Image provided by Gallery Hyundai
Gallery Hyundai
* Source: Multilingual Glossary of Korean Art. Korea Arts Management Service
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Lee Jungseop
Lee Jungseop (1916-1956, pen name Daehyang) was born in Pyongyang. He learned oil painting from Yim, Gilbert Pha at Osan School, Jeongju. He attended the Teikoku Art School in Japan in 1936 and moved to the Bunka Gakuen to learn oil painting in 1937. During his school years, he submitted his work to Japan Free Artists Association [Jiyū bijutsuka kyōkai] in 1938 and to the New Artists’ Association [Sin misulga hyeophoe] Exhibition. After his return to Korea in 1943, he was active in Wonsan and moved to South Korea with his family after the outbreak of the Korean War. He sought shelter in Busan and Seogwipo but had to send his Japanese wife and two sons back to Japan in June 1952 due to financial difficulties. He submitted work as a war correspondent painter. He orchestrated solo exhibitions in Tongyeong in 1953 and Midopa art gallery in Seoul and for the United States Information Service Center at Daegu in 1955. He died at a Red Cross hospital in 1956 after suffering from malnutrition and liver cirrhosis. His works, such as White Ox, illustrated local subject matter and family life with a simple touch, and one of his drawings on silver foil was purchased by the Museum of Modern Art in New York. A high-profile posthumous exhibition in 1972 at Hyundai Hwarang greatly increased the popularity of his work among the general public.
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To Sangbong
To Sangbong (1902-1977, pen name Docheon) learned western painting from Ko Huidong at Bosung High School. He graduated from the Department of Western Art at Tokyo School of Fine Arts in 1927 and participated in the Yeoran and Dongmi alumni groups. He organized a Drawing Exhibition with Gu Bonung and Lee Haeseon in 1931. After Independence, he participated in the National Art Exhibition as a judge from 1946 to 1961 and became a member of the Republic of Korea's National Academy of Arts in 1957. His works were based on the Classicism and Academism that he learned at Tokyo School of Fine Arts. His work was characterised by regular compositions and warm colors. In his early years, he mainly produced portraits, but he switched to softly painted still life subjects, such as flowers or Korean white porcelain objects mid-career. During his late career he created realistic works presenting Oriental philosophy as he saw it embodied within historically significant landscapes. To Sangbong achieved significant influence in Korea thanks to his gentle translation of the Western Academic tradition.
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Hwarang
Hwarang was founded in September 1973 by Gallery Hyundai (a space former titled Hyundai Hwarang). The magazine’s motto was to provide a “young magazine created by young publishers, editors, and readers” and aimed to act as an intermediary between art and the public by discovering outstanding artists and their works. Art experts such as Oh Kwangsu, Park Raekyung, Lee Hongwoo, Lee Guyeol and Heo Younghwan participated as members of the editorial board. The magazine utilized a small size (19x13cm) for readers to hold and read it comfortably. The cover of the first issue was Cheon Kyung-ja’s A Portrait of a Lady, and each issue featured an interview with an artist, an atelier tour, a collector's essay, a review, and a discussion. It attempted to transform itself into Hyundaimisul (Modern Art) starting with the autumn issue of 1988 and continued until 1992. A total of 76 volumes (60 volumes of Hwarang and 16 volumes of Hyundaimisul) played a role in conveying knowledge to art dealers, buyers, and general art lovers, despite some criticism that they advertised artists excessively.
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United States Information Service
An organization under the United States Information Agency that was responsible for the overseas promotion of the policy and culture of the USA. In Korea, the service established its headquarters at Bando Hotel in 1948, and regional branches in major cities such as Busan, Cheongju, Jeonju, Gwangju, Daegu, and Jeju City. The service’s operations included English education, media screenings, publishing, and exhibitions. During the 1950s, when the United States began to harness the potential of culture in relation to Cold War politics, the service supported exhibitions such as the Eight American Artists and the Family of Man exhibition. The service greatly influenced the Korean art community during the period of military rule until 1987, which had little other opportunity for exposure to overseas art.
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College of Arts of Chung-Ang University
The College of Arts of Chung-Ang University is located in Daedeok-myeon, Anseong-si in Gyeonggi-do Province. Its predecessor was Seorabeol University of Arts. The Seorabeol Junior College of Arts had fine arts, crafts, and photography departments. After it was authorized as the four-year Seorabeol University of Arts, eighty students were allotted to four classes of fine arts departments. In 1964, however, the Seorabeol University of Arts was merged into the Chung-Ang Cultural Academy. In October 1972, it was moved to the building of Chung-Ang University in Heukseok-dong, Dongjak-gu, Seoul and reorganized into the College of Arts of Chung-Ang University. In 1974, the College of Arts was composed of the Department of Painting, Department of Crafts, Department of Photography, and Department of Architecture and Art. In 1979, the Department of Architecture and Art merged into the Department of Architecture. The College of Arts was relocated to Anseong Campus in Gyeonggi-do Province in 1981. In 1983, the Department of Sculpture was established, and in 1988, the Department of Industrial Design was installed. In 1990, the Department of Painting was divided into the Department of Korean Painting and the Department of Western Painting. The school system was reformed in 2011. Currently, the School of Design at the College of Arts has five majors: craft arts, visual communication design, industrial design, fashion design, and housing and interior design. The School of Fine Arts has three majors of Korean painting, Western painting, and sculpture.
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Bando Gallery
Korea’s first commercial gallery, which opened on the first floor of Bando Hotel in 1956. The interest of the wives of foreign dignitaries and businessmen led the establishment of the gallery, which was characterized by its joint establishment and management by both the government and the private sector. After the key managers returned to their countries of origin in 1957, the gallery operated with the support of the Asia foundation. In 1959, artist Lee Daiwon took over as manager, and the gallery developed into the only permanent exhibition space in Seoul. The emergence of numerous commercial galleries in Insa-dong during the 1970s resulted in the closure of Bando Gallery.
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