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Whanki Kim | |
|---|---|
 | |
| Born | April 3, 1913 |
| Died | July 25, 1974 (aged 61) New York City, U.S. |
| Nationality | Korean |
| Known for | Painting |
| Movement | Abstract art |
| Spouse | Hyang-an Kim |
| Children | Wha Young Kim Young Suk Kim Geum Ja Kim Chung In Kim |
| Relatives | Ku Pon-ung Yun Hyongkeun T.O.P (great-nephew) |
| Whanki Kim | |
| Hangul | 김환기 |
|---|---|
| Hanja | |
| Revised Romanization | Kim Hwangi |
| McCune–Reischauer | Kim Hwanki |
Kim Whanki (Korean: 김환기; Hanja: 金煥基; April 3, 1913 – July 25, 1974) was a Korean painter and pioneering abstract artist.[1] Kim lived and worked in a number of cities and countries during his lifetime, including Tokyo, Japan; Seoul and Busan, Korea; Paris, France; and New York City, USA, where he died.
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 viewers to see certain forms, but his later works were more deeply absorbed abstract paintings, filled with lines and spaces.[3]
The artist's partner Hyang-an Kim established the Whanki Foundation in 1978 and opened the Whanki Museum in 1992. The Museum, located in Seoul, was built by Korean American architect Kyu Sung Woo.
A pioneer of abstract painting and the godfather of the Dansaekhwa movement, Whanki Kim established his place in Korean history and art at an early age. Whanki Kim was an artist whose profound impact on the history of Korean art was seen in the first wave of abstract art. His nomadic lifestyle led him to many different places, like Japan, France, and the U.S., which differentiated his artwork from other artists, who created their art based in Korea, due to the lack of opportunities for travel. As a peripatetic artist gaining inspiration from artists of other origins, Whanki Kim's style of abstract art transformed from geometric abstraction to art with traditional Korean motifs to monochrome paintings of dots and lines. He balanced keeping Korean values and beliefs close and incorporating new foreign techniques into his works, which evidently reflect his personal identity and Korea's national identity, impacted by the political and social conditions of the mid-1900s.
- ^ Kim, Youngna. 20th Century Korean Art. London: Laurence King Publishing Ltd, 1998.
- ^ Kim Whan-ki, Christie's auction house (further lots of Kim's work listed).
- ^ Lee Gyuhyun, 안녕하세요 예술가씨, Hello Mr.Ms. Artist., p.258, 2010.