Pak Nosoo, Woman, Mystic Sound of Tungso, 1955, Color on paper, 187×158cm. MMCA collection
Pak Nosoo
* Source: Multilingual Glossary of Korean Art. Korea Arts Management Service
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Lee Sangbeom
Lee Sangbeom (1897-1972, pen name Cheongjeon) learned painting from An Jungsik and Cho Seokjin at the Calligraphy and Painting Society [Seohwa misulhoe] and graduated in 1918. He became a member of the Calligraphy and Painting Association [Seohwa hyeophoe] founded in 1918 and submitted his work to the first Joseon Art Exhibition [Joseon misul jeollamhoe] in 1922. He repeatedly won special prizes and was appointed as a Noteworthy Artist and Participating Artist of Eastern painting in the Joseon Art Exhibition. In 1920, he participated in the Changdeokgung Palace mural project and created the work Samseongwanpado. He founded the Cheongjeon Art Studio to educate art students in 1933 and gained notoriety by contributing illustrations to serialized pro-Japanese newspaper novels. After independence, he was accused of being pro-Japanese, but continued to focus on his art nonetheless, becoming an important figure in art circles. In the 1950s, he created his own original ‘Cheongjeon’ style. This Korean-style landscape ink wash painting was based on real Korean scenery and represented what many consider as the essential aesthetics of Korean landscape painting. While he consistently participated in the National Art Exhibition (Gukjeon), he never hosted a solo exhibition of his own, and in terms of his teaching in the post-independence period he taught as an art professor at Hongik University.
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hangukhwa
A type of painting created during the 20th century that uses traditional Korean materials, techniques, and styles. The term emerged from the criticism that traditional-style paintings were called Eastern paintings in Korea, in contrast to China, where they were called national-style paintings, and Japan, where they were called Japanese-style paintings. The term hangukhwa (Korean Painting) entered official use following the overhaul of the educational curriculum in December 1981, and the appearance of the term Korean painting, with the subcategories ink wash painting [sumukhwa] and ink and light-colored painting [damchaehwa] were listed in art textbooks from 1983. The Grand Art Exhibition of Korea also began using the term hangukhwa (Korean Painting), as opposed to Eastern painting, in 1982. Prior to this, Hankukhwahui (Korean Painter’s Association) was used as a collective term for such Korean painters in 1964 and Kim Youngki (pen name Chunggang) argued to use the term Korean painting to define national identity in his essay “On hangukhwa (Korean Painting) and Criticism.” Criticism that Korean paintings, unlike the national paintings of China and Japan, do not have a narrative theme, and that the use of such a term was contrary to contemporary artistic trends, resulted in the term “hangukhwa (Korean Painting)” failing to achieve mainstream use. Hangukhwa (Korean Painting) is currently used interchangeably with the term Eastern painting.
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National Art Exhibition
A government-hosted exhibition held 30 times from 1949 to 1981, also known by the shorter name Gukjeon. Following national independence, the exhibition was the primary means for young and emergent Korean artists to achieve recognition. The influence of the exhibition declined as a result of the emergence of non-figurative art during the 1970s, the increased opportunities for artists to participate in overseas exhibitions, and the rise of private exhibitions and galleries.
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Lee Yootae
Lee Yootae (1916-1999, pen name Hyeoncho) learned painting from Kim Eunho in 1935 and participated in Husohoe, a group of Kim Eunho’s trainees, in 1936. He moved to Japan in 1938 to study at Kawasaki Ryuich’s art studio at the Imperial Academy of Fine Arts. He showed his potential by winning the government's general award and the Changdeokgung Palace award at the Joseon Art Exhibition [Joseon misul jeollamhoe] in 1943 and 1944, and then worked as a professor at Ewha Womans University from 1947 to 1979. He played a pivotal role in modern Korean painting Academism by holding various positions, such as a Noteworthy Artist at the 1955 National Art Exhibition, Invited Author, judge, and a member of the National Academy of Arts. He was also a main member of Paek Yang Painting Association from 1957 to 1975. After his studies in Japan, he excelled at female figure paintings by combining the realism of Western paintings, a classical academicist Estern painting technique, and the bright colors together. He was specially known for his female figures described, which were described as idealised representations of the modern era. After independence, he created grand landscape paintings depicting the natural beauty of Korea. By doing so, he demonstrated the value of a traditional approach to landscape painting using real scenery.
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Chang Woosoung
Chang Woosoung (1912-2005, pen name Woljeon) and studied Eastern painting at Kim Eunho's art studio, Nakcheongheon Studio in the 1930s. He joined Husohoe, Kim Eunho’s trainee group, in 1936. He was selected for the Joseon Art Exhibition [Joseon misul jeollamhoe] from 1941 to 1944 and became a Noteworthy Artist. After independence, he worked as a professor of the Department of Oriental painting at Seoul National University from 1946 to 1961 and Hongik University from 1971 to 1974. He served as a judge, Invited Artist, and committee member at the National Art Exhibition (Gukjeon) and was a member of the National Academy of Arts, Republic of Korea. He played a pivotal role in developing the influence of the national academy within modern Korean painting. Prior to independence, his work focused on female figures based on the figurative style of western painting combined with traditional coloring methods. After independence, he tried to develop a mode of modern literati paintings (muninhwa). He emphasized the 'capturing the spirit' of literati painting in terms of succinct description, using simple yet strong ink lines, and light colors in his figure and flower-bird paintings. His work strongly influenced the critical approach to art in late twentieth century Korea.
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