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오사키 신이치로,문정희 한국미술연구소 2013 美術史論壇 Vol.- No.37
The main subject of this study is postwar abstract art in Japan, with a focus on paintings in particular. Abstract paintings began to arise in Japan in the 1910s, but became subjected to severe persecution during World War II. Afterward, paintings in the realist vein that portrayed repentance over the war and contemporary political struggles came to form the mainstream in postwar Japan. However, an internationally acclaimed group of abstract artists rose to prominence in Japan in the mid-1950s. The group, known as the Gutai Art Association, consisted of Jiro Yoshihara, a pioneering figure of abstract painting in Japan, and his young followers. The group produced numerous innovative works and exhibitions in its early days, including outdoor exhibitions and dynamic action paintings on stages. Although the members of the Gutai group have made significant progress in terms of their mission to revolutionize abstract art, they have not been given due attention in the discourses up to date on modernist paintings. The Gutai painters sought to transform paintings from copies and emulations of objects into traces of objects, and came to share quite a sophisticated and advanced aesthetic akin to that of the minimal art in the 1960s that went over the boundaries of abstract expressionism. This significant achievement, however, failed to garner proper appreciation from contemporary critics, and eventually came to be forgotten as no subsequent generations of artists inherited it. After a period of full interruption and oblivion throughout the 1960s, Japanese abstract art began to surface again in the 1970s, thanks to the Monoha painters and other artists of the 1980s that had inherited the formalist tradition. These later generations of abstract painters, however, sought to continue the works of only certain individual artists, without making in-depth efforts to situate their style and tradition against the backdrop of a consistent context. In other words, abstract paintings reached a groundbreaking moment in the 1950s, only to come to an abrupt end afterward. It is this interruption that, more than anything else, defines abstract art and its evolution in Japan.
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오사키 신이치로(尾崎信一郞),문정희(옮김) 한국미술연구소 2013 美術史論壇 Vol.- No.37
The main subject of this study is postwar abstract art in Japan, with a focus on paintings in particular. Abstract paintings began to arise in Japan in the 1910s, but became subjected to severe persecution during World War Ⅱ. Afterward, paintings in the realist vein that portrayed repentance over the war and contemporary political struggles came to form the mainstream in postwar Japan. However, an internationally acclaimed group of abstract artists rose to prominence in Japan in the mid-1950s. The group, known as the Gutai Art Association, consisted of Jiro Yoshihara, a pioneering figure of abstract painting in Japan, and his young followers. The group produced numerous innovative works and exhibitions in its early days, including outdoor exhibitions and dynamic action paintings on stages. Although the members of the Guatai group have made significant progress in terms of their mission to revolutionize abstract art, they have not been given due attention in the discourses up to date on modernist paintings. The Gutai painters sought to transform paintings from copies and emulations of objects into traces of objects, and came to share quite a sophisticated and advanced aesthetic akin to that of the minimal art in the 1960s that went over the boundaries of abstract expressionism. This significant achievement, however, failed to garner proper appreciation from contemporary critics, and eventually came to be forgotten as no subsequent generations of artists inherited it. After a period of full interruption and oblivion throughout the 1960s, Japanese abstract art began to surface again in the 1970s, thanks to the Monoha painters and other artists of the 1980s that had inherited the formalist tradition. These later generations of abstract painters, however, sought to continue the works of only certain individual artists, without making in-depth efforts to situate their style and tradition against the backdrop of a consistent context. In other words, abstract paintings reached a groundbreaking moment in the 1950s, only to come to an abrupt end afterward. It is this interruption that, more than anything else, defines abstract art and its evolutions in Japan.
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