1950년대의 한국미술(1), 제1공화국 미술의 태동과 진통 = Korean Art of the 1950s(1), Beginning and Pain of the First Republic’s Art

다국어 초록 (Multilingual Abstract)

Within the periodical waves of Korea, the new divided country, the art of the 1950s sought a new change along with a struggle for the leadership through its objective conditions: the three-year period of war, the period of returning to the capital, and the renaissance. The main themes included a succession of the tradition of the ethnic arts, the internationalization of modern art, and so on. In addition to another reenactment of the fascist nationalism of the Japanese Occupation, an effort to overcome Japanese style since Korea"s liberation has continued. Meanwhile, the modern arts of the Asian modernism, which encompassed both nationalism and modernism, yielded certain positive results, so that they started accelerating their movement toward modern arts. Such creative activities were developed by professors in Korea"s first art college and emerging artists of the first generation that was from the art college. The activities were conducted in the art field that was mainly organized by the Korean Arts Association that has reconstructed the right-wing-based Joseon Arts Association. Also, the Korean Arts Association has been reorganized by North and South Korean artists. With a focus on the paintings that compose most part of the Korean artworks in the 1950s, this dissertation introduces them by dividing them into several categories of the themes. In doing so, this dissertation attempts to rebuild a step of the history of Korean paintings, that is, the time when switched from modern arts of the Japanese Occupation to contemporary arts of the Republic of Korea, while exploring the structure and characteristics of the arts in the period. As a part of it, the dissertation describes the reorganization of the art field, which only consisted of the right wingers, the art activities in refuges, and the artists and their styles, particularly, the artists who worked mainly for national exhibitions, that is, the main battleground for gaining cultural hegemony and fame distributed by the country.

목차 (Table of Contents)

• I. 머리말
• Ⅱ. 전쟁기의 미술계 재편과 피난지 미술
• Ⅲ. 국전과 아카데미즘의 비대와 ‘조선색’의 결실
• 참고문헌
• ABSTRACT

참고문헌 (Reference)

1 홍선표, "해방 이후 한국 현대미술의 전개: 광복 50년, 한국화의 이원구조와 갈등" 9 : 1995

2 최열, "한국현대미술의 역사: 한국미술사사전(1945~1961)" 열화당 2006

3 오광수, "한국현대미술사" 열화당 1995

4 조은정, "한국전쟁기 남한 미술인의 전쟁 체험에 대한 연구: 종군화가단과 유격대의 미술인을 중심으로" 3 : 2002

5 최태만, "한국전쟁과 미술 : 선전·경험·기록" 동국대학교 대학원 2009

6 홍선표, "한국적 풍경을 위한 집념의 신화: 이상범 작가론" 삼성문화재단 1997

7 홍선표, "한국근대미술사: 갑오개혁에서 해방시기까지" 시공사 2009

8 이하림, "장욱진의 가족그림에 보이는 전통성" 11 : 2000

9 오광수, "이중섭" 시공사 2000

10 홍선표, "도상봉의 작가상과 작품성" 국립현대미술관 2002

11 한국근대미술연구소, "國展 30년" 수문서관 1981