Hangul 박내현 Hangul 우향(Scent of Rain) Hanja 朴崍賢 Hanja 雨鄕 | Name Park Naehyeon McCune–Reischauer Pak Nae-hyon | |
Revised Romanization Bak Nae-hyeon | ||
Park Naehyun (1920~1976) was a South Korean female painter born in Jinnampo of South Pyongan Province. Graduating from Gyeongseong Female high school in 1937, she entered the Tokyo women's arts school in 1941.
Contents
Biography
She married a famed artist, Kim Ki-chang in 1946 and had tens of couple exhibitions and private showcases. Her pieces mainly intended to express meanings in oriental materials by tradition with a view to collaborating western-style canvas partition, which resulted in sensual hues and fabulous pattern. She is said to become a pioneer, rejecting prejudices against women and challenging her own paintings with passion.
Her youngest daughter who is a nun in South Korea said in an interview that she had spent her life as a good mother as well as a passionate painter and a wife. She influenced her husband during her life.
On her way to stand in lectures, she came back owing to health problems. However, she failed to recover and died at her residence in Seongbuk District, Seoul.
Works
She made a debut by being accepted to Chosen Art exhibition of Governor-General of Korea in 1943. Later, she was awarded the first prize given by the President of the Republic of Korea and grand prize in the National Art exhibition of Korea, gaining wider attention.
She went through several sets as a panel of judges in domestic art exhibitions until the early 1960s and then flew to São Paulo Biennale as an official South Korean delegate. After finishing her work, she visited several nations in Latin America including Mexico then studied tapestry and printmaking in New York City.
Briefly, her works can be separated into 4 terms: first (1940s) concentrated on Japanese paintings and figure paintings; second (1950s) challenged her own work with traditional materials of oriental painting in a western-drawing manner. Her pieces at this time produced half-abstract paintings by interpreting cubism and partition of the canvas in an analystic method; third phase (1960s) began experimenting abstractionism; fourth period (1970s) made use of printmaking skills in a creative drawing.