Plum Branch
1888
148.0 x 95.0 cm
ジークレー/アートプリント
迅速な制作と多彩な仕上げオプションを備えた、ミュージアムクオリティのジークレーまたはキャンバスプリント。 ( 手描き画への切り替え
画像に切り替え)
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Plum Branch
ジークレー/アートプリント
複製画のサイズ
-
合計金額
$ 64
作品詳細説明
As one of the earliest trees to flower, the plum, a popular subject in painting, represents winter. The delicate but tenacious beauty of plum blossoms blanketed in late winter snow was taken by Confucian scholars as a metaphor for facing hardship with dignity and elegance. Yi Yu-won, a recognized painter, poet, and calligrapher as well as a distinguished scholar-official, served as prime minister under Emperor Gojong (reigned 1864–1907). In this work he skillfully juxtaposed the strong, angular strokes of the plum branch with thin, precise offshoots dotted with delicate blossoms. Painting on a gray background evocative of an overcast day, Yi created depth through the inclusion of a smaller branch whose shape echoes that of the main one in a lighter hue.
アーティストの略歴
The Enigmatic World of Yu-Won: A Journey Through Abstract Expressionism
Yu-Won, a name whispered with reverence in contemporary art circles, is an abstract expressionist painter whose canvases pulse with raw emotion and intellectual depth. Born in Seoul, South Korea, in 1985, Yu-Won’s artistic trajectory has been anything but conventional. Her early life was steeped in the rich traditions of Korean calligraphy and landscape painting – influences that would later subtly inform her large-scale abstract works. However, a pivotal move to New York City at the age of eighteen proved transformative. Immersed in the vibrant energy of the American art scene, Yu-Won quickly gravitated towards the gestural freedom and philosophical undercurrents of Abstract Expressionism, finding kinship with artists like Mark Rothko, Helen Frankenthaler, and Clyfford Still. This wasn’t merely an adoption of style; it was a catalyst for forging her own unique visual language.From Calligraphy to Canvas: The Evolution of a Style
Yu-Won's initial explorations in New York were marked by a deliberate deconstruction of traditional Korean techniques. She abandoned the meticulous brushwork and representational forms of her upbringing, instead embracing the spontaneity and physicality of Western abstract painting. Early pieces often featured layers of diluted ink washes reminiscent of Sumi-e paintings, but these were disrupted by bold swathes of color applied with palette knives and even unconventional tools like rags and squeegees. This period was characterized by a search for balance – a negotiation between the controlled precision of her heritage and the liberating chaos of Abstract Expressionism. The artist herself describes this phase as “a conversation between two worlds, a dismantling and rebuilding of visual vocabulary.” Over time, these washes evolved into complex fields of color, often dominated by deep blues, ochres, and crimson reds – hues that evoke both the Korean landscape and the emotional intensity of Rothko’s color field paintings. Her technique became increasingly refined, focusing on subtle gradations of tone and texture to create a sense of depth and luminosity.Themes and Influences: Exploring Inner Landscapes
Yu-Won's work is deeply introspective, exploring themes of memory, identity, and the human condition. While her paintings are non-representational, they often hint at underlying narratives – fragmented recollections, emotional states, or philosophical inquiries. The influence of Eastern philosophy, particularly Zen Buddhism, is palpable in her emphasis on intuition, spontaneity, and the search for emptiness (Sunyata). She frequently cites the writings of Korean poet Kim Sowol as a source of inspiration, drawn to his evocative imagery and melancholic tone. Beyond literature and philosophy, Yu-Won’s work also reflects a fascination with natural phenomena – the shifting patterns of light and shadow, the textures of rock formations, and the vastness of the ocean. These elements are not depicted literally but rather serve as emotional touchstones, informing the overall mood and atmosphere of her paintings.- Memory and Loss: Recurring motifs suggest a longing for connection to her homeland.
- The Subconscious Mind: Yu-Won aims to tap into universal emotions through abstract forms.
- Zen Buddhism: A focus on intuition, emptiness, and the present moment is central to her process.

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