ScholarWorks@숙명여자대학교

초록

This paper examines the acceptance of ‘color’ in Korean paintings in the art market after liberation from Japanese colonialism. Until the 60s, color paintings were ostracized due to the perception of ‘color=Japanese style’, but colorist Kim Eun-ho enjoyed exceptional popularity thanks to demand from government officials and businessmen. In the first boom period of the art market in the late 70s, ink and watercolor paintings with brilliant colors favored by the public. In the second boom period in the late 80s, color painting overtook ink paintings. During this period, painters took the lead against collectors by making innovations. Seoul Auction’s transaction statistics suggest that the characteristic of Korean painting that is consistently valued is not whether it is colored or in monochromatic ink, but rather due to its stylistic innovation.

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