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Rare and vintage 1982 Korean Chun Hwa Hwang impressionist oil painting on canvas featuring a lucious green landscape of trees and flowers with a pond and three figures.
Korean artist Chun Hwa-Hwang was is born in 1909 and lived in Kyoto, Japan. He created this painting in the year of 1982, when he was 73 years old. Hwang was a student of master painter Suda Kunitaro (1891~1961), and 92 of his works exhit exclusively in the Ha Jung-woong collection in the Gwangju Museum of Art.
Ha Jungwoong was born 1939 into poverty. He dreamt of becoming an artist but put it aside to succeed in business, which he was very successful. His success allowed him to begin collecting art, and he amassed a extensive collection focusing exclusively on Korean artists in Japan. He donated over 2523 works of art. Chun Hwa-Hwang was the artist who is the starting point of Mr Ha Jung-woong's art collecting, and shows the character and direction of Ha Jung-woong's collection very well.
(1) Chun Hwa-hwang (1909~1996), Chinese name is 全和凰, Korean name is 전화황
(2) 日本京都居住: live in Kyoto, Japan
(3) 1909 年: B. 1909 - 1996
(4) 平南安州生: born in An Zhou, Pin Nan
(5) 1982 年作: created in the year of 1982
Hwang 凰 means Phoenix
Abstract from a published paper called ""The Life and Art of Chun Hwa-hwang: Image Formation of the Consciousness as a Korean-Japanese"".
The purpose of this paper is to explore the nature of consciousness and image formation in the creative processes of the Korean-Japanese people in the postwar Japan by examining the life and art of a Korean-Japanese painter, Chun Hwa-hwang(1909~1996).
The preceding studies on Chun is extremely limited to the articles on art magazines and the essays on his catalogues where his works are overviewed in periods and the influence of his teacher, Suda Kunitaro(1891~1961) is noted.
Based on these preceding studies, this paper traces the factual details on the artist’sbiography through existing references as well as pointing out his relationships with the artist associations and his novels. It also encompasses from multiple angles his manifestation of the consciousness as a Korean-Japanese through comparison with the contemporary Korean-Japanese artists.
The main body consists of: Chapter 1, life and the chronological artistic tendency; Chapter 2, point of contact with Suda Kunitaro; Chapter 3, activities at the Kohdo Art Association; Chapter 4, relationship between his novels and paintings; and lastly as conclusion compares Chun’s artistic world with the contemporary Korean-Japanese artists.
By looking back at Chun’s life and artistic activities, the paper confirms how a Korean-Japanese painter who retained the identity of a prewar Korean constructed a unique literary vision with the theme on the hardships and tradition of Korean people through the interaction with the postwar Japanese art scene where he was based.
After the war when the Korean-Japanese painters who studied in Japan returned to South and North Korea to build new generation of art systems according to their state policies, the Korean-Japanese who remained in Japan were the only ones who were able to observe with the critical bitterness the scars of Korean people through the prewar colonization to the postwar Korean war which led to the separation on Korean peninsula. The knowledge of such history and the present seems necessary in completing the understanding of modern and contemporary Korean arthistory.
Good Overall - Gentle wear
24.75” x 1.25” x 18.25” / Sans Frame - 23.75” x 17.125” (Width x Depth x Height)