Lee Sangbeom, Early Winter, 1926, Ink and color on paper, 152×182cm. MMCA collection
Lee Sangbeom
* Source: Multilingual Glossary of Korean Art. Korea Arts Management Service
Related
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Eastern painting
Eastern painting (dongyanghwa) refers to the overall body of works created using traditional East Asian materials and methods, in contrast to Western painting. In Korea, Byeon Yeongro’s essay “On Eastern Painting” published in Dong-A Ilbo on 7th, July, 1920 was the first use of the term. The term then began to be used in Japan first to distinguish Oriental style paintings from Western ones. Until the late Joseon era, both calligraphy and painting were categorized under the term seohwa, but during the Japanese occupation of Korea in 1922, the first Joseon Art Exhibition [Joseon misul jeollamhoe] divided the painting section into Western and Eastern styles. Thereafter, the term Eastern-style painting entered official use in the country. After independence, the National Art Exhibition (Gukjeon) continued to use the term “Eastern painting,” but since 1970, numerous arguments were made to replace it with "Korean painting," because the term was imposed unilaterally during the Japanese colonial era.
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Six Eastern Painters Exhibition
The Six Masters were Huh Baeklyun, Kim Eunho, Park Seungmoo, Byeon Gwansik, Lee Sangbeom, and Noh Soohyun, all featured in the Six Eastern Painters Exhibition held by the Seoul Sinmunsa Newspaper Company in December 1971. Of the Ten Masters who were active in the 1940s, these six were the only artists alive at the time of the exhibition.
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Byeon Gwansik
Byeon Gwansik (1899-1976, pen name Sojeong) was born in Ongjin, Hwanghae-do. He was a grandson of the last painter of the Joseon royal family, Sorim Cho Seokjin. He attended the Calligraphy and Painting Society [Seohwa Misulhoe] in 1917 when he turned 18. In 1923, he tried to organize Dongyeonsa with Lee Yongwoo, No Soohyeon, and Lee Yongwoo to look for harmony between old and new styles, but Dongyeonsa was disbanded the following year due to financial difficulties. In 1925, he moved to Japan with Kim Eunho and sat in on classes at the Tokyo School of Fine Arts. There, he developed a new style called Shinnamhwa that incorporated Nambukjong style with western painting techniques. After his return to Korea in 1929, his last official activity was to submit his work to the Joseon Art Exhibition [Joseon misul jeollamhoe]. He left Seoul in 1937 to focus on his art exploring diverse landscapes in Korea. He uniquely depicted Korea landscapes in his painting by using multiple ink-application painting method, broken line method, and unconventional compositions. His representative works include Farm Village (1957), Muchangchunsaegdo, and Oegeumgangsamseonamdo (1970).
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