A journey to find
the masters of Korean art 5
Old tree blooming in spring: Park Soo-geun
봄을 피우는 고목 : 박수근
Alter Baum, der im Frühling blüht: Park Soo-geun
※This article was planned as part of a review of Korean art history to shed new light on Korean modern and contemporary art history, which has been considered a periphery of the world art world, and the artists who led it, and to gain a deeper understanding of their world of work.
The queen of seasons can be said to be spring, with its warm golden sun and colorful flowers.
To welcome spring, we would like to introduce you to Park Soo-geun (1914-1965), a painter who is not as flashy as spring flowers, but who has a warm gaze like the warm sunlight of spring and incorporates the simple and indigenous lives of the common people into his paintings.
Park Soo-geun was born in Yanggu, Gangwon-do in 1914 during the Japanese colonial period. Although he had been interested in art since he was young, Park Soo-geun had to give up studying art due to his poor family circumstances due to the trend at the time that he could only be recognized in the art world after studying abroad in Japan. However, with the help of a teacher from elementary school who recognized Park Soo-geun's artistic sense and talent, he was able to continue studying art on his own. As if repaying his teacher's kindness, Park Soo-geun was accepted into the Joseon Art Exhibition, the most prestigious exhibition in Joseon at the time, at the age of 18. He successfully debuted in the Joseon art world by winning a prize for <Spring is Coming> at the Joseon Art Exhibition. Park Soo-geun, who debuted as a painter, moved to Chuncheon in 1935 and began his artistic career in earnest, showing watercolor works based on rural landscapes and daily life.
※이 기사는 그동안 세계미술계의 변방으로 여겨졌던 한국 근현대 미술사와 이를 이끈 작가들을 재조명하고 그들의 작품세계를 더욱 깊게 이해해보기 위한 한국미술사 다시보기의 일환으로 기획되었습니다.
계절의 여왕이라 하면 따듯한 금빛 태양과 화려한 꽃들이 흐드러지는 봄이라고 할 수 있겠다. 봄꽃처럼 화려하지 않지만 봄의 따스한 햇살처럼 따뜻한 시선을 가지고 서민의 토속적이고 수수 한 삶을 그림에 녹여낸 화가 박수근(朴壽根, Park Soo-Keun: 1914-1965)을 봄을 맞아 소개해본다.
박수근은 일제강점기인 1914년 강원도 양구에서 출생했다. 어릴 때부터 미술에 관심이 많았던 그였지만, 일본 유학을 다녀와야 예술계에서 인정을 받을 수 있던 당시 풍조로 가정형편이 좋지않았던 박수근은 미술 공부를 포기해야 했다. 그러나 박수근의 예술적 감각과 소질을 알아본 보통학교시절 은사님의 도움으로 독학으로 미술 공부를 지속할 수 있게 되었고, 스승의 은혜를 보답하듯 박수근은 18살의 나이에 당시 조선에서 가장 권위있는 전시회인 조선미술전람회(朝鮮美術展覽會)에서 <봄이 오다>로 입상하며 성공적으로 조선 예술계에 등단하였다. 화가로 데뷔한 박수근은 1935년 춘천으로 이주하여 본격적으로 작품 활동을 시작하며 농촌의 풍경과 일상을 소재로한 수채화 작품들을 선보였다.
※Dieser Artikel war als Teil eines Rückblicks auf die koreanische Kunstgeschichte geplant, um ein neues Licht auf die moderne und zeitgenössische Kunstgeschichte Koreas, die als Randgebiet der Weltkunstwelt gilt, und die Künstler, die sie anführten, zu werfen und einen tieferen Einblick zu gewinnen Verständnis für ihre Arbeitswelt.
Man kann sagen, dass der Frühling die Königin der Jahreszeiten ist, mit seiner warmen goldenen Sonne und den farbenfrohen Blumen.
Um den Frühling zu begrüßen, möchten wir Ihnen Park Soo-geun (1914-1965) vorstellen, einen Maler, der nicht so auffällig ist wie Frühlingsblumen, der aber einen warmen Blick wie das warme Sonnenlicht des Frühlings hat und das Einfache und Einheimische einbezieht Leben des einfachen Volkes in seine Gemälde ein.
Park Soo-geun wurde 1914 während der japanischen Kolonialzeit in Yanggu, Gangwon-do, geboren. Obwohl er sich schon in jungen Jahren für Kunst interessierte, musste Park Soo-geun aufgrund seiner schlechten familiären Verhältnisse das Kunststudium aufgeben, da zu dieser Zeit der Trend herrschte, dass er in der Kunstwelt erst nach einem Auslandsstudium in Japan anerkannt werden konnte . Doch mit der Hilfe eines Grundschullehrers, der Park Soo-geuns künstlerisches Gespür und Talent erkannte, konnte er sein Kunststudium auf eigene Faust fortsetzen. Als ob er die Gnade seines Lehrers vergelten würde, nahm Park Soo-geun im Alter von 18 Jahren an der Joseon-Kunstausstellung teil, der damals prestigeträchtigsten Ausstellung in Joseon. Er debütierte erfolgreich in der Joseon-Kunstwelt, indem er einen Preis für „Spring is“ gewann Demnächst auf der Joseon-Kunstausstellung. Park Soo-geun, der sein Debüt als Maler gab, zog 1935 nach Chuncheon und begann seine künstlerische Karriere ernsthaft, indem er Aquarellarbeiten zeigte, die auf ländlichen Landschaften und dem täglichen Leben basierten.
박수근, 세 여인, 1961, 패널에 유화 물감, 21×46.7cm, 국립현대미술관 소장
In 1939, Park Soo-geun met and married his wife, who became his lifelong model and biggest supporter, and moved to Pyongyang. From this time on, Park Soo-geun was inspired by stone pagodas and Buddhist statues and began trying paintings with rough textures such as stone. This technique, the so-called matière technique, is a technique mainly used in oil painting. It involves piling up several layers of paint on a canvas or board with a knife. In this case, the multiple overlapping knife marks have a unique rough texture. The paint layer on the bottom and the paint layer on the top mix naturally, creating a unique color. The matiere technique is a difficult technique in which it is important to match the ratio of oil and paint, and the fact that Park Soo-geun, who has no professional art training, used it perfectly shows that his artistic sense is very great. In this way, Park Soo-geun began to unfold his own world of Korean and local works, insisting on depicting the ordinary and simple lives of rural people against a background with a rough texture such as granite. However, his work, which insisted on figurative painting, did not receive much attention at first in the Joseon art world, where Confucian-school abstraction was popular at the time. However, Park Su-geun continued to participate in group exhibitions of the art group he belonged to, Joohohoe (珠壺會), and continued to produce his own works, and eventually, in 1941, he produced <Woman Milling> (1941) modeled after his wife. He was rewarded with a prize at the Joseon Exhibition and began to emerge as a major figure in the Joseon art world.
1939년 박수근은 그의 평생 모델이자 가장 큰 지지자가 된 아내를 만나 결혼하며 평양으로 이주하였는데, 이 시기부터 박수근은 석탑과 불상에서 영감을 받아 돌과 같은 거친 질감의 그림을 시도하기 시작했다. 소위 마티에르 (matière) 기법이라고 칭해지는 이 기법은 유화에서 주로 사용되는 기법인데 나이프로 캔버스나 널판지에 여러 겹의 물감을 쌓아 올리는 기법인데 이렇게 되면 여러 번 겹쳐진 나이프 자국이 특유의 거친 질감을 가지게 되며, 하단의 물감층과 상단의 물감층이 자연스럽게 섞이며 독특한 색감이 나타난다. 마티에르 기법은 기름과 물감의 비율을 맞추는 것이 중요한 까다로운 기술인데 전문 미술 교육을 받지 않은 박수근이 이를 완벽하게 구사했다는 것은 그의 예술적 감각이 무척이나 대단한 것임을 보여주고 있다. 이렇게 박수근은 화강암과 같은 거친 질감의 배경에 농촌 사람들의 평범하고 소박한 생활을 그리는 것을 고집하며 한국적이고 향토적인 그만의 작품 세계를 펼치기 시작했다. 그러나 당시 유학파의 추상화가 대세였던 조선 예술계에서 구상화를 고집한 그의 작품은 처음에는 큰 주목을 받지 못했다. 그러나 박수근은 그가 속한 예술단체인 주호회(珠壺會)의 그룹전에 꾸준히 참여 하며 계속 자신만의 작품활동을 진행했고, 결국 1941년 아내를 모델로 한 <맷돌질하는 여인>(1941)과 함께 조선전람회의 입상으로 보상받으며 조선 미술계의 주요 인사로 발돋움하기 시작했다.
1939 lernte Park Soo-geun seine Frau kennen, heiratete sie, die sein lebenslanges Vorbild und größte Unterstützerin wurde, und zog nach Pjöngjang. Von diesem Zeitpunkt an ließ sich Park Soo-geun von Steinpagoden und buddhistischen Statuen inspirieren und begann, Gemälde mit rauen Texturen wie Stein auszuprobieren. Bei dieser Technik, der sogenannten Matière-Technik, handelt es sich um eine vor allem in der Ölmalerei verwendete Technik. Dabei werden mit einem Messer mehrere Farbschichten auf eine Leinwand oder ein Brett aufgetragen. In diesem Fall weisen die mehreren überlappenden Messerspuren eine einzigartige raue Textur auf. Die Farbschicht auf der Unterseite und die Farbschicht auf der Oberseite vermischen sich auf natürliche Weise und erzeugen eine einzigartige Farbe. Die Matiere-Technik ist eine schwierige Technik, bei der es wichtig ist, das Verhältnis von Öl und Farbe aufeinander abzustimmen, und die Tatsache, dass Park Soo-geun, der keine professionelle künstlerische Ausbildung hat, sie perfekt anwendet, zeigt, dass sein künstlerisches Gespür sehr groß ist. Auf diese Weise begann Park Soo-geun, seine eigene Welt koreanischer und lokaler Werke zu entfalten, wobei er darauf bestand, das gewöhnliche und einfache Leben der Landbevölkerung vor einem Hintergrund mit einer rauen Textur wie Granit darzustellen. Allerdings fand sein Werk, das auf figurativer Malerei bestand, zunächst keine große Beachtung in der Joseon-Kunstwelt, wo damals die konfuzianistische Abstraktion beliebt war. Park Su-geun beteiligte sich jedoch weiterhin an Gruppenausstellungen der Künstlergruppe Joohohoe (珠壺會), der er angehörte, und produzierte weiterhin seine eigenen Werke, und schließlich produzierte er 1941 „Woman Milling“ (1941). nach dem Vorbild seiner Frau gestaltet. Er wurde mit einem Preis auf der Joseon-Ausstellung belohnt und entwickelte sich zu einer wichtigen Persönlichkeit in der Joseon-Kunstwelt.
박수근, 판잣집, 1950년대 후반, 종이에 유채, 20.4x26.6㎝, 성신여대 박물관 소장
However, with the outbreak of the Korean War, a tragedy in Korean history, in 1950, Park Soo-geun's life took a major turn. Separated from his family due to the war, he came down to Seoul and ended up living in a squalid and narrow refugee camp. However, he did not let go of his passion for painting, and even during the war, he continued to capture the daily lives of the common people on canvas. In his post-war works, there is no sense of despair or sadness in the ruins. Rather, it crudely captures the strength of the common people, such as women who work silently while maintaining their homes without husbands, and children who remain innocent even in refugee camps, and shows in a concise and romantic way that our people are a steadfast and strong people who can stand up again. After the war, Park Soo-geun was elected as a member of the Korean Art Association, selected as a recommended artist for the National Exhibition, and exhibited his works overseas, including in Hong Kong and the United States, making his name known through his local works with unique, rough colors. Park Soo-geun eventually became an undisputed giant of the Korean art world. Park Soo-geun was active at home and abroad as a “national artist,” but unfortunately, he lost his eyesight due to cataracts in 1963 and gave up his brushes. Not long after, he passed away from liver cirrhosis in 1965, leaving artists around the world sad.
그러나 1950년 한국사의 비극인 6.25전쟁이 발발하며 박수근의 일생은 큰 변화를 맞이했다. 전쟁 으로 가족과 헤어져 서울로 내려온 그는 누추하고 좁은 난민촌에서 생활하게 되었다. 그러나 그 림에 대한 열정만은 놓지 않으며 전쟁 중에도 그는 계속해서 서민의 일상을 캔버스에 담았다. 그 의 전후 작품 속에서는 폐허 속의 절망이나 슬픔 등은 느껴지지 않는다. 오히려 남편 없이 가정 을 지키며 묵묵히 일하는 여성들, 피난촌에서도 여전히 천진난만한 아이들의 모습 등과 같이 서 민들의 강인한 모습을 투박하게 담으며 우리 민족은 다시 일어설 수 있는 꿋꿋하고 강인한 민족 이라는 것을 간결하고도 낭만적으로 보여주고 있다. 전쟁이 끝난 후, 특유의 투박한 색감의 향토 적인 작품으로 박수근은 대한미술협회의 회원 추대, 국전추천작가로 선정되었고 홍콩, 미국 등 해 외에도 작품을 출품하며 이름을 알리는 등 마침내 명실상부한 한국 미술계의 거물로 인정받게 되 었다. 이렇게 “국민 작가”로서 국내외로 활발한 활동을 하던 박수근이었지만 안타깝게 1963년 백 내장으로 시력을 잃으며 붓을 놓았고 얼마 지나지 않은 1695년 간 경변으로 결국 세상을 떠나며 세계의 예술인들에게 안타까움을 주었다.
Doch mit dem Ausbruch des Koreakrieges, einer Tragödie in der koreanischen Geschichte, im Jahr 1950 nahm das Leben von Park Soo-geun eine große Wende. Durch den Krieg von seiner Familie getrennt, kam er nach Seoul und lebte schließlich in einem schäbigen und engen Flüchtlingslager. Seine Leidenschaft für die Malerei ließ er jedoch nicht los und hielt auch während des Krieges weiterhin den Alltag des einfachen Volkes auf Leinwand fest. In seinen Nachkriegswerken ist in den Ruinen weder Verzweiflung noch Traurigkeit zu spüren. Vielmehr fängt es grob die Stärke des einfachen Volkes ein, etwa der Frauen, die still arbeiten, während sie ohne Ehemann ihr Zuhause aufrechterhalten, und der Kinder, die selbst in Flüchtlingslagern unschuldig bleiben, und zeigt auf prägnante und romantische Weise, dass unser Volk ein standhafter und standhafter Mensch ist starke Menschen, die wieder aufstehen können. Nach dem Krieg wurde Park Soo-geun zum Mitglied der Korean Art Association gewählt, als empfohlener Künstler für die Nationalausstellung ausgewählt und stellte seine Werke im Ausland aus, unter anderem in Hongkong und den Vereinigten Staaten, wodurch er seinen Namen bekannt machte lokale Werke mit einzigartigen, rauen Farben. Park Soo-geun wurde schließlich zu einem unbestrittenen Giganten der koreanischen Kunstwelt. Park Soo-geun war im In- und Ausland als „Nationalkünstler“ aktiv, verlor jedoch 1963 aufgrund eines Grauen Stars sein Augenlicht und gab seine Pinsel auf. Nicht lange danach verstarb er 1965 an Leberzirrhose und löste bei Künstlern auf der ganzen Welt Trauer aus.
박수근, 나무와 두 여인, 1962, 캔버스에 유채, 130x89㎝, 리움미술관 소장
Park Soo-geun suffered from poverty and hardship throughout his life. However, he was neither pessimistic nor sad about it. Like the twisted, bare, yet resilient tree that appears throughout his works and finally blooms in the spring after surviving the cold winter, Park Soo-geun depicts hope for life, creating creative and original works that are unique in the history of Korean modern art. .
박수근은 평생 가난과 고난에 시달렸다. 그렇지만 그는 이를 비관하지도 슬퍼하지도 않았다. 그의 작품 전반에 나타나는 뒤틀리고 벌거벗었지만 추운 겨울을 나고 봄이오면 마침내 꽃을 피우는 회복력 강한 한 그루의 나무처럼 박수근은 삶에 대한 희망을 그려내며 한국 현대 미술사에 둘도 없는 창의적이고 독창적인 작품을 피워내었다.
Park Soo-geun litt sein Leben lang unter Armut und Not. Allerdings war er darüber weder pessimistisch noch traurig. Wie der verdrehte, kahle, aber dennoch widerstandsfähige Baum, der in seinen Werken auftaucht und schließlich im Frühling blüht, nachdem er den kalten Winter überstanden hat, stellt Park Soo-geun die Hoffnung auf Leben dar und schafft kreative und originelle Werke, die in der Geschichte der modernen koreanischen Kunst einzigartig sind . .
References
[참고자료]
국립현대 미술관 https://www.mmca.go.kr/exhibitions/exhibitionsDetail.do?menuId=1010000000&exhId=2021011900 01360
박수근 미술관 http://www.parksookeun.or.kr/user_sub.php?gid=www&mu_idx=6
배원정, '신예화가 박수근의 등단: 춘천과 평양에서의 초기 미술활동을 중심으로', 미술사논단 , no. 54(2022년 6월): 112–16.
Charlotte Horlyck, Korean Art: From the 19th Century to the Present (London: Reaktion Books, 2017), 99.
한국민족문화대백과사전 https://encykorea.aks.ac.kr/Article/E0020834
FIN.
Written by
Kate Kim
Published, Copyright by
ART?ART! Editor Team
Date
2024. 3.31