• The Journal of the Convergence on Culture Technology
• /
• v.9 no.3
• /
• pp.509-518
• /
• 2023

Although German Neo-expressionism and Chinese modern ink painting are separated by thousands of miles in geographical space, they have a similar origin time, and there are many commonalities between them. In the aspect of creative attitude, artists of both styles can absorb and resist foreign styles, return to the past and conquer the tradition. In the aspect of formal expression, the objects of both paintings are representational rather than realistic, and the material characteristics of the media are emphasized. At the inner spiritual level, both expressionism and modern ink painting pay attention to social concern, and show the uncertainty of postmodernism together. The commonality between German neo-expressionism and Chinese modern ink painting does not mean to eliminate the difference, but to maintain the coexistence of difference and commonality.

• The Journal of the Korea Contents Association
• /
• v.11 no.2
• /
• pp.259-267
• /
• 2011

Although having only become a unified nation in latter 19th century, Germany saw a movement centered on intellectuals to find culture via mental revolution after experiencing much confusion amidst rapid urbanization and materialism. Having expressed as they are such psychological states as anger, sorrow, repression, etc., which arise in reality, by remaining faithful to instinctive sensibility, the form naturally becomes distorted or exaggerated and continues on the tradition of romanticism of a powerful, dark, and introverted atmosphere. Having been discontinued after being branded as 'decadent art' by the Nazis of Fascism, expressionist art has returned in latter 20th century mainly centered on Germany, and this merits our attention. While neo expressionists actively use various objets and media, they metaphorically express hope about Germany's culture and society by again placing on the screen figures, myths, and symbols using rough brush touch, rich colors, etc., which past expressionists enjoyed using to represent the inner world of humans. As such, by examining expressionism, which can be seen as the origin of neo expressionism, we will discover the context in which these people conform to Germany's traditional romanticism and how they inherited and developed it.

• Journal of the Korean Society of Costume
• /
• v.40
• /
• pp.5-23
• /
• 1998

The main purpose of this study was intended to analyze the image of N대-Expressionism represented in the late of 20th century fashion design. By the late 1960s and the early 1970s. the prevailing notion of modernity, which had pushed the limits of art beyond previous boundaries, had begun to lose its urgency. Critics called the new pluralistic era which the West was entering Post-Modern. Furthermore, the predominance of America and the New York scene is diminishing, and artistic leadership is now international. Post-Modernism dialectcally made denial of Modernism as likely as New Image Painting and Decorative Pattern Painting Art in 1970's and it was availed as a dialectcal means for the pre-diction of new comings that would be appeared at painting art in 1980's. New Image Painting has been called as Neo-Expressionism. The N대-Expressionists selected human's feature because appeared flankly, directly irregular agitation in the visual effect and they believed human's destructive and amputate body was cruelty. So they express it on the surface canvas. Under the these background, the image of Neo-Expressionism was represented in the late of 20th century fashion design such as the upside-down image of human feature, the image as ameditation on German myth and history, culture, the ecletic image is made of use a mixture of material. The properties of composition, line, color, texture, and form, common to all plastic art, are now more readily recognized and historically valued in every work. That is, individuality, humanity, and the human condition have been at the core of most Western art and Fashion design. Especially Fashion design has been one of the principal instruments used to examine our nature and to promote the notion of growth, self-understanding, and change.

• International Journal of Advanced Culture Technology
• /
• v.11 no.1
• /
• pp.192-197
• /
• 2023

David Salle, born in Norman, Oklahoma in 1952, is the most important and controversial artist of the new-expressionist painting in the United States. His paintings are featured by unique artistic language, and extremely diverse and very ground-breaking expression, which reflect the American society at that time. Besides, he often uses complex image combination with striking colors and forms to attract and touch viewers. In this paper, based on the American new-expressionism, the painting language of David Salle's works was analysed, in which I found that it can be more intuitively and more profoundly feel the development of new-expressionist painting context and David Salle's particularity, and more clearly realize under what the characteristics of the era David Salle created the unique artistic language. The study on David Salle's unique painting language is of important research value and reference significance for our current artistic creation.

• Journal of the Korean Home Economics Association
• /
• v.44 no.6 s.220
• /
• pp.23-34
• /
• 2006

Graffiti has been recognized as an art form since the influence of free, black culture and Neo-Expressionism in the 1980s, though Graffiti remains the subject of controversy both inside and outside the school Modem Art. Jean Michel Basquiat is the most famous Graffiti artist of the '80. He was regarded as the genius and star of American art, leaving a lot of experimental and creative works during his short, 9-year, creative period. In his works, Basquiat well expressed the isolated and dark shadows in the U.S., the pursuit of self identification, the purpose of expression and the epochally social phenomenon. The purpose of this study is to investigate the application of Jean Michel Basquiat's Graffiti to fashion painting. To achieve this purpose, we present a lot of fashion painting works which apply Jean Michel Basquiat's Graffiti by focusing on autographic experience, racialism, cartoon themes, monely value, and anatomical death in the characteristics of Basquiat's works. Through this process, we can express and apply Basquiat's Graffiti to fashion painting by analogizing the themes and modeling the methods of his works, such as childish and simple features, intentionally wrong spellings and sentences, and symbols of death including skeletons, intestines, bones and teeth. In addition, Basquiat's techniques are examined in this study, including the representational handling of a brush, primitive and strong colors, and maximized shape. This study found that fashion painting can juxtaposes art and fashion by expressing Jean Michel Basquiats' Graffiti.

• Journal of the Korean Society of Costume
• /
• v.60 no.6
• /
• pp.1-10
• /
• 2010

The cultures and traditions of Asia has the roots so deep and it is the origin of inspiration. Therefore, it is easy to find a different inspiration when designing, expecially for Western designers who are seeking European tradition and its comparison. The most distinctive feature of the Asian look is non-structural and has no clear form close to the structure of the body or mathematical ratio, but is steric with 2-Dimensional planed textiles, and has a flexible, non-structural formative characteristic related to the movable body. This is base on the vision of the universe that regards the parts as the whole. From this research, generally studying about the Asian look and its non-structural formative characteristics. The study looked closely into the aesthetic value of non-structural formative characteristics formation, with basis on the large dress regulation system of the western reasoning and rationalism and mechanism. At first, my study pointed on the dressing functionalism or Neo-classism considering emotions, Anti-Western aspect observing surrealism dressing and expressionism dressing. Second, with men and women showing similar outer shape without the equivalent element such from wearing a corset, the sexism is abolished. Finally, the designers’ inner intention of art is being delivered, from the aspect that the expression of art, size and no waste of fabric shows effort of communicating with the world, giving value to the possibility of continuance.