Gil Jinseop, Self Portrait, Oil on canvas, 1932, 65.8 x 45.7 cm. Tokyo University of the Arts, Photo: Tokyo University of the Arts / DNPartcom
Gil Jinseop
* Source: Multilingual Glossary of Korean Art. Korea Arts Management Service
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Korean Plastic Arts Federation
An organization formed in 1946 by numerous established artists. The core membership included Jeong Hyeonung, Gil Jinseop, Kim Kichang, Kim Man-hyeong, Lee Qoede, and Yoon Hee-soon, who left the Korean Art Association (Joseon misul hyeophoe) because of their opposition to the right-wing beliefs of Ko Huidong. The association was the parent organization of the Independent Art Association, Dangu Art Academy, Cheongahoe, Joseon Sculptors Association, and Korean Craftspersons Association (Joseon gongyega hyeophoe). The alliance held exhibitions and published bulletins, but about eight months after its establishment, it merged with the Korean Artist Federation (Joseon misulga dongmaeng) to form the Korean Art Alliance (Joseon misul dongmaeng). The Korean Plastic Arts Federation (Joseon johyeong yesul dongmaeng) was a rare politically moderate organization that accepted many artists in a national art community that was sharply divided along right-wing and left-wing divisions.
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College of Arts at Seoul National University
The College of Fine Arts of Seoul National University is located in Sillim-dong, Gwanak-gu, Seoul. According to the Decree on the Establishment of Seoul National University, the College of Art including the Department of Fine Arts and the Department of Music was founded in August 1946 at Seoul National University. The Department of Fine Arts consisted of sub-departments of Painting I, Painting II, Sculpture, and Design. It was organized by Chang Louis Pal and Lee Soonsuk. Chang Louis Pal had served as head of the Education and Management Bureau in the U.S. Army Military Government in Korea (USAMGIK) in Korea since December 1945. Lee Soonsuk assumed practical tasks as an advisor to the art section of the USAMGIK from 1946 when the Education and Management Bureau was changed to the Ministry of Culture and Education. In 1946, there were nine faculty members at the Department of Fine Arts in the College of Art: Chang Louis Pal, Kim Yongjun, Gil Jinseop, and Lee Jaehun as professors; Yun Seung-uk and Lee Soonsuk as associate professors; and Kim Whanki, Chang Woosoung, and Lee Byeonghyeon as assistant professors. However, after the incident of Korean students and professors’ protest against the U.S.’s attempt to merge several colleges and universities into a single university, Kim Yongjun, Gil Jinseop, and Kim Whanki resigned. In 1954, the College of Art was reorganized into the College of Fine Arts with three departments of painting, sculpture, and applied art. The Department of Aesthetics, which had temporarily belonged to the College of Fine Arts since 1948, was transferred to the College of Liberal Arts and Sciences in 1960. In 1963, according to the relocation plan of the Seoul National University main school building, the College of Fine Arts was moved to the former veterinary department building in Yeongeon-dong, Jongno-gu. In 1972, it was moved to the liberal arts department building in Hagye-dong, Seongbuk-gu, and then in 1976, to the current Gwanak campus. In 1981, the three departments of painting, sculpture, and applied art were reorganized into the five departments of Eastern painting, Western painting, sculpture, crafts, and industrial art. In 1989, the Department of Industrial Art was renamed the Department of Industrial Design, and in 1999, the Department of Crafts and the Department of Industrial Design were merged into the School of Design. Currently, the College of Fine Arts consists of the Department of Oriental Painting, Department of Painting, Department of Sculpture, Department of Craft, Department of Design, and Interdisciplinary Programs.
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Korean Artist Federation
An organization formed in February 1946 under the leadership of Kim Jukyung, Lee Insung, and Oh Chiho, who had recently left the Korean Art Association (Joseon misul hyeophoe). Additionally, numerous members of the Korean Art Alliance (Joseon misul dongmaeng) also joined the organization. The president of the Korean Art Association, Ko Huidong, became a member of the Citizens Emergency Council, a group closely aligned with Rhee Syngman, despite his claims to political neutrality. This drew criticism from the artists of the Korean Artists Association and provided the impetus for the establishment of the Korean Artist Federation (Joseon misulga dongmaeng). The governing body was the Central Executive Committee, which oversaw seven departments: the Painting Department, Art Critique Department, Children’s Art Department, Art Education Department, Performing Arts Department, Sculpture Department, and Crafts Department. The organization followed a five-point doctrine: First, eliminate the remnant influences of the Japanese Empire; second, reject all nationalistic and decadent artistic trends; third, establish a new movement of national art; fourth, form a partnership with the international art community; and fifth, attempt to achieve enlightenment of the general population through art and the education of future artists. The inaugural exhibition was from June 24 to June 31, 1946, at the Hwasin Gallery. In addition to exhibitions, the group also engaged in the production of promotional art, such as posters for the Democratic People’s Front.
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Independent Art Association
A group formed on 26th January 1946. The members of the New Artists Association of colonial-era Joseon (Korea) (Gil Jinseop, Kim Man-hyeong, Yun Jaseon, Son Eungsung, Lee Qoede, Lee Jungseop, Jo Gyubong, Hong Ilpyo, and Choi Jaiduck) dissolved the association and created the Independent Artists Association, which had the stated goal of "working toward the development of arts and international exchange of art and culture." The First exhibition was held in July 1946 at the Dong Hwa Department Store. After Korea achieved independence, the right-wing orientation of the Korean Art Association [Joseon misul hyeophoe] became apparent, and the group sought to revive the New Artists Association, one of the most prominent organizations of the late colonial era, led by Lee Qoede.
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Artists who defected to North Korea
Artists who defected to North Korea refer to artists who moved their spaces of artistic activities to north of the armistice line during the period immediately after Korea’s liberation from Japan on August 15, 1945 until the signing of the truce agreement. Prior to the lifting of the bans on artists who were abducted by or defected to North Korea in 1988, they were labeled traitors for “betraying the South Korean system and choosing the North Korean one” or “choosing communism.” Their works were deemed “detrimental to ideas,” so it was forbidden to mention them. However, contrary to the reasons for restrictions imposed by the government, recent studies have revealed that the defection of most artists to North Korea resulted not from ideological choices or alignment with political system of North Korea, but from unavoidable circumstances caused by the war and division of the country. Accordingly, the scope of research on artists who defected to North Korea can vary depending on researchers or research environments. It discusses the conflict and movement between the two spaces of Seoul and Pyongyang or South and North Korea and further includes those that the South Korean government defined as artists who chose the North Korean system. The number of artists who defected to North Korea amounts to roughly sixty to eighty. In recent years, there has been a view that the so-called consecutive lifting, which differentiates and selectively relieves artists who defected to North Korea voluntarily, those abducted to North Korea, those residing in North Korea, and those who returned to North Korea after defection to South Korea, is an act of high-level public security control. This is seen as a non-academic power tyranny and violence against intelligence that insults the particularity of art, leading to voices to dismantle and prospectively reconstruct the existing frame of the lifting of bans on abducted artists and artists who defected to North Korea.
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