Lee Yootae, A Pair of Figures - Inquiry, 1944, Color on paper, 212×153cm. MMCA collection
Lee Yootae
* Source: Multilingual Glossary of Korean Art. Korea Arts Management Service
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Kim Eunho
Kim Eunho (1892-1979, pen name Yidang) joined the Calligraphy and Painting Society (Seohwa misulhoe) in 1912 and learned Oriental painting under An Jungsik and Cho Seokjin. He was known for his sophisticated brush strokes and attention to detail. Early in his career he was appointed as a court portrait painter. He produced several portraits of kings from the Joseon dynasty and gained a reputation for his portraits and colored figure paintings. He contributed his works to the first exhibition of the Calligraphy and Painting Association (Seohwa hyeophoe) and the Joseon Art Exhibition. His trainees organized Husohoe in 1936, which contributed enormously to the Modern Oriental Art community in Korea. However, he was accused of pro-Japanese activities due to his overt acquiescence to Japanese Imperialism and his involvement in its wartime propaganda. He tried his hand at ink paintings in the 1950s and experimented with modernized colored landscape painting from the 1960s into his later years. In the 1960s, he painted several portraits of historic figures and published Hwadanilgyeong (1968) and Seohwabaeknyeon (1977).
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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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Paek Yang Painting Association
An art group formed in 1957 to explore new perspectives on Korean paintings and educate future artists. The group was formed by nine artists including Kim Kichang and Park Rehyun of the Husohoe (who were students of Kim Eunho, also known by his pen name I-dang), Kim Youngki, and Chun Kyungja. In January 1961, the group organized a touring exhibition in Southeast Asia, which is noteworthy as the first overseas exhibition held by a Korean private-sector art organization. In this traveling exhibition, the term “hangukwa (Korean painting)” was used for the first time to refer to traditional ink painting, instead of the previously dominant term “Eastern painting.”
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