Woman with Flowers, 1991, Oil on canvas, 45.5 x 53 cm. (17.9 x 20.9 in.)
Known as Korea’s “Color Magician,” Yim Jik-soon left an indelible mark on Korean art with his bold colors and emotive compositions. Born in Goesan, Chungcheongbuk-do, Yim spent his early years honing his skills at Tokyo’s Japan Art School under Japanese occupation, where he immersed himself in classical techniques. After returning to Korea, Yim dedicated his life to cultivating future artists, especially during his 14 years as a professor at Chosun University in Gwangju, shaping both the local art scene and the national landscape of figurative painting.
Yim’s art, particularly his use of vibrant, Fauvist-inspired colors, is often celebrated for capturing the essence of his subjects beyond mere representation. His favorite subjects—women, flowers, and landscapes—were rendered with intensity, often blurring the line between visual and emotional truth. By the 1970s and 80s, his works reached their artistic peak, capturing viewers’ imaginations with abstract color fields that resonated with the emotional depth of his inner vision. Yim’s distinct style in this period offered viewers not only a visual experience but an immersive journey into the heart of his subjects.
Woman's Sitting Figure, 1980, Oil on canvas, 72.7 x 60.6 cm. (28.6 x 23.9 in.)
In the Korean National Art Exhibition (Kukjeon), Yim’s works consistently earned accolades, solidifying his position in Korean art. His piece Seated Figure won the Presidential Award in 1957, drawing national attention and praise. Yim’s continued involvement with Kukjeon as both an artist and juror allowed him to bridge Seoul’s established art scene with provincial centers, advocating for regional recognition in the broader Korean art world. His ongoing presence in the exhibition space helped create a dialogue between local and national audiences.
Yim’s teaching at Chosun University also left a lasting impact. Building on the work of his predecessor, Oh Ji-ho, Yim emphasized the use of color as a central expressive tool in painting. He founded the “Gwangju Sunday Painters’ Association” and the “Chosun University Art Research Institute,” laying the groundwork for a unique Honam regional style in Western painting. Through these initiatives, he nurtured a generation of artists, helping to cultivate an art movement rooted in both realism and expressive freedom.
해경, 1965, Oil on canvas, 24.2 x 33.4 cm. (9.5 x 13.1 in.)
During his time in Gwangju, Yim’s works expanded from portraiture and still lifes to serene landscapes, often drawing inspiration from the local scenery. His shift toward capturing natural beauty was not only an artistic choice but also a personal one, as he expressed a deep emotional connection to the Korean landscape. His later works exemplify simplicity in brushwork, combining a minimalist approach with vibrant colors that conveyed a sense of tranquility and beauty.
Despite his strong local ties, Yim maintained a national presence, actively participating in Seoul’s art scene and frequently exhibiting in prominent galleries. He viewed color as a fundamental aspect of his artistic identity, once saying that it was as essential to him as life itself. His works embody this belief, using color not only to represent light but to evoke emotions that transport viewers to an expanded aesthetic experience.
Flowers, 1994, Oil on canvas, 31.8 x 40.9 cm. (12.5 x 16.1 in.)
Yim’s contributions to Korean art were recognized with numerous awards, including the Korea Literature and Art Prize (Presidential Award, 1967), the Jeollanam-do Cultural Award (1970), and the Korean Art and Culture Award (1986). He was also honored with the Oh Ji-ho Art Prize in 1993, which further acknowledged his influence and dedication to Korean art. Yim’s works, acclaimed for their expressive color and emotive brushwork, continue to captivate art lovers, with each piece offering a glimpse into the mind of an artist devoted to his craft.
In his later years, Yim’s style evolved toward greater simplicity and elegance, focusing on essential forms that conveyed the vitality of nature with minimalistic beauty. His works from this period resonate with viewers, embodying a quiet yet profound appreciation for life’s simple moments. Today, Yim Jik-soon is celebrated as one of Korea’s most beloved painters, with his legacy enduring in the vibrant colors and expressive depth of his many masterpieces.
Woman, Oil on canvas, 65.1 x 53 cm. (25.6 x 20.9 in.)
Sayart / Jason Yim, yimjongho1969@gmail.com
Woman with Flowers, 1991, Oil on canvas, 45.5 x 53 cm. (17.9 x 20.9 in.)
Known as Korea’s “Color Magician,” Yim Jik-soon left an indelible mark on Korean art with his bold colors and emotive compositions. Born in Goesan, Chungcheongbuk-do, Yim spent his early years honing his skills at Tokyo’s Japan Art School under Japanese occupation, where he immersed himself in classical techniques. After returning to Korea, Yim dedicated his life to cultivating future artists, especially during his 14 years as a professor at Chosun University in Gwangju, shaping both the local art scene and the national landscape of figurative painting.
Yim’s art, particularly his use of vibrant, Fauvist-inspired colors, is often celebrated for capturing the essence of his subjects beyond mere representation. His favorite subjects—women, flowers, and landscapes—were rendered with intensity, often blurring the line between visual and emotional truth. By the 1970s and 80s, his works reached their artistic peak, capturing viewers’ imaginations with abstract color fields that resonated with the emotional depth of his inner vision. Yim’s distinct style in this period offered viewers not only a visual experience but an immersive journey into the heart of his subjects.
Woman's Sitting Figure, 1980, Oil on canvas, 72.7 x 60.6 cm. (28.6 x 23.9 in.)
In the Korean National Art Exhibition (Kukjeon), Yim’s works consistently earned accolades, solidifying his position in Korean art. His piece Seated Figure won the Presidential Award in 1957, drawing national attention and praise. Yim’s continued involvement with Kukjeon as both an artist and juror allowed him to bridge Seoul’s established art scene with provincial centers, advocating for regional recognition in the broader Korean art world. His ongoing presence in the exhibition space helped create a dialogue between local and national audiences.
Yim’s teaching at Chosun University also left a lasting impact. Building on the work of his predecessor, Oh Ji-ho, Yim emphasized the use of color as a central expressive tool in painting. He founded the “Gwangju Sunday Painters’ Association” and the “Chosun University Art Research Institute,” laying the groundwork for a unique Honam regional style in Western painting. Through these initiatives, he nurtured a generation of artists, helping to cultivate an art movement rooted in both realism and expressive freedom.
해경, 1965, Oil on canvas, 24.2 x 33.4 cm. (9.5 x 13.1 in.)
During his time in Gwangju, Yim’s works expanded from portraiture and still lifes to serene landscapes, often drawing inspiration from the local scenery. His shift toward capturing natural beauty was not only an artistic choice but also a personal one, as he expressed a deep emotional connection to the Korean landscape. His later works exemplify simplicity in brushwork, combining a minimalist approach with vibrant colors that conveyed a sense of tranquility and beauty.
Despite his strong local ties, Yim maintained a national presence, actively participating in Seoul’s art scene and frequently exhibiting in prominent galleries. He viewed color as a fundamental aspect of his artistic identity, once saying that it was as essential to him as life itself. His works embody this belief, using color not only to represent light but to evoke emotions that transport viewers to an expanded aesthetic experience.
Flowers, 1994, Oil on canvas, 31.8 x 40.9 cm. (12.5 x 16.1 in.)
Yim’s contributions to Korean art were recognized with numerous awards, including the Korea Literature and Art Prize (Presidential Award, 1967), the Jeollanam-do Cultural Award (1970), and the Korean Art and Culture Award (1986). He was also honored with the Oh Ji-ho Art Prize in 1993, which further acknowledged his influence and dedication to Korean art. Yim’s works, acclaimed for their expressive color and emotive brushwork, continue to captivate art lovers, with each piece offering a glimpse into the mind of an artist devoted to his craft.
In his later years, Yim’s style evolved toward greater simplicity and elegance, focusing on essential forms that conveyed the vitality of nature with minimalistic beauty. His works from this period resonate with viewers, embodying a quiet yet profound appreciation for life’s simple moments. Today, Yim Jik-soon is celebrated as one of Korea’s most beloved painters, with his legacy enduring in the vibrant colors and expressive depth of his many masterpieces.
Woman, Oil on canvas, 65.1 x 53 cm. (25.6 x 20.9 in.)
