九人會와 牧日會의 表現主義的 作品傾向에 관한 考察 －“文章派의 構成의 美學的 土臺”를 중심으로－

Abstract

본고는 1930년대 한국모더니즘文藝를 주도한 ‘九人會’와 反아카데미즘과 反政治主義 繪畵運動을 펼친 西洋畵그룹 ‘牧日會’ 회원들의 작품상의 공통점을 살펴보고, 이들이 1939년 이후 <文章>을 중심으로 뭉쳐서 民族文化의 正體性을 지켜가는 文化人 그룹이 될 수 있었던 근거를 살펴본 것이다. 牧日會와 九人會의 공통된 創作美學은 ‘表現主義’인데, 1930年代 朝鮮藝術界의 그것은 外部世界의 ‘再現’이 아닌, 작가의 內面이나 精神을 ‘表現’하는 藝術을 統稱한다. 牧日會와 九人會는 繪畵와 文學이라는 ‘姉妹 藝術’의 親密함으로 共助하여, 1920년式의 내셔널미디어로서의 藝術觀을 극복하고, 自己目的的인 예술을 선도하였다. 이들이 文章派로 뭉쳐 ‘모더니즘’에 ‘傳統’의 요소를 結合하여 東․西洋 예술의 樣式的 融合과 土着化의 길을 열어 간 것은 表現主義의 본질에 主觀的, 靜的, 情感的, 統合的 要素를 옹호하며 直觀의 原理를 존중하는 東洋的 측면이 있기 때문이다.

This article is focused on the Expressionism Arts of “Gu-In-Hoey” & “Mook-Il-Hoey” in 1930”s in Korean Peninsula how to be influenced to Korean Modernism Arts. The research methods used analysing to make masterpieces & comparing their products. The results of this research are two things. The first one is the members of “Gu-In-Hoey” & “Mook- Il-Hoey” thought art is not the national media. The second thing is the main factor of art is how to how to express the writer's emotions or subjectivities. They had made one team, Moon-Jang-Pa, in 1939. After that, they had pursued modernism & traditional values. Because they had believed free will, intuitive power, fusion of western & eastern cultures. Those are the base of oriental thought. The main conclusions are the base of Expressionism is pursuit subjectivity as like as the oriental arts. More over one of the leader, Kandinsky's thought of arts & his abstract paintings were based on oriental thought partly. Through the members of Moon-Jang-Pa were Korean Modernism arts & the values of tradition, So that they could stood face to face with Japanese colonialism in the late of 1930's till the early of 1940's.