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stemmed from the desire to reclaim their stolen "Koreanness" pride from the war and the need for strong political and social control. It was also a departure from the
Japanese-style Nihonga that represented the colonial period of Korea and adopted abstract paintings in Western art scenes during the era of modernization. In Universe (1971), Kim painted repeating rows of circles made of dots that capture the essence of waves pulsating on the shore. The dots "seem to proliferate like living cells" and "represent the flow of powerful solar energy", which allows the audience to experience synesthesia. Since no two dots are the same, the movement of each piece is uneven and causes the eye to lose focus and get lost in the painting. Whanki Kim distinguishes himself from other artists with the temporality of his work. American paintings tend to have that "all-at-once" aspect, while Whanki Kim's work is constantly dynamic and there is an implicit sense of movement at all times. New York was a significant transitional period because the usual motifs, like the bird and moon, were gradually replaced by dots and lines, as seen in this work. His pieces became less figurative and more abstract with linear horizontals and verticals and diagonal arrangements. Compared to his earlier works with very bright hues, Universe, along with his later works, were gray-blue or black and encapsulated the "Whanki Blue" palette. Further, Kim designed this piece so that the audience could picture the movement of shimmering heavenly bodies mimicked by the dynamic dots. Individuals are stimulated to become "one" with the painting. This transition and disappearance of Korean motifs can also speak to Whanki Kim's distance from his Korean identity as he settled in New York and became engrossed in foreign works.
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abandonment of Korean values or as a weak imitation of "authentic" Western art. A symbol of Whanki Kim's struggle to reach this seamless integration of both traditional/modern and
Eastern/Western style was the buncheong jar from the Joseon dynasty. The Joseon Dynasty pottery can be characterized as large, white, thick, and misshapen, and has a utilitarian function. An infamous piece is the "Moon Jar," which is a white porcelain vessel that is shaped round, like a moon. When he traveled to Paris, his paintings underwent intense change, including the color palette primarily becoming blue, and they began to mimic the mottled ceramic surfaces. In the 1950s, Whanki Kim began to incorporate traditional motifs from the Korean landscape, such as a blue moon, mountains, and plum blossoms. Jar (1958) by Whanki Kim represented the transition from flat, patchy strokes to a building-up of layers. The texture of this piece is evidently thick and mottled, akin to traditional Korean pottery. Further, the jar as a subject has no sense of space as there are no referential objects surrounding it. The scale of the moon is as big as the jar, which creates a "zoom-in" effect and adds to the abstraction of the art. Adding these Korean motifs to his artwork made Kim more aware of his Korean identity in a time of constant travel. Visiting Paris was a transformative experience for Whanki Kim as he was able to experiment with the stained glass effect of Roualt's paintings to replicate the 3D nature and texture of the buncheong jar onto the 2D canvas. He was able to combine the "Koreanness" of the Joseon Dynasty jar and elements of the abstract expressionist movement.
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absorption effect of watercolor paint, which led to his interest in paper-mache. A paper sculpture called Daejup (1968) represents the transformation Kim's art underwent to merge the oil paintings on the newspapers with 3D sculptures. Whanki Kim took pride in the fact that he conserved "Koreanness" into his art as the oil paint on paper mimicked the mottled surface of pottery from Joseon dynasty. Daejup is a wide black jar that widens near the top and has symmetrical dots surrounding the lining of the jar. The dots are intentionally disordered to add an organic sense to the work, similar to the jars of the Joseon time period. What made Whanki Kim so extraordinary was that even while moving to New York and picking up these new techniques of paper-mache, he protected elements of his homeland. New York allowed him to be free of all social obligations and just focus on the creativity of his work. However, it is important to acknowledge that other Korean artists in his realm did not have the privilege and opportunity to drop all of their responsibilities to pursue art. Thus, Whanki Kim had an advantage when it came to access to foreign techniques and the ability to explore.
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more realistic depictions of this era using dark tones, Whanki Kim added his own touch of brighter hues of red and blue and simple shapes. There seems to be a contradiction between the urgent, claustrophobic environment of
Koreans fleeing the war and the cartoon-like depiction of the refugees. This painting also reflected a time when abstract American art was promoted by the United States Information (USIS). Western art was easily accessible for Korean artists through funded subscriptions to newspapers, magazines, and art journals, which introduced the contemporary trends of abstraction. The true origin of this agenda was the U.S.-led anti-communist campaign against the socialist realist art of North Korea, and the USIS paid South Korean artists, including Whanki Kim, whose work represented an antidote to North Korean cultural practices. This was opposed to forcefully produced art with subjects of Stalin and Kim Il Sung during the time of South Korea under the North Korean rule.
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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.
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the many geometric shapes that creates depth in the painting. Whanki Kim contrasts the realistic depiction of a traditional Korean woman with an ambiguous background that muddles the exact setting of the painting. There is also a lack of details on the woman's body and face. The artwork reflects Whanki Kim's perception of colonial Korea under Japan's rule, in which Kim as a Korean was relatively distanced from society and had different perspectives than a Korean artist who was attached and impacted by the war.
658:). Its foundational idea was to pursue new types of realistic painting and contribute to the perception of a "new formation of reality", which could be exist apart from Japan's direct influence as well as the right-left ideological struggles that dominated the Cold War period of Korea. Navigating between figuration and non-figuration, the group has since been considered pioneers of Korean abstract art and one of the most influential artist groups in Korean modern art. Participating members included
673:<백자와 꽃> (1949). The work, in which a piece of white porcelain is rendered as a round abstract geometric form, is considered to be one of the earliest examples from Kim's oeuvre in which he employs pottery as a significant motif for which he received critical acclaim. Since his return to his home country from Japan, Kim had collected and developed a sophisticated taste for Korean antiquities and pottery, especially for a type of white
462:. After graduating from elementary school, Kim was sent to Seoul to live with his older sister and attend Choongdong Middle School (중동중학교). His family then supported him to study abroad in Tokyo, Japan, where he attended Nishikishiro (錦城) Middle School. During his five years of study, he learned to play the violin. Once Kim returned home in 1932, his father objected to Kim's wishes to continue his studies and set Kim to marry.
560:). The Hakuban was established in 1936 after the closure of the Avant-Garde Western Painting Institute by five of its members, including Kim and Gil Jin-seop (길진섭, 吉鎭燮, 1970–1975). His first solo exhibition took place at the Amagi Gallery in Tokyo in January 1937, only months before returning to Korea. Even after he left Tokyo, Kim continued to submit works to the Free Artists' Association in Japan until 1941, including
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880:<어디서 무엇이 되어 다시 만나랴> (1970), titled after a poem of his friend and Korean poet Kim Gwang-Seop (김광섭, 1905–1977). While the work resulted from years of experimentation with abstraction and the geometrical elements that make up painting–dot, line, and plane–, the subdued palette as well as the watered-down paint produced an effect of blurred ink, evocative of East Asian ink wash painting. With
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725:, along with many refugees. Whanki Kim also fled Seoul for safety in the South and entered a refugee camp for three years. These years are said to have been a time of suffering for Whanki Kim—his wife, Hyang-an Kim, recalls his strong rage and habit of drinking, though he did continue to paint. Some of the works produced during this time are
529:, whose body was rendered in geometric, simplified forms. The basket upon her head is "transparent" by showing its content at an impossible angle, revealing Kim's interest apart from realism and towards abstraction. His experiments of incorporating Korean motifs as simplified forms onto the flat picture plane continued, as can be seen in
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On his return to Seoul in 1959 he was almost immediately offered the position of Dean of
Faculty at the College of Fine Arts at Hongik University. In 1960, he became President of Hongik Art College. He found himself teaching and performing administrative duties more often than he was concentrating on
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Kim's oil painting An
Evacuation Train from 1951 is another example of his early abstraction work that reflects his distance from the Korean war. This painting shows a crowd of refugees crammed together in train carriages, creating a claustrophobic environment. While some artists opted for sorrowful,
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Whanki Kim frequently traveled to new places to adopt new artistic techniques and incorporate them into his work, and his goal throughout his career was to reach this universality of a "boundaryless integration of
Eastern and Western aesthetics". He was tired of his works being viewed as either an
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Dansaekhwa, also known as the monochrome painting movement, included paintings of gray, brown, beige, and white hues produced in the late 1960s and applied to paintings that manifested a merger between the artist's body and mind by exploring the physicality of the painting materials. This movement
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Whanki Kim's early art experimentation with geometric abstraction drew inspiration from Cubism. His first piece that gained popularity was When
Skylarks Sing (1935), which depicts a woman holding a basket on top of her head. The building in the background plays with light and shadows and is one of
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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
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increasing military tensions that did not encourage new ideas. The
Creative Artists Association made a branch in Korea and held its first exhibition in Seoul, where Kim, fellow Korean artists, as well as a number of Japanese artists exhibited their work. Kim is said to have submitted six pieces:
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When Whanki Kim arrived in New York, he began to experiment with new materials, like newspaper pages and oil paints. He was curious about how different oil paints reacted with the oil on the newspaper, which created a "shifting, moving sense of paint laying on top of a surface" compared to the
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Thus in 1963, Kim relocated to New York, a city that was emerging as a new center for modern Art. Hyang-an Kim joined Kim in New York the following year. With a grant from the Asia
Society funded by the foundation of John D. Rockefeller III, they settled in a studio in the Upper West Side of
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After returning from his studies in Tokyo, Kim continued to befriend members of the Korean literary circle while gaining more interest in traditional Korean art. By 1940, this exhibition was no longer called the Free Artists Exhibition. It was called the Creative Artists Association, due to
537:<장독대> (1936). Features often seen in traditional Korean houses, such as wooden gates, paper screen doors, stone walls, stairs, and pottery, are also noted to have added a sense of order and repetition to his paintings, further illustrating his development towards pure abstraction.
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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
884:, Kim was awarded the Grand Prize at the first iteration of the Korean Art Grand Award Exhibition. Drastically different from Kim's work from Korea that depicted Korean motifs and sentiments, his purely abstract style left a great impression to the Korean art scene.
896:, which is regarded as one of the most important works of the artist's oeuvre today, was well received in New York at the time. The work was included in Kim's solo show at New York's Poindexter Gallery, where he continued to show annually, until his death in 1974.
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Kim continued to produce "dot paintings" on larger-sized canvases and experimented with different colors, especially with range of blue hues. By 1971, Kim took a turn on its composition by arranging the dots in a circular or curvilinear fashion, such as seen in
876:) or simply known as "dot paintings". By 1970, Kim began to produce paintings that filled the entire surface of his unprimed canvases with small, irregular dots using oil paint mixed with turpentine. An early, significant example is
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He even stayed an additional year in Japan as an assistant before returning to Korea in 1937. Kim's time in Tokyo supported his identity as an Abstract artist. In his university years, he became fascinated by the work of
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and patterns. 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.
844:"The Korean room 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."
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are said to show a clear turn toward abstraction with their compositions of pure geometric shapes consisting of repeated rhythmic circular and oblong shapes with squares intersecting or overlapping.
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in his home, while depicting the very same objects in his paintings. As a motif in Kim's paintings, Korean pottery was employed as an aesthetic solution for reconciling tradition with modernity.
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art. He often felt frustrated during this time because of conflicts with other board members and the lack of connection between reality and what dreams he had for the institutions of art.
564:<론도> (1938). As one of the earliest examples of abstract art in modern Korea, the country's government designated the painting as a Registered Cultural Property (No. 535) in 2013.
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exhibitions, Kim's works during 1942 and 1950 show inspiration from nature and everyday life. His desire to present pure composition and simplified objects is evident in work such as
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During his career in New York, works depicting cosmic, planetary subjects, sound, echo, and music arose. In the second half of his time in New York, Kim spent much time on collages,
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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
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When Kim Whanki returned to Seoul in 1953, his obsession with jars grew once again and even more than before. He drew jars over and over again in his works including
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Born as the fourth child and only son of wealthy farmer and local landowner Kim Sang-hyeon (김상현), Kim Whanki grew up comfortably in Eupdong-ri, Kijwado,
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In 1944, Kim, who had divorced his first wife, remarried Byun Dong-rim (변동림, 卞東琳, 1916–2004), who was a prodigiously talented writer and widow of poet
836:<운월> (1963)–Kim was awarded an Honorable Mention for painting. Upon seeing the works of at the Biennale, such as the works of American artist
915:(1971). The latter was sold for HK$ 102m (US$ 13.03m), surpassing its estimate of HK$ 48m-62m, and became the most expensive Korean work of art.
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During this time Kim participated in activities led by Japan's many artist associations, such as the Hakujitsu Society (白日会), Kofu Society (光風會,
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1611:"Korean Wave in Saleroom: HK$ 102m Kim Whan-Ki's Diptych Becomes Most Expensive Korean Work of Art | Auctions News | THE VALUE | Art News"
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Korea was liberated from Japanese rule in 1945 and established its independent government by 1948. The same year, Kim, along with artists
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812:, in which Kim participated as the country's commissioner and among the seven featured artists: Young-ju Kim (김영주, 金永周, (1920–1995),
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1475:, edited by Chung, Yeon Shim, Kimberly Chung, Sunjung Kim, and Keith B. Wagner, 14–39. London: Phaidon, 2020. ISBN 9780714878331.
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was something he had been planning for quite a while. Starting in 1954, many Korean artists made this trip including Nam Kwan,
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Pyun, Kyunghee. "Civil Rights Movements for Minority Artists: A Note on the Archive of Korean-American Artists (AKAA)." In
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in Tokyo. During his second year into the program, Kim joined the Avant-Garde Western Painting Institute (アヴァンギャルド洋画研究所,
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opened my scope on aesthetic quality and Korean people, which can be said that the textbook I used were these jars.
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Most noted from the artist's time in New York is the rise of the series of "all-over canvas dot paintings" (점면전화,
643:–Hyang-an–at the time of marriage and lived as such until her death. Kim changed his art name to Su-hwa (수화, 樹話).
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whom was awarded the Grande Prêmio, Kim reported his desire for the "internationalization" of Korean art.
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Having decided to become an artist against his father's wishes, Kim secretly boarded a vessel bound for
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Manhattan. There he finds support from a number of Korean cultural attaché's, Korean American artists
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Poindexter Gallery, New York, New York, United States; Solo Exhibition; September 25–October 21, 1971
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Shades of Time : an exhibition from the archive of Korean-American artists, Part two: 1989-2001
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Wei, Shanshan. "An Enduring Friendship: The Legacy of Dr. Matthew Kim and Kim Whan-ki." 2019.
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469:(b. 1987), an artist, actor, and rapper active under the moniker T.O.P as well as a member of
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https://www.gokams.or.kr:442/visual-art/art-terms/glossary/group_view.asp?idx=291&page=1
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1016:, World House Galleries, New York, New York, United States; organized by Ellen Psaty Conant
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The artist's partner Hyang-an Kim established the Whanki Foundation in 1978 and opened the
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Park, Carey. "Korean Modern Art and the Conflicts of Tradition and Modernity, c.1953." In
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1st Korea Arts Exhibition, Gyeongbokgung Palace Museum, Seoul, Korea; 1970 (Grand Prize)
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For the New Realism Group's second exhibition held in 1949, Kim submitted his painting
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Asian Traditions/Modern Expressions: Asian American Artists and Abstraction, 1945–1970
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525:(종달새 노래할 때), marking his debut as an artist. The painting portrays a woman dressed in
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1096:, National Museum of Modern and Contemporary Art, Korea; December 3–December 17, 1975
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https://terms.naver.com/entry.naver?docId=3576118&cid=58862&categoryId=58879
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Gotham Book Mart Gallery, New York, New York, United States; Solo Exhibition; 1968
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7th São Paulo Biennale, São Paulo, Brazil; 1963 (Honorable Mention for Painting)
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https://www.gokams.or.kr:442/visual-art/art-terms/glossary/art_view.asp?idx=877
1102:, National Museum of Modern and Contemporary Art, Korea; March 1–March 25, 1984
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based on their experience living and working in Europe. Among his mentors were
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Poindexter Gallery, New York, New York, United States; Solo Exhibition; 1974
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Poindexter Gallery, New York, New York, United States; Solo Exhibition; 1973
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Poindexter Gallery, New York, New York, United States; Solo Exhibition; 1972
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Asia House Gallery, New York, New York, United States; Solo Exhibition; 1964
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His return to Seoul also allowed him to teach at the College of Fine Arts,
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Whanki Museum. "Tokyo: At the Forefront of the Avant-Garde Movement." In
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8th São Paulo Biennale, Special Exhibition Room, São Paulo, Brazil; 1965
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Tasca Gallery, New York, New York, United States; Solo Exhibition; 1966
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Whanki Museum. "KIM Whanki, Reach to the Zenith of Abstract Art." In
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382:; April 3, 1913 – July 25, 1974) was a Korean painter and pioneering
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Cheval de Verre Gallery, Brussels, Belgium; Solo Exhibition; 1957
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Korean Information Center, Seoul, Korea; Solo Exhibition; 1963
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Korean Information Center, Seoul, Korea; Solo Exhibition; 1962
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Korean Information Center, Seoul, Korea; Solo Exhibition; 1961
639:. Defying the objections from their families, Byun took Kim's
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Song, Aeri. "Kim Whanki 김환기: Universe 05–IV–71 #200." 2020.
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Lee Gyuhyun, 안녕하세요 예술가씨, Hello Mr.Ms. Artist., p.258, 2010.
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Kim Whanki 10th Death Anniversary Commemorative Exhibition
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Park, Mee-Jung. "Kimhwan'giŭi Nyuyokshigi (1963–1974) ."
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Korean Art from 1953: Collision, Innovation, Interaction
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M.Bénezit Gallery, Paris, France; Solo Exhibition; 1957
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M.Bénezit Gallery, Paris, France; Solo Exhibition; 1957
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M.Bénezit Gallery, Paris, France; Solo Exhibition; 1956
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M.Bénezit Gallery, Paris, France; Solo Exhibition; 1956
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New Seoul Tea Room, Busan, Korea; Solo Exhibition; 1952
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Shinsegye Gallery, Seoul, Korea; Solo Exhibition; 1971
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Institut Gallery, Paris, France; Solo Exhibition; 1958
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Jeongjaok Gallery, Seoul, Korea; Solo Exhibition; 1940
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https://www.galleryhyundai.com/story/view/20000000074
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Han'gungmisul tagugŏ yongŏsajŏn . "Shinsashilp'a ."
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Barry Schwabsky on the Kim Whanki exhibition at the
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Donghwa Gallery, Seoul, Korea; Solo Exhibition; 1956
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1252:auction house (further lots of Kim's work listed).
1025:Bando Gallery, Seoul, Korea; Solo Exhibition; 1960
950:Amagi Gallery, Tokyo, Japan; Solo Exhibition; 1937
808:1963 was the first year Korea participated in the
1393:http://encykorea.aks.ac.kr/Contents/Item/E0071597
1310:"빅뱅 탑, '외할아버지의 외삼촌' 김환기 화백 '우주' 132억 낙찰에 "자랑스럽다""
987:USIS Gallery, Seoul, Korea; Solo Exhibition; 1954
981:) Exhibition, Hwashin Gallery, Seoul, Korea; 1950
967:) Exhibition, Hwashin Gallery, Seoul, Korea; 1949
960:) Exhibition, Hwashin Gallery, Seoul, Korea; 1948
943:23rd Second Section Association Exhibition (二科会,
936:22nd Second Section Association Exhibition (二科会,
650:, Lee Kyusang (이규상, 李揆祥, 1918–1967), created the
1177:Keith Pratt; Richard Rutt; Jamese Hoare (1999).
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1405:"Kim Whanki — a pioneer of Korean abstraction"
1275:Kim Hwan-gi, ŏdisŏ muŏt i toeŏ tasi mannarya .
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1331:http://whankimuseum.org/en/kim-whanki/artist/
1277:Kyŏnggi-do P'aju-si : Yurich'ang, 2013.
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1574:https://www.christies.com/en/lot/lot-6242546
1084:13th São Paulo Biennial, Special Exhibition
909:Where and in What Form Are We to Meet Again?
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1236:London: Laurence King Publishing Ltd, 1998.
1180:Korea: A Historical and Cultural Dictionary
779:Kim's journals show that his departure for
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662:, Paek Youngsu (백영수, 白榮洙, 1922–2018), and
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1312:(in Korean). StarNews. November 24, 2019.
1199:Ecole Nationale Supérieure des Beaux-Arts
882:Where, in What Form, Shall We Meet Again?
878:Where, in What Form, Shall We Meet Again?
425:, was built by Korean American architect
133:Learn how and when to remove this message
632:before he left the Association in 1941.
1516:, 142–221. Seoul: Whanki Museum, 2017.
1329:Whanki Museum. "KIM Whanki 1913–1974."
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548:), Free Artists' Association (自由美術家協会,
1894:20th-century South Korean male artists
1514:WhanKi: A Pioneer of Korean Modern Art
1444:Seoul: Youl Hwa Dang Publishing, 1998.
1377:WhanKi: A Pioneer of Korean Modern Art
1211:Advanced Technology & Design KOREA
556:), and the Hakuban Society (白蛮会, 백만회,
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1140:, Encyclopedia of Korean Culture (KO)
7:
1379:, 18–29. Seoul: Whanki Museum, 2017.
1371:
1369:
1325:
1323:
1321:
1319:
1269:
1267:
1152:, Korean Art Multilingual Dictionary
970:1st National Exhibition (대한민국미술전람회,
576:His works of 1937 and 1938, such as
71:adding citations to reliable sources
1924:Academic staff of Hongik University
1294:Jung, Hyung-Mo (January 31, 2015).
1114:, Whanki Museum, Seoul, Korea; 1992
1889:20th-century South Korean painters
1127:Further reading and external links
25:
1904:People from South Jeolla Province
1899:South Korean contemporary artists
1850:
1849:
1296:"멋진 의자 '득템'하면 행복 좋은 디자인엔 설렘이 있어"
1167:Doosan Encyclopedia - Whanki Kim
1074:Selected Posthumous Exhibitions
701:Based on his submissions to the
421:in 1992. The Museum, located in
47:
27:South Korean painter (1913–1974)
1106:Whanki: Retrospective 1963-1974
947:), Tokyo, Japan; 1936 (Awarded)
940:), Tokyo, Japan; 1935 (Awarded)
552:), the Room Nine Society (九室會;
58:needs additional citations for
1209:Korean Art Pioneer Kim Whan-ki
1112:Whanki Kim, New York 1963–1974
1090:; October 17–December 15, 1975
857:, as well as American artists
378:
368:
313:
297:
1:
1298:(in Korean). JoongAng Sunday.
1013:Contemporary Korean Paintings
977:3rd New Realism Group (신사실파,
972:Taehanmin'gungmisulchŏllamhoe
963:2nd New Realism Group (신사실파,
956:1st New Realism Group (신사실파,
1600:. 11–22. ISBN 9780989037815.
1560:. "Han'gungmisultaesangjŏn .
1183:. Curzon. pp. 212–213.
1079:Whanki, paintings 1960-1974
350:
336:
1940:
832:<섬의 달밤> (1959), and
29:
1843:
1667:
1020:Kim Whanki Art Exhibition
830:Moonlight Night of Island
826:Moonlight in Summer Night
741:<항아리와 여인들> (1951).
491:AbuangyarudoYōga Kenkyūjo
284:
276:
235:
154:
1234:20th Century Korean Art.
1094:Kim Whanki Retrospective
913:05-IV-71 #200 (Universe)
853:, John Pai (1937–), and
1909:Nihon University alumni
1159:Naver Cast - Whanki Kim
1146:, Korean Knowledge (KO)
681:period widely known as
477:Tokyo, Japan: 1932–1937
1795:Tazza: The Hidden Card
1536:Chishik Company, 1977.
1534:A Poem With a Picture.
890:Universe 05-IV-71 #200
846:
828:<여름 달밤> (1961),
765:Jar and Plum Blossoms.
699:
595:
523:When the Skylarks Sing
460:Korea, Empire of Japan
406:, USA, where he died.
182:Korea, Empire of Japan
974:), Seoul, Korea; 1949
731:Landscape at Chin-hae
729:<피난열차> (1951),
593:
550:Jiyū Bijutsuka Kyōkai
533:<집> (1936) and
34:, the family name is
1688:Collaboration albums
758:White Jar and Woman,
465:His great-nephew is
331:Revised Romanization
67:improve this article
1411:. October 30, 2019.
1171:Brief biography of
804:New York: 1963–1974
1215:Images from a Blog
810:São Paulo Biennial
626:Landscape at Atami
596:
1866:
1865:
1774:71: Into the Fire
1273:Yi, Ch'ung-nyŏl.
769:Hongik University
677:ware made in the
652:New Realism Group
535:Sauce Jar Terrace
511:Tsuguharu Foujita
357:
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345:McCune–Reischauer
280:
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16:(Redirected from
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1812:Related articles
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834:Cloud and Moon
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56:This article
54:
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1824:GD & TOP
1801:
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1696:GD & TOP
1694:
1618:. Retrieved
1615:TheValue.com
1614:
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1597:
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1532:Kim Whanki,
1528:
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833:
829:
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818:Kim Ki-chang
814:Yoo Youngkuk
807:
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785:Kim Heung-su
778:
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655:
648:Yoo Youngkuk
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554:Kyushitsukai
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514:
490:
480:
464:
452:Sinan County
445:
431:
427:Kyu Sung Woo
416:
408:
359:
358:
257:Chung In Kim
243:Hyang-an Kim
230:Abstract art
194:(1974-07-25)
129:
120:
110:
103:
96:
89:
82:"Whanki Kim"
77:
65:Please help
60:verification
57:
35:
1884:1974 deaths
1879:1913 births
1759:Filmography
1673:Discography
1442:Kim Whanki.
1354:Kim Whan-ki
1246:Kim Whan-ki
1173:Kim Hwan'gi
1164:(in Korean)
1156:(in Korean)
931:Exhibitions
911:(1970) and
863:Mark Rothko
717:During the
622:Landscape 2
618:Landscape 1
610:Island Tale
558:Paengmanhoe
456:Zenranan-dō
448:Anjwa-myeon
376::
366::
255:Geum Ja Kim
208:Nationality
178:Zenranan-dō
32:Korean name
1873:Categories
1834:Kim Whanki
1788:Commitment
1714:Turn It Up
1620:2020-06-16
1521:1097193790
1495:Segye Ilbo
1480:1155063660
1250:Christie's
1221:References
1190:0700704647
1150:Kim Whanki
1144:Kim Whanki
1138:Kim Whanki
719:Korean War
703:neorealism
614:Still Life
507:Togo Seiji
503:Surrealism
442:Early life
360:Kim Whanki
351:Kim Hwanki
337:Kim Hwangi
285:Whanki Kim
265:Ku Pon-ung
170:1913-04-03
149:Whanki Kim
93:newspapers
18:Kim Whanki
1742:Doom Dada
1735:Knock Out
1721:High High
1282:854980601
822:Suh Se-ok
683:moon jars
675:porcelain
437:Biography
398:, Korea;
390:, Japan;
262:Relatives
1856:Category
1819:Big Bang
1767:Nineteen
1361:41311030
1203:Artforum
919:See also
894:Universe
892:(1971).
641:art name
594:Untitled
499:Futurism
471:Big Bang
248:Children
226:Movement
221:Painting
30:In this
1728:Oh Yeah
1706:Singles
1056:Whanki,
945:Nikakai
938:Nikakai
654:(신사실파,
637:Yi Sang
544:, 광풍회,
542:Kofukai
519:Igwajŏn
517:, 이과전,
515:Nikakai
107:scholar
1848:
1749:Zutter
1201:, in:
1187:
1175:, in:
1087:Whanki
851:Po Kim
763:, and
737:, and
735:Shanty
679:Joseon
628:, and
578:Rondo,
527:hanbok
501:, and
495:Cubism
372:;
364:Korean
291:Hangul
240:Spouse
212:Korean
202:, U.S.
109:
102:
95:
88:
80:
1914:T.O.P
1678:Songs
1661:T.O.P
781:Paris
723:Busan
707:Woods
693:Our
581:Aria,
562:Rondo
531:House
483:Japan
423:Seoul
400:Paris
396:Busan
392:Seoul
388:Tokyo
374:Hanja
307:Hanja
270:T.O.P
114:JSTOR
100:books
1518:OCLC
1477:OCLC
1358:OCLC
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