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A study on the 1960s works of Park Seo-bo with a focus on the artist’s year in France

  • Journal of History of Modern Art
  • 2017, (42), pp.93-118
  • DOI : 10.17057/kahoma.2017..42.004
  • Publisher : 현대미술사학회
  • Research Area : Arts and Kinesiology > Art > Arts in general > Art History
  • Received : October 20, 2017
  • Accepted : November 26, 2017
  • Published : December 31, 2017

Jeon Yushin 1

1이화여자대학교

Accredited

ABSTRACT

This paper explores the process through which Park Seo-bo came into contact with not only Art Informel but also post-Informel genres such as Nouveau Réalisme during hisalmost one year in Paris in 1961 and argues that Park’s experiences during this time are reflected throughout his artworks of the 1960s. In addition, this paper focuses on thefact that, while in France, Park Seo-bo was far more inclined toward Nouveau Réalisme and the works of Yves Klein than Art Informel. Klein’s influence, in particular, is reflected consistently in the artworks Park created after returning to Korea, as can beseen not only in his Primordialis series, which he created immediately after returning to his home country, but also the Illusion series and Hereditarius series, both of which heproduced in the late 1960s. However, immediately following his return to Korea, Park Seo-bo made critical statements about the French art world and emphasized that he had only been minimally influenced by the post-war French art with which he came into contact while living in Paris. Regarding his Primordialis series, instead of revealing its connection to Nouveau Réalisme and Yves Klein, Park introduced it to Korean audiences as an example of Art Informel. This paper seeks the reason for Park’s denial of French influence in his art after returning to Korea in the circumstances of the Korean and international art world at the time. By analyzing these circumstances, this paper argues that Park Seo-bo’s artworks of the 1960s must be re-analyzed in a broader international context that includes Park’s experiences in Paris and his relationship with the French art world and ultimately reevaluated in terms of their place in the history of modern Korean art.

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