¿Ü±¹µµ¼
½Ç¿ë/¿¹¼ú
¿¹¼ú/µðÀÚÀÎ ±âŸ
2013³â 9¿ù 9ÀÏ ÀÌÈÄ ´©Àû¼öÄ¡ÀÔ´Ï´Ù.
Á¤°¡ |
103,100¿ø |
---|
92,790¿ø (10%ÇÒÀÎ)
4,640P (5%Àû¸³)
ÇÒÀÎÇýÅÃ | |
---|---|
Àû¸³ÇýÅà |
|
|
|
Ãß°¡ÇýÅÃ |
|
À̺¥Æ®/±âȹÀü
¿¬°üµµ¼
»óÇ°±Ç
ÀÌ»óÇ°ÀÇ ºÐ·ù
ÃâÆÇ»ç ¼Æò
¡°His brushstrokes bled naturally across the linen or cotton raw canvas¡ªappearing light brown as its fabric was not bleached¡ªreminiscent of traditional East Asian calligraphy or ink and wash paintings¡± ¡ª The Korea Times
¡°Cracks and luminous abysses letting the depths of minimalist fields burst onto fragile monoliths: such is the shock felt when faced with a painting by Korean artist Yun Hyong-keun¡± ¡ª La Gazette Drouot
"Of obvious quality, this tribute to the artist . . . shows a marvelous conquest of space through uncluttered landscapes. Vibratile and delicate sensation" ¡ª Telerama
¡°The artist's abstract works¡¦exude both an undeniable mental strength and a kind of discord. A somber gravity despite their minimalist language devoid of affect¡± ¡ª art press
Ã¥¼Ò°³
A contemplative exploration of the work of Yun Hyong-keun, a renowned Korean abstract painter, during a transformative period in the early 1980s.
'His brushstrokes bled naturally across the linen or cotton raw canvas -appearing light brown as its fabric was not bleached - reminiscent of traditional East Asian calligraphy or ink and wash paintings.' ¡ª The Korea Times
From 1980 to 1982, Yun Hyong-keun resided in Paris, seeking both peace from the violent political turmoil that exploded in South Korea and a new, artistic center in which to create work. His brief but illuminating stay in the city became the locus of his freedom of expression, which had been subject to political repression he had experienced in his home country.
Yun's signature abstract compositions engage and transcend Eastern and Western art movements and visual traditions, establishing him as one of the most significant Korean artists of the twentieth century. He is the most prominent figure associated with the Dansaekhwa (monochrome painting) movement, the name given to a group of influential Korean artists from the 1960s and 1970s. Using a restricted palette of ultramarine and umber, Yun created his compositions of monolithic swathes by adding layer upon layer of paint onto raw canvas or linen, and hanji (Korean mulberry paper), often applying the next coat before the last one had dried.
Published on the occasion of the artist's exhibition at David Zwirner, Paris, in 2023, this limited-run cloth-bound catalogue focuses on his paintings and works on hanji. In an accompanying text, the art critic Oh Gwangsu considers Yun's work prior to his move to Paris, particularly the artist¡¯s shift toward his signature works in the 1970s. The writer Mara Hoberman then reflects on Yun¡¯s practice and influences upon his arrival in the European capital, including an examination of his more nuanced understanding of the color black, which takes on different meanings in France and Korea.
°ü·ÃÀ̹ÌÁö
ÀúÀÚ¼Ò°³
»ý³â¿ùÀÏ | 19280412 |
---|
ͺ À±Çü±Ù ȹé(ÃæºÏ ûÁÖ Ãâ»ý. È«ÀÍ´ëÇб³ ¹Ì¼ú´ëÇÐ ¼¾çÈ°ú Çлç Á¹¾÷)Àº 1970³â´ëºÎÅÍ ÁÖ·Î ´Ù»öUmber°ú û»öBlueÀ» »ç¿ëÇÑ ¿¬ÀÛÀ» ¼±º¸À̸ç 20¼¼±â ÈÄ¹Ý Çѱ¹ Çö´ë¹Ì¼úÀ» ´ëÇ¥ÇØ¿Ô´Ù. ÇÑÁö, ¸¶Æ÷, ȤÀº ¸é ĵ¹ö½º À§·Î ½º¸çµç ±½Àº ȹÀº ¶Ù¾î³ Á÷°üÀ» ÅëÇØ Ç¥ÇöµÈ Çü»ó¿¡ ´ã±â¸ç û´Ù»öUmber-Blue ¾È·áÀÇ ¹°¼ºÀ» °ÇÏ°Ô ³ëÃâ½ÃŲ´Ù. ƯÈ÷ ÀÚ¿¬½º·´°íµµ ¿ì¿¬ÀûÀÎ È¿°ú¸¦ ºÒ·¯ÀÏÀ¸Å°´Â ¹°°¨ÀÇ ¹øÁüÀº ¼ö¹¬ÈÀÇ ±â¹ý°ú ºñ°ßµÇ¾î »ç»ö°ú ¸í»óÀ» Ãß±¸ÇÏ´Â µ¿¾çÀû °¨¼ö¼ºÀ» ¿À·ÔÀÌ µå·¯³½´Ù. µ¿¼¸¦ ³Ñ¾î¼± °íÀ¯ÀÇ Çö´ë¼ºÀ» Á¤¸³ÇÑ À± ȹéÀº »ýÀü »óÆÄ¿ï·ç ºñ¿£³¯·¹196 9, 1975, º£´Ï½º ºñ¿£³¯·¹1995, ±¤ÁÖ ºñ¿£³¯·¹2000 µî ¿µÇâ·Â ÀÖ´Â ±¹Á¦ Çà»ç ¹× Àü½Ã¿¡ ´Ù¼ö ÃÊûµÇ¾úÀ¸¸ç, ´Ü»öÈ ÀÛ°¡ ÃÖÃÊ·Î ±¹¸³Çö´ë¹Ì¼ú°ü ¼¿ï°ü¿¡¼ ´ë±Ô¸ð ȸ°íÀüÀ» °³ÃÖÇÏ¿´´Ù2018. ƯÈ÷ º» Àü½Ã´Â À̵ëÇØ Æ÷Åõ´Ï ¹Ì¼ú°üÀ¸·Î ¼øȸÇÏ¿© Á¦58ȸ º£´Ï½º ºñ¿£³¯·¹ ±â°£ ³» ¹Ýµå½Ã °ü¶÷ÇؾßÇÏ´Â Àå¿Ü Àü½Ã Áß Çϳª·Î ±ØÂù ¹Þ¾Ò´Ù. À± ȹéÀÇ ÀÛÇ°Àº ±¹¸³Çö´ë¹Ì¼ú°ü, »ï¼º¹Ì¼ú°ü ¸®¿ò, ·±´ø Å×ÀÌÆ® ¸ð´ø, ¸¶ÆÄ Ä¡³ªÆ¼ÆÄ¿îµ¥À̼Ç, ½ÃÄ«°í ¾ÆÆ® ÀνºÆ¼Æ©Æ®, µµÄìµµ¹Ì¼ú°ü µî¿¡ ¿µ±¸ ¼ÒÀåµÇ¾î ÀÖ´Ù.
ÆîÃ帱â»ý³â¿ùÀÏ | 1938 |
---|
1938³â ºÎ»ê Ãâ»ýÀ¸·Î, È«ÀÍ´ëÇб³ ¹Ì¼úÇкο¡¼ ȸȸ¦ ¼öÇÐÇÏ°í, 1963³â µ¿¾ÆÀϺ¸ ½ÅÃá¹®¿¹ ¹Ì¼úÆò·Ð ºÎ¹® ´ç¼±À» ÅëÇØ µ¥ºßÇß´Ù. ¡º°ø°£¡» ÆíÁýÀåÀ» °ÅÃÄ, ¡¸Çѱ¹¹Ì¼ú´ë»óÀü¡¹ ¡¸µ¿¾Æ¹Ì¼úÁ¦¡¹ ¡¸±¹Àü¡¹ µîÀÇ ½É»çÀ§¿ø°ú, »óÆÄ¿ï·ç ºñ¿£³¯·¹(1979), Ä ±¹Á¦È¸ÈÁ¦(1985), º£´Ï½º ºñ¿£³¯·¹(1997)ÀÇ Çѱ¹ Ä¿¹Ì¼Å³Ê, ±¤ÁÖ ºñ¿£³¯·¹(2000)ÀÇ Àü½Ã ÃÑ°¨µ¶À» ¸ÃÀº ¹Ù ÀÖ´Ù. È«ÀÍ´ë, ÀÌÈ¿©´ë, Áß¾Ó´ë ´ëÇпø¿¡¼ Çѱ¹ ±ÙÇö´ë¹Ì¼ú»ç¸¦ °ÀÇÇßÀ¸¸ç, ȯ±â¹Ì¼ú°üÀå, ±¹¸³Çö´ë¹Ì¼ú°üÀå, Çѱ¹¹®È¿¹¼úÀ§¿øȸ À§¿øÀå, ¹ÂÁö¾ö »ê °üÀåÀ» ¿ªÀÓÇß´Ù. Àú¼·Î ¡ºÇѱ¹±Ù´ë¹Ì¼ú»ç»ó ³ëÆ®¡»(1987), ¡ºÇÑ ±¹¹Ì¼úÀÇ ÇöÀå¡»(1988), ¡ºÇѱ¹Çö´ë¹Ì¼úÀǹÌÀǽġ»(1995), ¡º±èȯ±â¡»(1996), ¡ºÀ̾߱â Çѱ¹Çö´ë¹Ì¼ú, Çѱ¹Çö´ë¹Ì¼ú À̾߱⡻(1998), ¡ºÀÌÁß¼·¡»(2000), ¡º¹Ú¼ö±Ù¡»(2002), ¡º21ÀÎÀÇ Çѱ¹Çö´ë¹Ì¼ú°¡¸¦ ã¾Æ¼¡»(2003), ¡º±è±â⡤¹Ú·¡Çö¡»(2003) µî ´Ù¼ö°¡ ÀÖ´Ù.
ÆîÃ帱âÁÖ°£·©Å·
´õº¸±â»óÇ°Á¤º¸Á¦°ø°í½Ã
À̺¥Æ® ±âȹÀü
½Ç¿ë/¿¹¼ú ºÐ¾ß¿¡¼ ¸¹Àº ȸ¿øÀÌ ±¸¸ÅÇÑ Ã¥
ÆǸÅÀÚÁ¤º¸
»óÈ£ |
(ÁÖ)±³º¸¹®°í |
---|---|
´ëÇ¥ÀÚ¸í |
¾Èº´Çö |
»ç¾÷ÀÚµî·Ï¹øÈ£ |
102-81-11670 |
¿¬¶ôó |
1544-1900 |
ÀüÀÚ¿ìÆíÁÖ¼Ò |
callcenter@kyobobook.co.kr |
Åë½ÅÆǸž÷½Å°í¹øÈ£ |
01-0653 |
¿µ¾÷¼ÒÀçÁö |
¼¿ïƯº°½Ã Á¾·Î±¸ Á¾·Î 1(Á¾·Î1°¡,±³º¸ºôµù) |
±³È¯/ȯºÒ
¹ÝÇ°/±³È¯ ¹æ¹ý |
¡®¸¶ÀÌÆäÀÌÁö > Ãë¼Ò/¹ÝÇ°/±³È¯/ȯºÒ¡¯ ¿¡¼ ½Åû ¶Ç´Â 1:1 ¹®ÀÇ °Ô½ÃÆÇ ¹× °í°´¼¾ÅÍ(1577-2555)¿¡¼ ½Åû °¡´É |
---|---|
¹ÝÇ°/±³È¯°¡´É ±â°£ |
º¯½É ¹ÝÇ°ÀÇ °æ¿ì Ãâ°í¿Ï·á ÈÄ 6ÀÏ(¿µ¾÷ÀÏ ±âÁØ) À̳»±îÁö¸¸ °¡´É |
¹ÝÇ°/±³È¯ ºñ¿ë |
º¯½É ȤÀº ±¸¸ÅÂø¿À·Î ÀÎÇÑ ¹ÝÇ°/±³È¯Àº ¹Ý¼Û·á °í°´ ºÎ´ã |
¹ÝÇ°/±³È¯ ºÒ°¡ »çÀ¯ |
·¼ÒºñÀÚÀÇ Ã¥ÀÓ ÀÖ´Â »çÀ¯·Î »óÇ° µîÀÌ ¼Õ½Ç ¶Ç´Â ÈÑ¼ÕµÈ °æ¿ì ·¼ÒºñÀÚÀÇ »ç¿ë, Æ÷Àå °³ºÀ¿¡ ÀÇÇØ »óÇ° µîÀÇ °¡Ä¡°¡ ÇöÀúÈ÷ °¨¼ÒÇÑ °æ¿ì ·º¹Á¦°¡ °¡´ÉÇÑ »óÇ° µîÀÇ Æ÷ÀåÀ» ÈѼÕÇÑ °æ¿ì ·½Ã°£ÀÇ °æ°ú¿¡ ÀÇÇØ ÀçÆǸŰ¡ °ï¶õÇÑ Á¤µµ·Î °¡Ä¡°¡ ÇöÀúÈ÷ °¨¼ÒÇÑ °æ¿ì ·ÀüÀÚ»ó°Å·¡ µî¿¡¼ÀÇ ¼ÒºñÀÚº¸È£¿¡ °üÇÑ ¹ý·üÀÌ Á¤ÇÏ´Â ¼ÒºñÀÚ Ã»¾àöȸ Á¦ÇÑ ³»¿ë¿¡ ÇØ´çµÇ´Â °æ¿ì |
»óÇ° Ç°Àý |
°ø±Þ»ç(ÃâÆÇ»ç) Àç°í »çÁ¤¿¡ ÀÇÇØ Ç°Àý/Áö¿¬µÉ ¼ö ÀÖÀ½ |
¼ÒºñÀÚ ÇÇÇغ¸»ó |
·»óÇ°ÀÇ ºÒ·®¿¡ ÀÇÇÑ ±³È¯, A/S, ȯºÒ, Ç°Áúº¸Áõ ¹× ÇÇÇغ¸»ó µî¿¡ °üÇÑ »çÇ×Àº¼ÒºñÀÚºÐÀïÇØ°á ±âÁØ (°øÁ¤°Å·¡À§¿øȸ °í½Ã)¿¡ ÁØÇÏ¿© ó¸®µÊ ·´ë±Ý ȯºÒ ¹× ȯºÒÁö¿¬¿¡ µû¸¥ ¹è»ó±Ý Áö±Þ Á¶°Ç, ÀýÂ÷ µîÀº ÀüÀÚ»ó°Å·¡ µî¿¡¼ÀǼҺñÀÚ º¸È£¿¡ °üÇÑ ¹ý·ü¿¡ µû¶ó ó¸®ÇÔ |
(ÁÖ)ÀÎÅÍÆÄÅ©Ä¿¸Ó½º´Â ȸ¿ø´ÔµéÀÇ ¾ÈÀü°Å·¡¸¦ À§ÇØ ±¸¸Å±Ý¾×, °áÁ¦¼ö´Ü¿¡ »ó°ü¾øÀÌ (ÁÖ)ÀÎÅÍÆÄÅ©Ä¿¸Ó½º¸¦ ÅëÇÑ ¸ðµç °Å·¡¿¡ ´ëÇÏ¿©
(ÁÖ)KGÀ̴Ͻýº°¡ Á¦°øÇÏ´Â ±¸¸Å¾ÈÀü¼ºñ½º¸¦ Àû¿ëÇÏ°í ÀÖ½À´Ï´Ù.
¹è¼Û¾È³»
±³º¸¹®°í »óÇ°Àº Åùè·Î ¹è¼ÛµÇ¸ç, Ãâ°í¿Ï·á 1~2Àϳ» »óÇ°À» ¹Þ¾Æ º¸½Ç ¼ö ÀÖ½À´Ï´Ù.
Ãâ°í°¡´É ½Ã°£ÀÌ ¼·Î ´Ù¸¥ »óÇ°À» ÇÔ²² ÁÖ¹®ÇÒ °æ¿ì Ãâ°í°¡´É ½Ã°£ÀÌ °¡Àå ±ä »óÇ°À» ±âÁØÀ¸·Î ¹è¼ÛµË´Ï´Ù.
±ººÎ´ë, ±³µµ¼Ò µî ƯÁ¤±â°üÀº ¿ìü±¹ Åù踸 ¹è¼Û°¡´ÉÇÕ´Ï´Ù.
¹è¼Ûºñ´Â ¾÷ü ¹è¼Ûºñ Á¤Ã¥¿¡ µû¸¨´Ï´Ù.