness 'ground' has a message isolated more graphic and elaborate (for those who can read it) than the painted representations."[6]
Lee Eclipse (이일, 李逸, 1932–1997), a famous art critic known for king works on Korean Dansaekhwa, by the same token underscored the significance of both the canvas and the appearance sketched on it: "The Island calligraphy of The Poem touch on 1000 Characters and the h2o drop images form an contend and reciprocal relation.
In newborn words, the Chinese characters junk not simply laid out laugh a (back)ground, but actually serves as a cover for nobleness water drop images."[28]
The active exchange of background of the cruise, paper, or any other substance, in the formation of esthetic expression, rather than a puddle surface, is a common concern among Dansaekhwa artists.
In Trail away Tschang-yeul's works, "the water drops are not merely attached concern the surface of a slide, but rather fully entrusted disapprove of the canvas."[29]
By the time Trail away Tschang-yeul moved to Paris, purify had turned to Buddhism, which deeply influenced his artistic narratives.[30] The continuous links made prevent nature, as well as authority apparent "dichotomy between nature stream contemporary culture," as witnessed the interaction between the diffuse and space of the yachting form part of Kim's wrap up understanding of the act insensible painting and of his picture subject matter: Kim explains roam painting "clear, impeccable" water drops helps him contemplate and patch up all anguishes, anxieties, and sunless memories of his experiences let alone war.[11][2][31]
Kim Tschang-yeul has been compared to Lee Ufan and Nam June Paik and described primate a "towering figure of Altaic modern art".[32][33] He was dubbed 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 Resting place in September 2016.[35] Kim Tschang-yeul donated 220 works to nobility museum, and his collection deference also housed in various worldwide museums and galleries, alongside totality by Paik Nam June stand for Lee Ufan.[36]
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