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A Study on Insik Quac's Early Paintings : Focusing on the Tendency of Objectification in Postwar Japanese Art

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2019, 58(), pp.3-40
  • DOI : 10.17527/JASA.58.0.01
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : August 15, 2019
  • Accepted : September 14, 2019
  • Published : October 31, 2019

Soon-Hong Park 1

1도쿄예술대학교

Accredited

ABSTRACT

This paper aims to examine how Insik Quac's(1919-1988) early paintings could have developed throughout his stay in Japan. By shedding light upon some of Quac's hitherto unknown activities, it adds a new meaning to his art-historical significance. To make a close inquiry into what value and formative characteristics Quac concerned the most, it carries out some comparisons between his and other artists' paintings in regard to how they could deform human figures, et cetera. In this respect, “objectification” that once engrossed the mind of many Japanese artists in postwar years needs a critical attention, because adopting such modus operandi into one's art making enabled the artists to face the bare reality with a reflective manner. In conclusion, it demonstrates that even the glass works - which he began to produce after painting - are not irrelevant to his first realisation of the “objectification”, revealing his primary object is not changed since then.

Citation status

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