본문 바로가기

Upcoming

Deoksugung

Giorgio Morandi: Dialogue with Morandi

Nov.20,2014 - Feb.25,2015

  • Giorgio Morandi: Dialogue with Morandi
  • Giorgio Morandi, <Still Life>, 1939, Oil on canvas, Museo Morandi, Bologna-Italy (V. 241)
  • Giorgio Morandi, <Large Circular Still Life with Bottle and Three Objects>, 1946
  • Giorgio Morandi, <Still Life>, 1941, Pencil on paper, Museo Morandi, Bologna-Italy (TP. 1941/5)
  • Giorgio Morandi, <Still Life>, 1951, Oil on canvas, Museo Morandi, Bologna-Italy (V.783)
  • Giorgio Morandi, <Still Life>, 1951, Oil on canvas, Museo Morandi, Bologna-Italy (V.788)
  • Giorgio Morandi, <Flowers>, 1950, Oil on canvas, Museo Morandi, Bologna-Italy (V.706)
  • Giorgio Morandi, <Flowers>, 1958, Watercolour on pape, Museo Morandi, Bologna-Italy (P.1958/1)
  • Giorgio Morandi, <Flowers>, 1963, Pencil on paper, Museo Morandi, Bologna-Italy (P.1963/1)
  • Giorgio Morandi, <Still Life with Shells>, 1930, Museo Morandi, Bologna-Italy (V.inc.69)
  • Giorgio Morandi, <Courtyard in Via Fondazza>, 1958, Museo Morandi, Bologna-Italy (V. 1116)
  • Giorgio Morandi, <Courtyard in Via Fondazza>, 1958, Museo Morandi, Bologna-Italy (V. 1115)

View Larger Image

Giorgio Morandi: Dialogue with Morandi

Giorgio Morandi, <Still Life>, 1939, Oil on canvas, Museo Morandi, Bologna-Italy (V. 241)

Giorgio Morandi, <Large Circular Still Life with Bottle and Three Objects>, 1946

Giorgio Morandi, <Still Life>, 1941, Pencil on paper, Museo Morandi, Bologna-Italy (TP. 1941/5)

Giorgio Morandi, <Still Life>, 1951, Oil on canvas, Museo Morandi, Bologna-Italy (V.783)

Giorgio Morandi, <Still Life>, 1951, Oil on canvas, Museo Morandi, Bologna-Italy (V.788)

Giorgio Morandi, <Flowers>, 1950, Oil on canvas, Museo Morandi, Bologna-Italy (V.706)

Giorgio Morandi, <Flowers>, 1958, Watercolour on pape, Museo Morandi, Bologna-Italy (P.1958/1)

Giorgio Morandi, <Flowers>, 1963, Pencil on paper, Museo Morandi, Bologna-Italy (P.1963/1)

Giorgio Morandi, <Still Life with Shells>, 1930, Museo Morandi, Bologna-Italy (V.inc.69)

Giorgio Morandi, <Courtyard in Via Fondazza>, 1958, Museo Morandi, Bologna-Italy (V. 1116)

Giorgio Morandi, <Courtyard in Via Fondazza>, 1958, Museo Morandi, Bologna-Italy (V. 1115)

Current exhibition booked
  • Period Nov.20,2014 - Feb.25,2015
  • Venue Gallery 1, 2
  • Artists Giorgio Morandi, Kim Whan-ki, Park Soo-keun, Kim Ku-lim, Choi In-soo, Sul Won-gi, Ko Young-hoon, Shin Mee-kyoung etc
  • Admission       Adult 9,000won, secondary school students 7,000won, Primary school students 5,000won(Including the admission of Deoksugung)

  • Exhibition
    introduction

1. Giorgio Morandi in Korea

National Museum of Modern and Contemporary Art, Korea is delighted to present the art of Giorgio Morandi (1890-1964) who was one of the great masters of modern Italian art for the first time in Korea. This exhibition features an outstanding grouping of approximately forty works of Morandi’s oil paintings, watercolors, drawings and etchings carefully selected from the collection of Museo Morandi in Bologna. These works of Morandi were made during his artistic maturity from the 1940s to the 1960s, use scenes and sites of everyday life as their subject matter such as commonplace objects and landscapes, and yet are endowed with the artist’s original creativity.

These everyday subjects, which are almost persistently repeated in the work of Morandi, are unfolded in subtle and tranquil variations in terms of form, composition, and color while being reconfigured in a new order. Each and every work of Morandi who said “The only interest the visible world awakens in me concerns space, light, color and forms” and “Nothing is more abstract than reality” opens the door to the nature of being through their simplicity and serenity. This is the very reason that the art of Morandi was highly esteemed even in the mid-twentieth century when abstract art, which can be characterized by the hugeness of scale and an emphasis on energetic gesture, dominated the international art scene and a countless number of artists have found inspirations in the work of Morandi. It is genuinely anticipated that this exhibition caters today’s people’s need to shield themselves from the exposure to the overwhelming amount of image-based information and noise in this present-day society by enabling viewers to immerse themselves in the works of art that are permeated by the deep contemplation which the artist achieved through endurance and restraint and offer through the channel of suggestion a valuable experience through which they are enabled to penetrate the nature of relationship.

The Still Life

For Morandi who is also described as a “painter of bottles,” still life painting was the peerless medium through which he could explore and define the constitution and quintessence of painting and could inquire into the root and relationship of being. His still lifes are about visual experiences while empowering viewers to constantly question what they are seeing right now. Morandi picked up bottles of various shapes and sizes at flea markets, removed labels and painted over them so as to deprive them of their original properties and objecthood.

 

The Shells

His works of seashells indicate that Morandi abandoned, for a while, his main repertoire of everyday objects and was instead captivated by unusual forms—that is, baroque, irregular contours and rounded surfaces of perfect spiralness.

The Flowers

Morandi’s flower paintings seem to vibrate with luscious beauty generated by the use of sensuous tones and the delicate and fragile texture of the petals evocative of the feel of soft silk. As such different hues as pearly white, pink, and green play a muted jazz concerto, his flowers boast their blossomy elegance and innocent purity.

The Landscape

Like his still lifes, Morandi’s landscape paintings of his later years shown here are marked by his experiments in the dramatic simplification of form, his use of drastic contrasts of light, his confident choice of colors, and his achievement of a quiet, alluring orchestration of colors. His characteristic variations are detected in the reiteration of such subject matters and elements as geometrically shaped buildings, the contrast between light and shade, and the rhythms of vegetation.

2. Dialogue with Morandi

Having had been intimately connected to its centuries-old traditions, the Italian art of the twentieth-century underwent dynamic developments while responding to the changes of the times, like twentieth-century Korean art, which similarly upheld its long tradition and experienced rapid changes during the modern period. This is why it would be quite illuminating to apply a comparative perspective on the examination of the arts of these two countries, which are in the same latitude—one in the West and the other in the East. It is particularly true that what one can discern in Morandi’s paintings—simplicity of non-superfluity, the aesthetics of restraint and placidity, empty fullness, and consistent emotional tension—fill the gap between the East whose emphasis is given to the spiritual and the West whose focus is placed on the material and hence prompts the possibility to place the West and the East in the same context and discuss the encounter between them.

Laying emphasis on Morandi’s still lifes, which are the highlights of this show, “Dialogue with Morandi” encourages a comparative viewing with still lifes by those Korean artists who were contemporary to Morandi. In addition, audiences are welcomed by works by Korean contemporary artists who either were inspired by Morandi or approached the subject matter of objects in ways similar to Morandi’s: To Sang-bong (1902-1977), Oh Ji-ho (1905-1982), Kim Whan-ki (1913-1974), Park Soo-keun (1914-1965), Kim Ku-lim (1936- ), Choi In-soo (1946- ), Sul Won-gi (1951- ), Ko Young-hoon (1952- ), Kang Mi-sun (1961- ), Shin Mee-kyoung (1967-), Hwang Hae-sun (1969- ), Lee Yoon-jean (1972- ) and Jeong Bo-young (1973- ).

SNS Share
페이스북
트위터
  • Previous
  • Next
  • List