This thesis sheds new light on the art historical significance of impressionism paintings which were the first trend of western art introduced to Korea in 1930s. At that time, it was assumed that impressionism in Korea was the proper way to depict Kor... This thesis sheds new light on the art historical significance of impressionism paintings which were the first trend of western art introduced to Korea in 1930s. At that time, it was assumed that impressionism in Korea was the proper way to depict Korean nature and that these paintings were embodiments of nationalist consciousness. This thesis, however, tries to focus on the modernity of Korean impressionism paintings which has been largely neglected by nationalistic stance. It is known that Korean impressionism paintings began when pioneering artists of western painting such as Go hee-dong accepted the painting style of Japanese plein-air. Strictly speaking, however, it has been still remained unanswered exactly when and how western style paintings came into Korea. First, for this reason, this thesis attempts to trace how impressionism arrived at and unfolded in Korea. Korean impressionism cannot be supposed to be simply compared with European impressionism originated in France in 1870s. It is because western modern paintings were implanted in Korea via Japan during the colonial era of Korea under Japan. As Korea could not but accept modified impressionism by the influence of Japan, Korean impressionism was different from that in France in aesthetic view point of European impressionism painters. Therefore, chapterⅠ analyzes how impressionism had been transferred from France to Japan and from Japan to Korean. This thesis also has a critical view of nationalism which has been positioned as a strong ideology to explain Korean impressionism, so accordingly has blocked off any other critical frame aestheticism. The reason is why nationalism in Korea under Japanese colonization was emphasized in order to increase national identity and autonomy. ChapterⅡ attempts to demonstrate and analyze Korean impressionists and their works in the 1930s out of the view of nationalism. The Korean impressionists paid attention to in this study are Lee Insung, Kim Yong-jo, Oh Chiho and Kim Chu-Kyeung. Chapter Ⅲ tries to figure out the political background in which Korean sense of beauty Korean painters sought to realize was interpreted as nationalistic embodiment. Also, this chapter tries to note visual representations of modernity revealed in Korean impressionism in the view of the post-nationalism. After casting away a prejudiced view, the cityscape represented in works which has been criticized as the absence of awareness of a reality will be discovered. These images were representations of modernity that young impressionism painters of 1930s experienced in the process of urbanization under the repression by Japanese imperialism. In their impression works, modern individual as a subject can be identified and the value of everyday life can be discovered. ，韩语论文范文，韩语论文题目 |
