ㅇ Exhibition title: Daegu Modern Painting Flow
ㅇ Exhibition period: Permanent exhibition
ㅇ Exhibition venue: Daegu Art Museum Gallery 4, 5
ㅇ Exhibiting artists: 40 people
ㅇ Exhibition composition: 60 collections and art archives representing Daegu's modern painting

Daegu has long been known as the “birthplace of modern art.” Daegu and Gyeongbuk regions have historically been home to a significant number of Sa-dae-bu(사대부, scholar-officials class), who, during the transition to the Japanese colonial period, sought to resist oppression through their own enlightenment. Art was studied as part of the modern civilization, and during this time, artists were seen as modern intellectuals.

The Wave of Modern Painting in Daegu examines, as the title suggests, the development of modern art history in Daegu, focusing primarily on painting, which played a central role in modern art. From the Japanese colonial era to the chaotic post-liberation time. the significance of art activities, that gradually expanded despite challenging circumstances, should not be considered only in the technical development. Rather, the modern perspectives that artists acquired during this time, were not only the reflection on the world viwed, but also the vision to overcome its difficulties as well.
In this respect, the exhibition consists of four chapters.
The first chapter presents the process of the acceptance of Western painting. Starting with Kyo-nam-si-seo-hwa-yeon-gu-hwe(교남시서화연구회), Daegu Art Exposition(대구미술전람회), Byuk-dong-sa(벽동사), and Daegu-misul-sa(대구미술사, Daegu Art Firm) all contributed to a rapid transition from traditional calligraphy and ink painting to transparent watercolor.
The second chapter delves into the full development of modern painting in Daegu. Joseon Art Exhibition became a space where Japanese plein-air painting, combining classical and impressionistic styles, and Joseon local color became institutionalized. This trend is often referred to as naturalism, and Hyang-toh-hoe(향토회), art group in Daegu was part of this movement. On the other hand, artists such as LEE Sangchun(이상춘) and LEE Gapgi(이갑기), who were members of Korea Artista Proleta Federatio(KAPF), attempted to resist through realism, but they met tragic fates due to the oppression under Japanese rule.
The third chapter showcases works created during the post-liberation period and the Korean War, amid a painful and chaotic political situation. Despite the harsh conditions, Daegu, which was not directly affected by the war, became a gathering place for many refugee artists. This influx led to a departure from the prevailing naturalism around Joseon Art Exhibition to broader diversity.
Finally, the fourth chapter briefly covers the emergence of new trends after the war. Despite enduring Japanese colonial rule and the Korean War, efforts to cultivate younger generations in art bore fruit in the post-war era. These younger artists were freer from the norms that had dominated the art world for over 30 years and actively examined and selected from the heritage. As a result, works emphasizing individual subjectivity gradually emerged.