Known as a painter of the Korean people, Lee Jung Seob (1916-1956) lived and worked during the countryβs most tumultuous years.
Despite living much of his life in poverty or on the run from war, Lee managed to create a huge catalogue of work. His images of proud bulls and children playing with fish and crabs became symbols for a generation who struggled through the Japanese occupation and the Korean war.
βMore than anything Lee wanted to be known as βan honest painter,β and thatβs really what he was,β said a representative from the Busan Museum of Art (BMA) in Centum City, where Leeβs work is now on display.
Celebrating 100 years since his birth, the BMA is hosting over 200 of Leeβs selected artworks, on loan from museums like the MOMA in New York and from private collectors.
The exhibit follows Leeβs life, starting from his birth to a wealthy family in Pyeongwon in modern day North Korea. After high school Lee left for Tokyo to continue his studies, where he exhibited his first image of a bull, the symbol he would later become known for.
βLeeβs Bull was an image of the Korean people, a strong and proud animal that uses patience and perseverance to find its way through adversity,β said the BMAβs representative.
While Lee was studying in Tokyo he met his future wife Yamamoto Masako, who would bring him two sons and the happiest days of his short life.
The coupleβs love is portrayed in a series of around 90 postcards, sent by Lee during the early stages of their romance. The cards feature no words, just a picture by Lee on one side and an address on the other. Leeβs images become bolder as the love relationship progresses.
After war broke out in 1950, Lee and his family found refuge in the town of Seogwipo on Jeju Island, where they squeezed the family of four into a room less than 2 meters wide. This was where Lee produced his famous series of pictures carved into the tinfoil of his cigarette packages. Despite their poverty, the tinfoil pictures show happy scenes of his sons playing with fish and crabs on the beach, or he and his wife engaged in moments of intimacy.
βEven while seeking refuge on Jeju island, where Lee and his family were quite poor, his family was together, and we can see the beauty of that period expressed in Leeβs art,β said BMAβs representative.
Three of these tinfoil pictures were put on display in the MOMA after Leeβs death, marking the beginning of his international recognition.
The familyβs happiness came to an end as war spread down the peninsula, forcing Masako to flee for Japan with their two sons, leaving Lee behind.
A series of letters from this period written by Lee to his family are also on display at the BMA. The letters are long and decorated freely with Leeβs drawings, highlighting the artistβs desire to see his family again.
Lee drifted around the country and held exhibits to sell his work, trying to make money to afford passage to Japan and bicycles for his sons. He found work as a teacher at a craft school in Tongyeong, where he worked prolifically, creating his famous bull series as well as a collection showcasing the scenery of coastal Tongyeong.
But poverty proved too big an obstacle for the artist. After exhibits at the Midopa Department Store in Seoul and the US Information Service in Daegu both ended in failure, Lee began to doubt his importance as an artist, and chastised himself for failing as a breadwinner.
βAfter losing his money to a scam, Leeβs dreams of selling his work and being reunited with his family were shattered,β the BMAβs representative said.Β
Aside from one week in 1953, Lee and his family would never be reunited.
Lee continued to churn out an impressive amount of work even amidst depression, drawing covers for magazines to earn money, and creating his River of No Return series. But his works from this era are darker and less energetic. His bulls appear thin and grey, lacking their original vigor.
Eventually Lee developed hepatitis and malnutrition from anorexia. He spent time between the houses of artists and friends in Seoul, and was frequently hospitalised. He finally passed away in 1956 at Red Cross Hospital in Seoul, at the young age of 40.
The exhibit ends with a video showcasing stills from Leeβs life, plus a room where guests are invited to post letters and pictures on sticky notes.
Leeβs work finally met with success after his death, as is showcased by the steady flow of visitors to the two large rooms of the exhibit, on display at the BMA until February 26, 2017.
Event at a Glance
Period: October 20, 2016 – February 26, 2017
Venue: Busan Museum of Art
Hours of Operation:
Tue, Wed, Thu, Fri and Sun 10 a.m. β 6 p.m.
Sat 10 a.m. β 9 p.m.
last Wednesday of the month 10 a.m. β 9 p.m.
(Closed every Monday and January 1)
Tickets: 7,000 won for adults/ 4,000 won for elementary, middle school and high school students
For more info.: (051)731-7128
Website: www.jungseob.com/ (only in Korean)
