The Course of Modern Painting in Daegu

Daegu has long been called the “birthplace of modern art.” From early times, many affluent members of the scholar-official class, known for their lofty ideals, lived in the Daegu and Gyeongbuk regions. During the transition to Japanese colonial rule, they sought to resist domination by educating themselves. Art was studied as part of a new civilization, and artists were, in turn, modern intellectuals.
《The Evolution of Modern Painting in Daegu》 examines, from a chronological perspective, how Daegu’s modern art history unfolded, focusing on painting, a major part of modern art. From life under Japanese rule through the turbulent period after liberation, the importance of artistic activity, which gradually expanded amid hardship and adversity, cannot be confined to the realm of technique. The modern perspective acquired by artists during this period reflected the times in itself, while also embodying a vision for overcoming them.
From this perspective, the exhibition is composed of 4 sections.
Section 1 presents the process through which Western painting was introduced. The activities that began with the Gyonam Society for Calligraphy and Painting and continued with the Daegu Art Exhibition, Byeokdongsa, and Daegu Art Company reveal a rapid transition from modern calligraphy and painting to transparent watercolor.
Section 2 explores the full development of modern painting in Daegu. At the 《Joseon Art Exhibition》, the Japanese-style plein-air school, which blended Classicism and Impressionism, and “Joseon local color” became established models. These are often collectively referred to as Naturalism; in Daegu, the art group Hyangtohoe was part of this trend. In contrast, figures such as Lee Sang-chun and Lee Gap-gi, who joined KAPF, attempted resistance through realist art, but suffered tragic fates due to Japanese oppression.
Section 3 brings together works created amid the painful and chaotic political situation from liberation through the Korean War. Although conditions for making art were extremely poor during this period, Daegu, which was not directly affected by the war, drew a variety of refugee artists from across the country. This also created an opportunity to move beyond the Naturalism prevalent in official exhibitions and embrace greater diversity.
The final Section 4 briefly addresses new trends that emerged after the war. Efforts to train the next generation, sustained even under Japanese colonial rule and throughout the Korean War, bore fruit in a new generation of artists. They were freer from the art world's conventions, which had persisted for more than 30 years, and took the initiative in examining and selecting from that legacy. Among their works, pieces emphasizing individual subjectivity gradually began to appear.
*Source: Daegu Art Museum