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Burglind Jungmann

[cha T’aesu ]

(b 1529).

Korean painter . The few biographical references make it difficult to decide whether he should be considered a court or a literati painter. The art historian An Hwi-jun includes him among the latter on the basis of a passage in which he is listed together with the vice-director of the Bureau of Painting (Tohwasŏ) Sin Se-rim (1521–83) as a well-known follower of the scholar–painter Kang Hŭi-an. In earlier texts Yi Pul-hae is also compared to the 15th-century court painter An Kyŏn. Yi Tong-ju sees a stylistic link between his paintings and a scroll (Boston, MA, Mus. F.A.) carrying the seal Bunsei (Jap.; Kor. Munch’ŏng). These comparisons with Kang Hŭi-an and the landscape painter Munch’ŏng suggest that Yi Pul-hae may have been a follower of a 15th-century Korean tradition influenced by Chinese painting of the Southern Song period (960–1279). An album leaf bearing the seal of Yi Pul-hae (Seoul, N. Mus.; see Kim, Choi and Im, pl. 51) depicts a scholar viewing the scene from a vantage-point. Behind him looms, as if from an unfathomable depth, an immense mountain peak. The composition of the picture as well as the broad, washed-over surface of the mountain, the structure of which is suggested only by the contours, recall the style of Xia Gui, the Chinese court painter of the Southern Song Academy. The trees enveloping the small figure with their branches like ‘crabs’ claws’ are, on the other hand, closer to the tradition of the Chinese painters Li Cheng and Guo Xi of the Northern Song period (...


Nelly Perazzo

(b Buenos Aires, Oct 1, 1927).

Argentine painter, graphic designer, teacher and critic. After studying in Japan from 1935 to 1951 he returned to Argentina, remaining there until his move to New York in 1963. His paintings from 1952 were in the style of Art informel, with a calligraphic emphasis demonstrating his sympathy with oriental art, but around 1960 he moved towards a more gestural abstraction in works such as Painting No. 20 (1961; Buenos Aires, Mus. A. Mod.), using thicker paint and more subdued colours.

In 1964 Sakai began to use more geometric shapes in his pictures, and he continued to do so on moving in 1965 to Mexico, where he remained until 1977. His example opened the way to geometric abstraction in Mexico, where there was no real tradition of such work. In 1976, shortly before returning to New York, he began a series of paintings using the formal repetition of parallel undulating lines of strongly contrasting colour. From ...