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초록· 키워드
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The art theory and art criticism of sculptor Kim Bok-jin created an unrivaled position. Especially, the theory activity in the middle of 1920s, which is before his prison life caused of political movement, presented an epoch-making aspect. In other words, his radical theory and practice influenced the culture and art of his generation. Due to this fact, his movement was evaluated after his death - although it was carried out by the civilian governmen the received the mark of honor from the government, as being the one and only among artists.
The progressive art theory of Kim Bok-jin is classified into Newly-rising Art Theory Criticism, Commercial Art Theory, Minjung Art(the art of the masses) Theory, and Proletarian Art Theory. The Newly-rising Art Theory Criticism can be confirmed by the data 〈Contemporary Art in Emphasis on Subjectivity〉 from the first issue of Korea Artista Proleta Federatio(KAFE) bulletin [Literary Activity]. This article considered 'subjectivity emphasis' as the distinction of contemporary art and took notice of actualism activity along with Courbet. However, Kim Bok-jin gave attention to internal affairs rather than Western Art and carried a more specific and progressive theory. The definite example is 'Commercial Art Theory'. The related contents can be confirmed in the data (Commercial Painting and Art Activity), which was published when he was still a student in art school. In this article, he called attention to commercial art, with particularly applying painting in that field. He contributed to socializing art in certain ways such as practically estimating signboards or show windows.
'Minjung Art Theory' of Kim Bok-jin is found in 〈Harmonizing Point of Commerce' Industry and Art〉(1923) in the magazine [CommerceㆍIndustry World]. In this article, he stated progressive art theory with insisting upon art for the mass of people. He regarded that the prosperity of Minjung Art was resulted from the industrial workers as being artistic. His Minjung Art Theory was developed in a more innovative way as it was specified in his 'Proletarian Art Theory'. 'Proletarian Art Theory' denied the ultra-hierarchy in art and supported proletarian art through his 〈Spiral Declaration draft〉. This was a short sentence, yet it is unique for its declaring form of writing. The insistence of this article became actualized in 〈The Contention of Korea Artista Proleta Federatio〉. Although the writer was omitted, this article is valued as a principle document for sharing the art idea of Kim Bok-jin, who was the leader of Korea Artista Proleta Federatio.
Through the articles mentioned above, it is possible to confirm the most progressive insistence of art theories in the 1920s. We can rediscover his historical position by confirming that the forefront proclamation of progressive art theory of the present age was accomplished by sculptor Kim Bok-jin.
The progressive art theory of Kim Bok-jin is classified into Newly-rising Art Theory Criticism, Commercial Art Theory, Minjung Art(the art of the masses) Theory, and Proletarian Art Theory. The Newly-rising Art Theory Criticism can be confirmed by the data 〈Contemporary Art in Emphasis on Subjectivity〉 from the first issue of Korea Artista Proleta Federatio(KAFE) bulletin [Literary Activity]. This article considered 'subjectivity emphasis' as the distinction of contemporary art and took notice of actualism activity along with Courbet. However, Kim Bok-jin gave attention to internal affairs rather than Western Art and carried a more specific and progressive theory. The definite example is 'Commercial Art Theory'. The related contents can be confirmed in the data (Commercial Painting and Art Activity), which was published when he was still a student in art school. In this article, he called attention to commercial art, with particularly applying painting in that field. He contributed to socializing art in certain ways such as practically estimating signboards or show windows.
'Minjung Art Theory' of Kim Bok-jin is found in 〈Harmonizing Point of Commerce' Industry and Art〉(1923) in the magazine [CommerceㆍIndustry World]. In this article, he stated progressive art theory with insisting upon art for the mass of people. He regarded that the prosperity of Minjung Art was resulted from the industrial workers as being artistic. His Minjung Art Theory was developed in a more innovative way as it was specified in his 'Proletarian Art Theory'. 'Proletarian Art Theory' denied the ultra-hierarchy in art and supported proletarian art through his 〈Spiral Declaration draft〉. This was a short sentence, yet it is unique for its declaring form of writing. The insistence of this article became actualized in 〈The Contention of Korea Artista Proleta Federatio〉. Although the writer was omitted, this article is valued as a principle document for sharing the art idea of Kim Bok-jin, who was the leader of Korea Artista Proleta Federatio.
Through the articles mentioned above, it is possible to confirm the most progressive insistence of art theories in the 1920s. We can rediscover his historical position by confirming that the forefront proclamation of progressive art theory of the present age was accomplished by sculptor Kim Bok-jin.
목차
Ⅰ. 머리말
Ⅱ. 신흥미술론과 광고미술론
Ⅲ. 민중미술론과 프롤레타리아예술론
Ⅳ. 맺음말
Abstract
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