-40%
Kim Whanki (金焕基 1913–1974) Korean-American Abstract Oil Painting
$ 32.73
- Description
- Size Guide
Description
1--Imagine Size:16"/20"(40cm/50cm)2--Framed Size:24.5”/28.5”
3--Signed Left Down
4--Provenance
: Artworks Market Show In New York
5--
Original: Unprined
6--Make your own judgment,
Some craquelure in the painting face from age
7--To accept to this status, please look at all pictures before you make a bid, it was remind to:
From Wikipedia, the free encyclopedia:
Kim Whanki
,
金焕基
also
Kim Whan-ki
or
Kim Hwan-gi
(1913–1974,
hangul
: 김환기), was a pioneering
abstract artist
of
Korea
.
[1]
Born February 27, 1913, in the village of Eupdong-ri on the island of Anjwado,
Sinan County, South Jeolla
Province, Kim died in
New York City
, USA, on July 25, 1974.
Kim belongs to the first generation of Korean Abstract artists, mixing oriental concepts and ideals with abstraction. With refined and moderated formative expression based on Korean Lyricism, he created his characteristic art world. His artworks largely dealt with diverse
hues
and patterns.
[2]
Kim's early works were semi-abstract paintings which allowed beholders to see certain forms, but his later works were more deeply absorbed abstract paintings, filled with lines and spaces.
[3]
Respected domestically and abroad, the
Whanki Museum
, dedicated to Kim, opened in
Seoul
in 1992.
New York: 1963–1974
Kim Whanki left for New York in October 1963. This was the first year that Korea participated in the
São Paulo Biennial
, and Kim participated as a commissioner as well as a contributing artist. In this foreign land, Kim found confidence in his work and in Korean art.
“The Korean room [in the Biennial] was good. My painting wasn't bad either. I felt confident that my art had meaning. There's beauty in my art, and this beauty comes from having lived in the Korean countryside."
[10]
During his career in New York, works depicting cosmic, planetary subjects, sound, echo, and music arose.
[8]
In the second half of his time in New York, Kim spent much time on collages,
papier-mâché
works, and oil-on-newspaper paintings. It was during this time that Kim began to utilize dots in his works, sometimes even covering whole canvases with just dots, such as in
Where and in What Form Are We to Meet Again?
(1970) and
05-IV-71 #200 (Universe)
(1971). The latter was sold for HK2m (US.03m), surpassing its estimate of HKm-62m, and became the most expensive Korean work of art.
[11]
Reference Artworks: