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Lee Jung-Seob 1916~1990 Brochure.Pdf

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Lee Jung-Seob 1916~1990 Brochure.Pdf Seoul (1954 – 1955) Daegu (1955) Jeongneung, Seoul (1956) Letter Paintings With his family still in Japan, Lee moved to Following the January 1955 exhibition in Seoul, Starting in December 1955, Lee spent time in Seoul, where he stayed with friends and acquain- Lee held another solo exhibition in April at the various hospitals, before moving to Jeongneung, In July 1952, amidst the devastation of the Korean tances in places like Nusang-dong and Sangsu- Gallery of the US Information Service in Daegu. Seoul, where he stayed in the homes of War, Lee’s wife and two sons left for Japan, dong. Around this time, Lee’s wife earned some This exhibition was organized with the help Han Mook (painter, b. 1914), Park Yeonhee leaving him alone. From that time on, he mean- money by selling Japanese books at a mark-up of Ku Sang (1919 – 2004), a poet and close friend of (novelist, 1918 – 2008), and Jo Yeongam (poet, dered between many different places, but in Korea, but a middleman swindled Lee on the Lee. However, this exhibition had even worse b. 1920). During this period, he did some no matter where he went, he regularly sent letters deal, plunging him into debt. Hoping to pay results than the one in Seoul, sending Lee into illustrations for literary magazines and created his to his family overseas. The early letters are this debt and be reunited with his family in Japan, a state of depression. Now convinced that he was ¿QDOZRUNVLQFOXGLQJWKHRiver of No Return joyful and affectionate, imbued with the hope that Lee made a last-ditch effort to sell his works deceiving the world about being an important series. However, due to hepatitis and malnutrition the family would soon be reunited. Many of these through a solo exhibition in January 1955 at the artist, he castigated himself for failing in his role as (from his anorexia), he was again hospitalized. letters include charming illustrations for his Gallery of Midopa Department Store (present- a breadwinner and for having to scrounge free Still separated from his family, he died on WZRVRQVUHÀHFWLQJKLVSDWHUQDOORYHDQGFRQFHUQ day Lotte Department Store). Although he sold meals. Suffering from mental illness and anorexia, September 6, 1956, at Seoul Red Cross Hospital. From the middle of 1955, however, Lee sank around twenty works at the exhibition, he he convalesced at Ku Sang’s house on the His friends commissioned a tomb and tombstone into despair and almost entirely stopped writing to never received the money for the sales, and thus outskirts of Daegu, all the while continuing his art for him at Manguri Public Cemetery in Seoul. his family. It is also said that he stopped reading remained heavily in debt. production. the letters that his wife sent to him. Approximately sixty of these letters have survived, consisting of about 150 pages, and some of them are presented here. These letters have important documentary value, illuminating the relationship between Lee Jung-Seob’s life and his art. Furthermore, they must be viewed as independent artworks, characterized by the ZRQGHUIXOKDUPRQ\EHWZHHQWKHIUHHÀRZLQJ handwriting and the delightful impromptu illustrations. Family of Poet Ku Sang 1955, Oil on paper, 32× 49.5 cm River of No Return 1956, Oil on paper, 18.8×14.6 cm Two Children (detail), 1950s, Incising and oil paint on metal foil on paper, 8.5×15.5 cm Information Date Opening Hours 3 June 2016 – 3 October 2016 Tue, Thur, Fri, Sunday 10:00 a.m. – 7:00 p.m. Family with Chickens (Closed on Mondays) Wed, Saturday 10:00 a.m. – 9:00 p.m. 1954 –55, Oil on paper, 36.5×26.5 cm (Admission: Until 1 hour prior to the closing time) Venue National Museum of Modern Ticket and Contemporary Art (MMCA), 7,000 KRW for adult LEE JUNG SEOB Deoksugung 4,000 KRW for student under age 19 (Located in the ground of Deoksugung Palace) National Museum of Modern and Contemporary Art (MMCA), Deoksugung Artist Drawing His Family 1916 – 1956 a.1953–54, Color and pen on paper, 26.4× 20 cm June 3 to October 3, 2016 Family on the Road 1954, Oil on paper, 29.5× 64.5 cm Contact Website 02-522-3342 www.jungseob.com 100th Anniversary of Korean Modern Master 주최 후원 협력 Although his life coincided with the most turbulent Pyeongwon, Pyeongyang, Jeongju, Tokyo, Seogwipo and Busan (1950 – 53) Tongyeong (1953 –1954) period of Korean contemporary history, marked by and Wonsan (1916 – 1950) colonial rule, war, and division, Lee persisted in living With the outbreak of the Korean War in June Tinfoil Paintings From around the end of the Korean War (July 1953) his life and expressing himself as an artist. During Born in September 1916 in Pyeongwon, South 1950, Wonsan began to be bombed, forcing Lee to until June 1954, Lee Jung-Seob worked as a the colonial period, when signs of Korean heritage were Pyeongan Province, Lee Jung-Seob attended ÀHHWR%XVDQLQ'HFHPEHU+HEURXJKWKLV Lee Jung-Seob also created an innovative new lecturer at the School of Lacquerware Inlaid with actively repressed by the Japanese, he boldly made Jongno Primary School in Pyeongyang, where his wife and two sons with him, but was forced to technique for making paintings on pieces of tinfoil Mother-of-pearl in Tongyeong. He received this paintings of bulls, a traditional symbol of the Korean mother’s family resided. He began his art studies leave behind his mother and all of his artworks. from cigarette packs. He scratched lines into job through the intercession of Yoo Kangyul people. Even during his years of poverty, transience, in 1930 at Osan High School in Jeongju (which was This is why almost none of the works that Lee the tinfoil, applied paint, and then wiped away the (1920 – 76), a master craftsman who had moved and warfare, he produced paintings that laughed at the LQGHSHQGHQWO\¿QDQFHGE\.RUHDQSHRSOH Jung-Seob produced before 1950 have survived. paint so that only the etched lines were painted. down from North Korea. Taking advantage of harshness of reality, expressing the blithe, childlike under the tutelage of Im Yongryeon (b. 1901), Finding Busan to be very crowded with $OWKRXJKWKH\DUHÀDWWKHUHVXOWLQJLPDJHVVHHP this relative stability, Lee spent his year in beauty of happy days spent with his family. After a graduate of Yale University. refugees, Lee moved his family to Jeju Island to have multiple layers thanks to the deeply Tongyeong feverishly producing an abundance of the war, he turned his focus to bull paintings, imbued in 1951. The family spent most of the year on the indented lines. The aesthetic effect is further new works, including his famous Bull series and ZLWKDG\QDPLVPWKDWUHÀHFWHGKLVVWURQJZLOODQG In 1936, Lee went to Tokyo to continue his art island, eking out a meager but happy life. enhanced by the sparkling surface of the tinfoil. numerous oil paintings of the beautiful Tongyeong FRQ¿GHQFH$ERYHDOOKHDVSLUHGWREHDQKRQHVWSDLQWHU HGXFDWLRQVWXG\LQJ¿UVWDWWKH,PSHULDO$UW,QVWLWXWH Notably, this technique recalls the tradition landscapes. Furthermore, he greatly advanced his who faithfully expressed his emotions. He also wished and then at Bunka Gakuin from 1937 to 1941. At They returned to Busan in December 1951, but of inlaid Goryeo celadon or metalware inlaid with FDUHHUE\KROGLQJKLV¿UVWVRORH[KLELWLRQDQG to be the artist of the Korean people by realizing the a time when Japan was predominantly conservative, could only wander between refugee camps. silver. Indeed, Lee Jung-Seob had a deep reverence participating in the Four Young Artists Exhibition. Lee Jung-Seob (1916 – 1956) was born to a wealthy traditional aesthetics of his country. But Lee’s life was Bunka Gakuin, a private school, was known for its Fed up with living in destitution, Lee’s wife took for Korean tradition, and intentionally borrowed family in Pyeongwon, South Pyeongan Province in XQGRXEWHGO\¿OOHGZLWKWUDJHG\DIWHUEHLQJVHSDUDWHG very liberal atmosphere. While studying there, their two sons to Japan in July 1952, leaving the technique for these tinfoil paintings. present-day North Korea. After studying in IURPKLVIDPLO\KHVSHQWKLV¿QDO\HDUVLQEOHDN Lee joined some of his elder classmates who showed him alone. Throughout this ordeal, Lee continued Pyeongyang, Jeongju (in North Pyeongan Province, solitude, suffering from mental illness and anorexia, their works at an exhibition organized by the working, producing paintings, magazine Lee Jung-Seob supposedly produced about 300 North Korea), and Tokyo, he began his career as and falling into debt after being defrauded of his money. Association of Free Artists (Jiyu bijutsuka kyokai). illustrations, and book covers, and participating tinfoil paintings (some of which are shown here) an artist in Japan during the Japanese colonial period. Like so many other artists, he died alone, leaving After his exhibited works drew praise from several in exhibitions. Unfortunately, however, most of over a long period of time. Etched with a sharp He then returned to Wonsan, South Hamgyeong behind a collection of lonesome, plaintive works. important critics, Lee was invited to join the the works that he produced in Busan are not tool, the images range from scenes of his happy Province (North Korea), where he was when Korea Association of Free Artists. H[WDQWKDYLQJUHSRUWHGO\EHHQGHVWUR\HGLQD¿UH family life in Seogwipo, Jeju Island to scenes of regained its independence in 1945. Seeking refuge As this year marks the 100th anniversary of Lee poverty and social adversity. According to from the destruction of the Korean War (1950 – 1953), Jung-Seob’s birth, as well as the 60th anniversary of In 1941, Lee formed the Association of New Lee, the tinfoil paintings were intended to serve KHÀHGWRYDULRXVSODFHVLQFOXGLQJ-HMX,VODQGDQG his death, the National Museum of Modern and Artists (Shin bijutsuka kyokai) with other Korean as rough sketches for murals that he wanted to Busan.
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