호남앵포르멜의 수용과 전개: 양수아 작품세계를 중심으로

Metadata Downloads
Issued Date
The Informel as a sign of Korean contemporary art has an important meaning as a collective art movement in the Korean art history. Korean Informel was ignited with a formation of an avant-garde group titled in 1957 along with declation of the anti-national competition by four artists.
submitted by Park Seo-bo in the 3rd Exhibition of Contemporary Artists Association has been called the first Informel painting in Korea and critics such as Bang Geun-taek, Lee Gu-yeol, Lee Gyong-seong and Kim Young-joo prepared a theoretical base of Informel centering on Park Seo-bo and the Association of Contemporary Artists.
Meanwhile, Informel painting was attempted individually by Gang Yong-un and Yang Su-a preceeding the Informel Movement of the central painting circle in Honam Province. Abstract paintings by them from Honam painting circles which were recognized as a birthplace of concrete painting are noteworthy.
Abstract painting activities in Honam Province began with the solo exhibition of Bae Dong-sin, a western painter in 1946 followed by where abstract paintings were exhibited centering on Gang Yong-un in 1948. At the same year, Informel paintings were introduced in Yang Su-a's solo exhibition.
Yang Su-a had access to new trend of art while studying art in Japan when he was young. His pioneering painting world began there.
At that time, the avant garde art movement led by 'Independence Association' or ' Association of 1930 Year ' prevailed in Japan which was influenced by Fauvism or Ecole de Paris. His abstract paintings were activated since mid-1950s in Gwangju and the number of abstract paintings increased and they were getting more complete.
The artistic works which were made in mid-1960s were enthusiastic abstraction like Jackson Pollock or Jean Fautrier.
He was actively engaged in abstraction before abstraction was recognized in Honam Painting circles and nurturing the second generation of abstract artists from Gwangju Teachers' College which was separated from Gwangju College of Teachers( Opened in March, 1938 ).
Yang Su-a's activities began with participation in the Invitational Exhibition of Contemporary Artists which was held in Seoul in 1957. Local painters were encouraged to participate in the exhibition rather than artists from the central painting circles. Yang Su-a submitted paintings from the 2nd exhibition and published the criticism of the works of art submitted. That is, he actively participated both in creation and criticism.
From then, he sought for more violent Informel painting. He is a great and important painter in the history of Korean contemporary painting as he pioneered in realization of abstraction even in poverty and isolation. Therefore, it is meaningful to the history of Korean art that Informel of Honam was reevaluated through such pioneer.
Alternative Title
A study on Informel's Reception and Development in the Honam Region: Centering on Yang Su-a's Painting World
Alternative Author(s)
kang so hyun
일반대학원 미학-미술사학
Awarded Date
Table Of Contents

Ⅰ. 서론 1

Ⅱ. 앵포르멜의 개념 및 발단 6
1. 앵포르멜의 개념 6
2. 한국 앵포르멜의 태동 및 전개과정 10
1) 앵포르멜 이전의 추상화 경향 10
2) 앵포르멜의 발단과 확장 13
⑴ 앵포르멜의 발단 - 4인전 · 모던아트협회 · 현대미협 14
⑵ 앵포르멜의 확장 - 현대작가 초대전 20

Ⅲ. 호남 앵포르멜의 전개 24
1. 1957년 이전의 호남의 추상화 경향 24
2. 1957년 이후 전개된 호남의 앵포르멜 30

Ⅳ. 양수아의 생애와 작품세계 36
1. 양수아의 생애 36
1)일본유학시기 – 고독한 자기 성찰기 36
2) 목포시기 – 화업의 모색기 40
3) 광주시기 – 이데올로기의 좌절기 42

2. 시기별 작품 경향 44
1) 앵포르멜의 탐색기 – 파스텔기 45
2) 앵포르멜의 실험기 – 화이트기 50
3) 앵포르멜의 심화기 – 암갈색기 55
4) 자화상 시리즈 – 정체성에 대한 끊임없는 모색 59

Ⅴ. 결론 61

참고문헌 63
도판목차 66
참고도판 69
부록 – 양수아 생애 연표 83
조선대학교 대학원
강소현. (2012). 호남앵포르멜의 수용과 전개: 양수아 작품세계를 중심으로.
Appears in Collections:
General Graduate School > 3. Theses(Master)
Authorize & License
  • AuthorizeOpen
  • Embargo2012-12-21
Files in This Item:

Items in Repository are protected by copyright, with all rights reserved, unless otherwise indicated.