865:) in 1934, her extremely controversial piece of writing that criticized gender roles as well as her husband's behavior in their marriage. Although both Na and her husband committed faults in their relationship, Na lost more than her husband and eventually became a social outcast after releasing this work. This painting was made just a year after this incident, reflecting her hope to be free from social restrictions. Na uses the impasto painting technique in this work, which is a style in which visible brushstrokes of thick paint are used to create clear paint streaks on top of the canvas. By doing so, she is able to capture the fleeting moments when the wind blows the peonies to a blur in the foreground. The texture and the appearance of movement in the painting evoke a realistic experience of a windy excursion and the vibrant colors (orange, green, yellow, and white) make the painting appear animated and lively. Both of these qualities are symbolic of the freedom Na seeks as a woman in 20th-century conservative Korean society.
840:
797:
addition to these qualities, her large eyes and high nose bridge are reminiscent of western features. The influence of Cubism is clear in the prominent
Westernized facial bone structure of the subject; this could imply a preferred appearance or a wish to understand the Western woman’s experience of living in a more progressive society. Despite the fact that she looks both western and modern in terms of appearance and attire, the darkness in this painting's coloring (black, silver, brown, peach) shows how she was still stuck within a society where conservative ideas were holding women back from achieving real and significant social changes.
827:– 1928) and depicts two apparently western women wearing brown and white fur coats. It is clear that the two women are western or at least meant to portray western women based on their facial features, which are drawn in a similar way to the features that appear on her own self-portrait (e.g. high nose bridges and heavy makeup). This painting evokes an image of luxury and sophistication through the way the women are elegantly posed, indicating that it is unlikely that the fur coats were worn solely out of necessity for the frosty weather. The title of the painting
33:
443:. In the spring of 1915, Na's father summoned her back home and pressured her to accept a marriage proposal from a well-established family. Na was able to escape this by accepting a teaching position in a primary school, according to her later account. After a year of teaching and saving money for tuition, Na returned to Tokyo toward the end of 1915 to resume her studies. In April 1916, however, Choe Sung-gu died of tuberculosis, and Na had to temporarily stop her studies while recovering from a mental breakdown.
900:(1927-1928), also created during this time, uses more subdued colors (e.g. brown and grayish tones) that appear to make the scene more depressing and dark. This artistic choice establishes a mood more closely related to that of her Paris landscape painting, which may suggest that Na viewed her time in France differently in comparison to the time she spent in the other European nations, possibly due to her affair in Paris with Choi Rin at the time.
763:
801:
1577:
702:
377:). She was a pioneering Korean feminist writer and painter. She was the first female professional painter and the first feminist writer in Korea. She created some of the earliest Western-style paintings in Korea, and published feminist novels and short stories. She became well known as a feminist because of her criticism of the marital institution in the early 20th century.
528:(1923). An additional description of her work by Sunglim Kim explains that her environment had a clear influence on the depictions in her work, stating, “Because she went out to sketch for her landscapes and gave deep thought to composition, her presentation of architectural structure and her compositions are well considered and solid.”
473:, or "New Woman", on the subject of improving Korean women's clothing. They argued for a more functional and practical outfit for Korean women to help improve their hygiene, health, and self-image, and denounced traditional Korean dresses which were designed with no consideration for women's physical comfort, protection, and convenience.
447:
565:, as well as requesting help in selling her work. This was not enough, however, and she no longer submitted work to public exhibitions. These issues all took their toll on Na, which was attributed to another shift in her artistic style, “with loose structure and rough hasty brushstrokes” exemplified in
434:
in 1913, Na majored in
Western oil painting at Tokyo Arts College for Women. As a student, Na wrote several essays critiquing the standard "good wife, good mother" Korean archetype, saying she wanted a career as an artist. In April 1915, Na became the main organizer of the Association of Korean Women
880:
The drawing is estimated to have been made in 1928 during Na's stay in Paris as part of her 21-month trip around the world with her husband. The painting is 60 centimeters long (24 inches) and 50 centimeters wide and depicts a typical landscape painting of a French village with surrounding trees and
812:
In 2000, Seoul Arts Center opened a retrospective exhibition of her works, and in 2022, The Los
Angeles County Museum of Art (LACMA) displayed this self-portrait as part of its Korean contemporary art exhibition, titled “The Space Between: The Modern in Korean Art." BTS’s RM introduced it along with
792:
which was at the time worn as everyday clothing in Korea. Additionally, her hairstyle is also modernized; her hair in the painting has been "styled" into soft waves with two buns in the back, which was a popular feminine hairstyle in the West in the 1920s. Her make-up is also more westernized, with
483:
In 1927 Na and her husband went on a tour of Europe and
America sponsored by the Japanese government. Following her return from abroad, Na continued her art career, holding an exhibition in her home town of Suwon in which she displayed both the art that completed in Europe as well as prints she had
868:
More recently, another landscape painting created by Na has been unveiled. The drawing was found at her nephew Na
Sanggyun’s house in Buam-dong, northern Seoul. According to Na Sanggyun, the painting had belonged to the granddaughter of Choi Nam-seon, a renowned writer during the Japanese colonial
523:
Art historian
Sunglim Kim writes how, in 1926 Na Hye-sŏk described that her painting style was “influenced by her Japanese professors.” This resulted in a "Post-Impressionist and Naturalist style" which emphasized form, color, and lighting. In order to bring a more personal differentiation to her
808:
The depressing look she dons in the painting indicates the hardship of living as a New Woman in a patriarchal and complicated society of early 20th century Korea; her firm, straight gaze points to her conviction in her ideals. She is also gazing somewhere else rather than directly at the viewer,
503:, Na criticized the repression of female sexuality; stated that her ex-husband had been unable to satisfy her sexually and refused to discuss the issue; and finally she advocated "test marriages" where a couple would live together before marrying to avoid a repeat of her unhappy marriage. It was
831:
also adds to this imagery, suggesting that this attire is meant for aesthetic purposes instead. The presentation of the women is associated with
Western society and modernity, and this influence from the West is present throughout most of her paintings. The darker color scheme she uses in this
796:
The dark palette of the background blends with Na’s hair and dress to create a flat surface for her face to stand out, drawing viewers’ eyes to her expression. The carved and partially shadowed face, the dark, deep eyes, and the slightly pressed and pursed mouth convey weariness and agony. In
480:. On March 18, 1921, Na had her first exhibition of paintings and the first exhibition by a Korean woman painter in Seoul. In 1923, Na attracted much attention for her essay "Thoughts on becoming a mother," in which she criticized her husband for leaving child-rearing entirely up to her.
873:
896:. These pieces differ from Na's Paris landscape painting through the colorful presentation of the scenes depicted, with the varied use of bright colors such as green, orange, brown, blue, and white in the fluid strokes that outline the details of the scenes. Interestingly, Na's
524:
work, Na’s style underwent a shift from brighter, prominent colors to ones that were less vibrant. Other characteristics of Na’s personal style include: a “specialty in landscape”; “bold, confident, and spontaneous brushstrokes”, and experimentation with texture, exemplified in
884:
The artwork was recognized by Kim Yi-sun, a professor of Korean modern art at Hongik
University, to be from Na's collection book. The piece was confirmed to be hers due to a signature 'HR' found on it that she used regularly in her works as a form of identification.
423:
770:
Although Na is remembered primarily for her literary work on early feminism, she has also impacted modern Korean art through several known pieces that reflect both her beliefs on gender roles as well as her life's trajectory. The most famous of these works is her
487:
Na studied painting in France. While in Paris, with her husband away, she is said to have engaged in an affair with
Cheondo-gyo leader Choi Rin, which became fodder for gossip columnists. Na's husband divorced her on grounds of infidelity in 1931.
788:. It is difficult to find any likeness to Korean or female conformity in Na’s self-portrait. In this oil painting, she emphasizes her identity as a modern, educated, independent woman by wearing modern clothing instead of a traditional Korean
507:
that ultimately ruined Na's career, as her views were regarded as scandalous and shocking, since traditional Korean
Confucian culture considered premarital sex to be taboo and women were not to speak frankly of their sexuality.
1125:
918:, 1918) is regarded as a work that shows her distinct femininity. Her novel work was a confession novel. It was also the trend of the novels of the 1920s-1930s. Similar confessionary novels by writers such as
561:
In the 1930s, Na received criticism of her work as well as of her personal life after her affair became known to the public. As a result, she moved to submitting works to a Japanese art exhibition,
499:
in 1934, raising issues with gender inequality endorsed by Korean morality and tradition. She challenged the patriarchal social system and male-oriented mentality of Korean society at the time. In
881:
a red-roofed house with white walls. The bold brush strokes in the work simplify the object while also bringing it to life, and elements of Fauvinism and expressionism can also be found in it.
857:). Na’s range of topics for her paintings is vast, and these topics range from farm life, nudes, and satires to different types of scenery. This painting was created after she released
1693:
1129:
869:
period. Choi Namseon and Na had been acquaintances ever since they studied together in Japan. She gave the drawing to him, and it had been preserved through three generations.
491:
Despite the divorce and disgraceful reputation, Na continued painting and won a special prize at the 10th Joseon Art Exhibition in 1931. She also published a piece called
1818:
1788:
435:
Students in Japan. It was around this time that she fell in love with Choe Sung-gu, a student at Keio University and the then editor and publisher of the magazine
1669:
405:
As a young woman, Na was known for her high spirits and outspokenness, making it clear she wanted to be a painter and an intellectual, rejecting the traditional "
511:
She died on December 10, 1948, at a charity hospital. She has recently been acknowledged in Korea for her artistic and literary accomplishments. For example,
2072:
1806:
1323:
Kim, Sunglim (2018). "The Personal is Political: The Life and Death and Life of an Hye-sok (1896-1948)". In Chiem, Kristen L.; Blanchard, Lara C. W. (eds.).
1651:
1453:
Creating new paradigms of womanhood in modern Korean literature: Na Hye-sok's "Kyonghui".(Critical Essay) - Korean Studies | HighBeam Research - FREE trial
1183:
Creating new paradigms of womanhood in modern Korean literature: Na Hye-sok's "Kyonghui".(Critical Essay) - Korean Studies | HighBeam Research - FREE trial
839:
813:
the nine other pieces through an audio message spoken in both English and Korean, a testament to how influential and respected Na is nowadays for her art.
1457:
1992:
1484:
1151:
809:
which could represent how the freedom and fluidity in gender roles she was seeking was unable to be found in the conservative society she was living in.
1440:
2047:
836:(i.e. brown tones) and is used in much of her other work as well, reflecting both the tragic life she lived as well as her mental state at the time.
439:. The relationship between Na and Choe was highly publicized among Korean students in Japan, as was Na's close literary and personal association with
1782:
2022:
1687:
32:
1962:
1776:
1639:
1397:
1332:
2082:
2077:
1747:
2062:
1800:
1794:
1723:
397:. Na demonstrated her artistic talent from an early age and graduated at the top of her class at Jinmyeong Girl's High School in 1913.
2027:
2067:
2017:
1246:
749:
535:(US $ 3,500 today). Na's first solo exhibition, which included a collection of oil paintings, was promoted in a newspaper article
531:
During this period, Na participated in many exhibitions, displaying and selling her work, some of which sold for as much as 350
2007:
1741:
1711:
1705:
1681:
431:
1024:
1663:
1477:
727:
271:
199:
723:
1452:
1212:
1182:
2032:
2042:
1997:
1812:
419:), published in 1918, concerns a woman's self-discovery and her subsequent search for meaning in life as a "new woman."
2052:
1657:
793:
harsh contour, heavy blush, the shape of the eyebrow is arched and shaded darkly with a dark brown to black coloring.
469:. Early in the 1920s, both Kim and Na contributed a series of articles to the first magazine for Korean women, called
712:
2012:
1919:
1237:
Yung-Hee Kim, Questioning Minds: Short Stories by Modern Korean Women Writers (March 10, 2020). "Kyŏnghŭi (1918)".
562:
1437:
731:
716:
2037:
2002:
1982:
1729:
1645:
1470:
1987:
1546:
999:
1097:
Kim, H. J. (2002). The life and paintings of Rah, Hye-Suk. (Masters Thesis). Kyonggi University, South Korea.
1977:
1770:
1561:
1532:
446:
1388:
Kim, Sunglim (2018). "The Personal is Political: The Life and Death and Life of Na Hye-sok(1896-1948)", In
1864:
1699:
1616:
1527:
406:
393:. She was the fourth child of father Na Gi-jeong and mother Choi Si-ui, and a member of the aristocratic
285:
213:
2057:
1899:
1844:
1675:
1195:
1972:
1967:
1889:
1717:
1556:
1894:
1854:
1839:
1611:
1512:
310:
1909:
1421:
1252:
455:
1869:
1596:
1416:
Kim, Yung-Hee. “In Quest of Modern Womanhood: Sinyŏja, A Feminist Journal in Colonial Korea.”
1393:
1328:
1242:
1145:
1065:
512:
1055:
Times Weekender; Na Hye-Sok Lived Flamboyant Life to Tragic End. - Korea Times (Seoul, Korea)
1943:
1859:
1849:
1566:
1517:
1493:
1407:
1367:
1349:
872:
84:
1929:
1735:
1606:
1601:
1507:
1199:
1003:
762:
542:
Many of her paintings were accepted into the Joseon Art Exhibition. Two of her paintings,
539:. Na also submitted paintings almost yearly to the state-sponsored Joseon Art Exhibition.
321:
558:
received the “...highest award in Western oil painting…” in 1926 and 1931, respectively.
1884:
1591:
1542:
1390:
Gender, Continuity, and Modernity in Shaping the Arts of East Asia, 16th-20th centuries
1325:
Gender, Continuity, and Modernity in Shaping the Arts of East Asia, 16th-20th centuries
931:
919:
422:
1956:
1924:
1551:
1522:
1444:
957:
80:
1028:
394:
800:
888:
Some other paintings potentially created by Na during her stay in Europe include
1914:
975:
970:
934:
challenged the sexual taboo based on the traditional patriarchal family system.
923:
701:
305:
1904:
1874:
1576:
995:"Na Hye-sok" LTI Korea Datasheet available at LTI Korea Library or online at:
927:
550:
won fourth and third place, respectively. Additionally, two of her paintings,
462:
440:
354:
1256:
1879:
1054:
1411:
1753:
358:
350:
334:
227:
127:
1425:
476:
On April 10, 1920, Na married Kim Woo-young, in Jeongdong wedding hall,
346:
276:
261:
258:
204:
189:
186:
183:
1537:
996:
960:
on April 28, 2019, commemorated the 123rd anniversary of Na’s birth.
390:
342:
234:
159:
115:
56:
1025:"Places at the Table - Institute of East Asian Studies, UC Berkeley"
1462:
871:
838:
799:
761:
477:
445:
421:
386:
331:
250:
175:
135:
131:
119:
88:
62:
338:
1466:
695:
123:
1165:
1163:
1161:
847:
Another work of art Na is attributed with is the painting
945:
Questioning Minds: Short Stories By Modern Korean Writers
290:
218:
515:
opened a retrospective exhibition of her works in 2000.
465:
and ten men, participated the coterie literary magazine
55:
Shinpyeong-ri, Suwon-myeon, Suwon County, Incheon-bu,
1938:
1832:
1763:
1632:
1625:
1584:
1500:
284:
270:
249:
233:
226:
212:
198:
174:
158:
153:
141:
111:
103:
95:
70:
42:
23:
1694:Women's International League for Peace and Freedom
1120:
1118:
1116:
1050:
1048:
1046:
458:against Japanese rule. She was jailed for this.
1241:. University of Hawai'i Press. pp. 24–54.
426:Marriage of Na Hye-sŏk and Kim Woo-young (1920)
1670:National Council of Women of the United States
1352:[ 'What did the new women dream of'].
1478:
1076:The clan was also known as the Naju Ra clan (
1066:Korean Studies, Volume 26 - Table of Contents
8:
1819:National Union of Women's Suffrage Societies
1807:National American Woman Suffrage Association
1789:London National Society for Women's Suffrage
1213:Chronology of women's history - Google Books
1083:
1077:
913:
852:
776:
650:
634:
622:
610:
598:
586:
414:
372:
366:
330:, April 28, 1896 – December 10, 1948) was a
325:
256:
240:
181:
165:
730:. Unsourced material may be challenged and
450:In a monastery on Inwangsan Mountain (1944)
1629:
1485:
1471:
1463:
1327:. Leiden/Boston: BRILL. pp. 257–269.
385:Na Hye-sŏk was born on April 28, 1896, in
31:
20:
1392:. Leiden/Boston: BRILL. p. 257-269.
750:Learn how and when to remove this message
1652:Norwegian Association for Women's Rights
1273:, London: Macmillan 2010 pages 168-169.
988:
1404:Past Forward: Essays in Korean History
1318:
1316:
1314:
1312:
1196:"Na Hye-seok advocated social changes"
1150:: CS1 maint: archived copy as title (
1143:
1783:National Society for Women's Suffrage
1640:German Association of Female Citizens
1402:Hwang, Kyung Moon. “NA HYE-SEOK.” In
1348:Hyeong Chan, Kim (February 2, 2000).
1310:
1308:
1306:
1304:
1302:
1300:
1298:
1296:
1294:
1292:
409:" archetype. Her major written work,
7:
1688:Icelandic Women's Rights Association
728:adding citations to reliable sources
2073:Korean women independence activists
1801:American Woman Suffrage Association
1795:National Woman Suffrage Association
816:A similar painting by Na is titled
1777:National Women's Rights Convention
1350:"[화제의 책]'신여성들은 무엇을 꿈꾸었는가'"
1286:, London: Macmillan 2010 page 169.
1227:, London: Macmillan 2010 page 161.
1173:, London: Macmillan 2010 page 168.
1110:, London: Macmillan 2010 page 167.
997:http://klti.or.kr/ke_04_03_011.do#
14:
1993:20th-century Korean women writers
1748:National Women's Political Caucus
1194:Hwang, Kyung Moon (May 6, 2015).
567:Peonies in Front of Hwanyong Hall
484:acquired throughout her travels.
454:In 1919, she participated in the
99:Poet, journalist, writer, painter
2048:20th-century Korean philosophers
1724:All Pakistan Women's Association
1575:
700:
145:Kim Woo-yeong (m.1920; div.1930)
1742:National Organization for Women
1712:League of Women Voters of Japan
1682:International Alliance of Women
1406:, 137–139. Anthem Press, 2019.
843:Peonies at Hwaryeongjeon (1935)
832:painting is similar to that of
526:South Gate of Bonghwan Fortress
2023:South Korean women journalists
1664:International Council of Women
1084:
1078:
853:
777:
651:
635:
415:
373:
367:
326:
257:
241:
182:
166:
1:
1368:"Na Hye-sok's 123rd Birthday"
821:
782:
665:
1963:20th-century Korean painters
1813:Bund Deutscher Frauenvereine
1706:All India Women's Conference
619:Na Hyeseok's Collected Works
432:Jinmyeong Girls' High School
2083:March First Movement people
2078:20th-century women painters
1658:Fredrika Bremer Association
1002:September 21, 2013, at the
291:
277:
219:
205:
16:Korean feminist (1896–1948)
2099:
2063:20th-century women writers
1458:Most Feminine and Feminist
876:Na's Paris Landscape Piece
552:Ch’onhung (Tianhou Temple)
430:After her graduation from
303:
2028:Korean women philosophers
1573:
914:
623:
611:
599:
587:
519:Artistic style and career
298:
149:
30:
2068:20th-century journalists
2018:South Korean journalists
1547:equal pay for equal work
849:Peonies at Hwaryeongjeon
766:Self-Portrait (ca. 1928)
647:Peonies at Hwaryeongjeon
1920:Ra'ana Liaquat Ali Khan
1771:Seneca Falls Convention
1562:Feminist foreign policy
1533:Anti-discrimination law
804:Dancers (ca. 1927-1928)
461:In 1920 Na, along with
37:Na, aged 18–19 (c.1915)
2008:Korean revolutionaries
1865:Elizabeth Cady Stanton
1730:German Women's Council
1700:League of Women Voters
1646:Danish Women's Society
1617:Individualist feminism
1592:Liberal state feminism
1528:Violence against women
1412:10.2307/j.ctvb1hts4.54
877:
844:
805:
767:
451:
427:
407:Good Wife, Wise Mother
1900:Margery Corbett Ashby
1845:Judith Sargent Murray
1676:Naisasialiitto Unioni
1031:on September 24, 2017
875:
842:
803:
765:
449:
425:
308:, the family name is
2033:Korean Empire people
1890:Fredrikke Marie Qvam
1718:Deutscher Frauenring
1557:Women in development
938:Works in translation
861:(otherwise known as
859:A Divorce Confession
724:improve this section
272:Revised Romanization
200:Revised Romanization
61:now Haenggung-dong,
2043:Liberalism in Korea
1998:Free love advocates
1895:Carrie Chapman Catt
1855:Harriet Taylor Mill
1840:Mary Wollstonecraft
1612:Difference feminism
1239:Two Kyŏnghŭi (1918)
863:A Divorce Testimony
505:A Divorce Testimony
501:A Divorce Testimony
493:A Divorce Testimony
2053:Korean women poets
1910:Margarete Bonnevie
1443:July 16, 2012, at
1420:37 (2013): 44–78.
1284:A History of Korea
1271:A History of Korea
1225:A History of Korea
1171:A History of Korea
1108:A History of Korea
878:
845:
806:
768:
607:Na Hyeseok jeonjip
456:March 1st Movement
452:
428:
2013:People from Suwon
1950:
1949:
1870:Millicent Fawcett
1828:
1827:
1597:Equality feminism
1398:978-90-04-34894-3
1374:. April 28, 2019.
1334:978-90-04-34894-3
1282:Kyung Moon Hwang
1269:Kyung Moon Hwang
1223:Kyung Moon Hwang
1169:Kyung Moon Hwang
1106:Kyung Moon Hwang
908:Na's short story
760:
759:
752:
583:Divorce Testimony
571:Hongnyu Waterfall
513:Seoul Arts Center
302:
301:
286:McCune–Reischauer
214:McCune–Reischauer
74:December 10, 1948
66:
2090:
2038:Liberal feminism
2003:Korean feminists
1983:Korean educators
1860:Susan B. Anthony
1850:John Stuart Mill
1630:
1579:
1518:Female education
1513:Women's suffrage
1494:Liberal feminism
1487:
1480:
1473:
1464:
1449:
1376:
1375:
1364:
1358:
1357:
1345:
1339:
1338:
1320:
1287:
1280:
1274:
1267:
1261:
1260:
1234:
1228:
1221:
1215:
1210:
1204:
1203:
1191:
1185:
1180:
1174:
1167:
1156:
1155:
1149:
1141:
1139:
1137:
1128:. Archived from
1122:
1111:
1104:
1098:
1095:
1089:
1087:
1086:
1081:
1080:
1074:
1068:
1063:
1057:
1052:
1041:
1040:
1038:
1036:
1027:. Archived from
1021:
1015:
1012:
1006:
993:
917:
916:
856:
855:
826:
823:
787:
784:
780:
779:
755:
748:
744:
741:
735:
704:
696:
670:
667:
654:
653:
638:
637:
626:
625:
614:
613:
602:
601:
590:
589:
495:in the magazine
418:
417:
376:
375:
370:
369:
329:
328:
294:
280:
265:
264:
244:
243:
222:
208:
193:
192:
169:
168:
85:Yongsan District
81:Wonhyoro il-dong
77:
60:
52:
50:
35:
21:
2098:
2097:
2093:
2092:
2091:
2089:
2088:
2087:
1988:Korean scholars
1953:
1952:
1951:
1946:
1934:
1930:Hillary Clinton
1824:
1759:
1736:Fawcett Society
1621:
1607:Equity feminism
1602:Social feminism
1580:
1571:
1508:Gender equality
1496:
1491:
1447:
1434:
1385:
1380:
1379:
1366:
1365:
1361:
1347:
1346:
1342:
1335:
1322:
1321:
1290:
1281:
1277:
1268:
1264:
1249:
1236:
1235:
1231:
1222:
1218:
1211:
1207:
1200:The Korea Times
1193:
1192:
1188:
1181:
1177:
1168:
1159:
1142:
1135:
1133:
1132:on July 8, 2011
1126:"Archived copy"
1124:
1123:
1114:
1105:
1101:
1096:
1092:
1075:
1071:
1064:
1060:
1053:
1044:
1034:
1032:
1023:
1022:
1018:
1014:The bright moon
1013:
1009:
1004:Wayback Machine
994:
990:
985:
980:
966:
954:
943:"Kyounghui" in
940:
906:
890:Harbor in Spain
824:
785:
756:
745:
739:
736:
721:
705:
694:
675:Harbor in Spain
668:
658:Paris Landscape
579:
521:
403:
383:
315:
266:
245:
194:
170:
79:
75:
59:
54:
48:
46:
38:
26:
17:
12:
11:
5:
2096:
2094:
2086:
2085:
2080:
2075:
2070:
2065:
2060:
2055:
2050:
2045:
2040:
2035:
2030:
2025:
2020:
2015:
2010:
2005:
2000:
1995:
1990:
1985:
1980:
1978:Korean writers
1975:
1970:
1965:
1955:
1954:
1948:
1947:
1942:
1940:
1936:
1935:
1933:
1932:
1927:
1922:
1917:
1912:
1907:
1902:
1897:
1892:
1887:
1885:Hagbart Berner
1882:
1877:
1872:
1867:
1862:
1857:
1852:
1847:
1842:
1836:
1834:
1830:
1829:
1826:
1825:
1823:
1822:
1816:
1810:
1804:
1798:
1792:
1786:
1780:
1774:
1767:
1765:
1761:
1760:
1758:
1757:
1751:
1745:
1739:
1733:
1727:
1721:
1715:
1709:
1703:
1697:
1691:
1685:
1679:
1673:
1667:
1661:
1655:
1649:
1643:
1636:
1634:
1627:
1623:
1622:
1620:
1619:
1614:
1609:
1604:
1599:
1594:
1588:
1586:
1582:
1581:
1574:
1572:
1570:
1569:
1564:
1559:
1554:
1549:
1543:Gender pay gap
1540:
1535:
1530:
1525:
1520:
1515:
1510:
1504:
1502:
1498:
1497:
1492:
1490:
1489:
1482:
1475:
1467:
1461:
1460:
1455:
1450:
1433:
1432:External links
1430:
1429:
1428:
1418:Korean Studies
1414:
1400:
1384:
1381:
1378:
1377:
1359:
1340:
1333:
1288:
1275:
1262:
1247:
1229:
1216:
1205:
1186:
1175:
1157:
1112:
1099:
1090:
1069:
1058:
1042:
1016:
1007:
987:
986:
984:
981:
979:
978:
973:
967:
965:
962:
953:
950:
949:
948:
939:
936:
932:Kim Myeong-sun
920:Yeom Sang-seop
905:
902:
898:Scene of Paris
894:Beach in Spain
758:
757:
708:
706:
699:
693:
690:
689:
688:
685:Scene of Paris
682:
680:Beach in Spain
677:
672:
659:
656:
644:
628:
616:
604:
592:
578:
575:
548:Nangrang Tomb,
544:Garden in Fall
520:
517:
402:
399:
382:
379:
300:
299:
296:
295:
288:
282:
281:
274:
268:
267:
255:
253:
247:
246:
239:
237:
231:
230:
224:
223:
216:
210:
209:
202:
196:
195:
180:
178:
172:
171:
164:
162:
156:
155:
151:
150:
147:
146:
143:
139:
138:
113:
109:
108:
105:
101:
100:
97:
93:
92:
78:(aged 52)
72:
68:
67:
53:April 28, 1896
44:
40:
39:
36:
28:
27:
24:
15:
13:
10:
9:
6:
4:
3:
2:
2095:
2084:
2081:
2079:
2076:
2074:
2071:
2069:
2066:
2064:
2061:
2059:
2056:
2054:
2051:
2049:
2046:
2044:
2041:
2039:
2036:
2034:
2031:
2029:
2026:
2024:
2021:
2019:
2016:
2014:
2011:
2009:
2006:
2004:
2001:
1999:
1996:
1994:
1991:
1989:
1986:
1984:
1981:
1979:
1976:
1974:
1971:
1969:
1966:
1964:
1961:
1960:
1958:
1945:
1941:
1937:
1931:
1928:
1926:
1925:Betty Friedan
1923:
1921:
1918:
1916:
1913:
1911:
1908:
1906:
1903:
1901:
1898:
1896:
1893:
1891:
1888:
1886:
1883:
1881:
1878:
1876:
1873:
1871:
1868:
1866:
1863:
1861:
1858:
1856:
1853:
1851:
1848:
1846:
1843:
1841:
1838:
1837:
1835:
1831:
1820:
1817:
1814:
1811:
1808:
1805:
1802:
1799:
1796:
1793:
1790:
1787:
1784:
1781:
1778:
1775:
1772:
1769:
1768:
1766:
1762:
1755:
1752:
1749:
1746:
1743:
1740:
1737:
1734:
1731:
1728:
1725:
1722:
1719:
1716:
1713:
1710:
1707:
1704:
1701:
1698:
1695:
1692:
1689:
1686:
1683:
1680:
1677:
1674:
1671:
1668:
1665:
1662:
1659:
1656:
1653:
1650:
1647:
1644:
1641:
1638:
1637:
1635:
1631:
1628:
1624:
1618:
1615:
1613:
1610:
1608:
1605:
1603:
1600:
1598:
1595:
1593:
1590:
1589:
1587:
1583:
1578:
1568:
1565:
1563:
1560:
1558:
1555:
1553:
1552:Glass ceiling
1550:
1548:
1544:
1541:
1539:
1536:
1534:
1531:
1529:
1526:
1524:
1523:Right to work
1521:
1519:
1516:
1514:
1511:
1509:
1506:
1505:
1503:
1499:
1495:
1488:
1483:
1481:
1476:
1474:
1469:
1468:
1465:
1459:
1456:
1454:
1451:
1448:(in Japanese)
1446:
1445:archive.today
1442:
1439:
1436:
1435:
1431:
1427:
1423:
1419:
1415:
1413:
1409:
1405:
1401:
1399:
1395:
1391:
1387:
1386:
1382:
1373:
1369:
1363:
1360:
1355:
1351:
1344:
1341:
1336:
1330:
1326:
1319:
1317:
1315:
1313:
1311:
1309:
1307:
1305:
1303:
1301:
1299:
1297:
1295:
1293:
1289:
1285:
1279:
1276:
1272:
1266:
1263:
1258:
1257:j.ctt6wqrm3.7
1254:
1250:
1248:9780824833954
1244:
1240:
1233:
1230:
1226:
1220:
1217:
1214:
1209:
1206:
1201:
1197:
1190:
1187:
1184:
1179:
1176:
1172:
1166:
1164:
1162:
1158:
1153:
1147:
1131:
1127:
1121:
1119:
1117:
1113:
1109:
1103:
1100:
1094:
1091:
1073:
1070:
1067:
1062:
1059:
1056:
1051:
1049:
1047:
1043:
1030:
1026:
1020:
1017:
1011:
1008:
1005:
1001:
998:
992:
989:
982:
977:
974:
972:
969:
968:
963:
961:
959:
958:Google Doodle
951:
946:
942:
941:
937:
935:
933:
929:
925:
921:
911:
903:
901:
899:
895:
891:
886:
882:
874:
870:
866:
864:
860:
850:
841:
837:
835:
834:Self-Portrait
830:
819:
814:
810:
802:
798:
794:
791:
774:
773:Self-Portrait
764:
754:
751:
743:
740:December 2022
733:
729:
725:
719:
718:
714:
709:This section
707:
703:
698:
697:
691:
686:
683:
681:
678:
676:
673:
663:
660:
657:
648:
645:
642:
632:
631:Self-Portrait
629:
620:
617:
608:
605:
596:
593:
584:
581:
580:
576:
574:
572:
568:
564:
559:
557:
553:
549:
545:
540:
538:
537:Kyonsong ilbo
534:
529:
527:
518:
516:
514:
509:
506:
502:
498:
494:
489:
485:
481:
479:
474:
472:
468:
464:
459:
457:
448:
444:
442:
438:
433:
424:
420:
412:
408:
400:
398:
396:
392:
388:
380:
378:
364:
360:
356:
352:
348:
344:
340:
336:
333:
323:
319:
313:
312:
307:
297:
293:
289:
287:
283:
279:
275:
273:
269:
263:
260:
254:
252:
248:
238:
236:
232:
229:
225:
221:
217:
215:
211:
207:
203:
201:
197:
191:
188:
185:
179:
177:
173:
163:
161:
157:
152:
148:
144:
140:
137:
133:
129:
125:
121:
117:
114:
110:
106:
102:
98:
94:
91:, South Korea
90:
86:
82:
73:
69:
65:, South Korea
64:
58:
45:
41:
34:
29:
22:
19:
2058:Naju Na clan
1567:LGBT+ rights
1417:
1403:
1389:
1371:
1362:
1353:
1343:
1324:
1283:
1278:
1270:
1265:
1238:
1232:
1224:
1219:
1208:
1189:
1178:
1170:
1134:. Retrieved
1130:the original
1107:
1102:
1093:
1072:
1061:
1033:. Retrieved
1029:the original
1019:
1010:
991:
955:
947:(p. 24)
944:
909:
907:
904:Appreciation
897:
893:
889:
887:
883:
879:
867:
862:
858:
848:
846:
833:
828:
817:
815:
811:
807:
795:
789:
772:
769:
746:
737:
722:Please help
710:
684:
679:
674:
661:
646:
640:
630:
618:
612:나혜석전집, 羅蕙錫全集
606:
594:
588:이혼고백서, 離婚告白書
582:
570:
566:
560:
555:
551:
547:
543:
541:
536:
532:
530:
525:
522:
510:
504:
500:
496:
492:
490:
486:
482:
475:
470:
466:
460:
453:
436:
429:
410:
404:
395:Naju Na clan
384:
362:
317:
316:
309:
76:(1948-12-10)
18:
1973:1948 deaths
1968:1896 births
1915:Eva Kolstad
976:Kim Hwallan
971:Park Indeok
924:Kim Dong-in
825: 1927
786: 1928
687:(1927–1928)
669: 1927
569:(1933) and
437:Hakchigwang
324::
318:Na Hye-sŏk
306:Korean name
154:Korean name
1957:Categories
1905:Hanna Rydh
1875:Na Hye-sok
983:References
928:Kim Iryeop
497:Samcheolli
463:Kim Iryeop
441:Yi Gwangsu
381:Early life
355:journalist
220:Na Hye-sŏk
206:Na Hyeseok
96:Occupation
49:1896-04-28
25:Na Hye-sŏk
1944:Sunflower
1939:Symbolism
1880:Gina Krog
711:does not
107:1896–1948
1754:UN Women
1585:Variants
1441:Archived
1426:24575276
1146:cite web
1136:March 8,
1035:March 8,
1000:Archived
964:See also
910:Kyunghui
643:ca. 1928
595:Kyonghui
573:(1937).
411:Kyonghui
363:Jeongwol
359:art name
351:educator
335:feminist
304:In this
292:Chŏngwŏl
278:Jeongwol
228:Art name
128:Painting
1633:Present
1383:Sources
829:Dancers
818:Dancers
790:hanbok,
732:removed
717:sources
692:Artwork
671:– 1928)
662:Dancers
624:나혜석 작품집
471:Sinyoja
347:painter
1833:People
1821:(1897)
1815:(1894)
1809:(1890)
1803:(1869)
1797:(1869)
1791:(1867)
1785:(1867)
1779:(1850)
1773:(1848)
1764:Former
1756:(2010)
1750:(1971)
1744:(1966)
1738:(1953)
1732:(1951)
1726:(1949)
1720:(1949)
1714:(1946)
1708:(1927)
1702:(1920)
1696:(1915)
1690:(1907)
1684:(1904)
1678:(1892)
1672:(1888)
1666:(1888)
1660:(1884)
1654:(1884)
1648:(1871)
1642:(1865)
1626:Groups
1538:Sexism
1501:Issues
1424:
1396:
1372:Google
1331:
1255:
1245:
1082:;
952:Legacy
930:, and
854:화령전 작약
652:화령전 작약
563:Teiten
556:Garden
401:Career
391:Joseon
371:;
357:. Her
353:, and
343:writer
332:Korean
322:Korean
235:Hangul
160:Hangul
142:Spouse
116:Poetry
104:Period
57:Joseon
1422:JSTOR
1253:JSTOR
1085:羅州 羅氏
1079:나주 라씨
577:Works
478:Seoul
467:Pyeho
387:Suwon
251:Hanja
176:Hanja
136:Drama
132:Essay
120:Novel
112:Genre
89:Seoul
63:Suwon
1545:and
1394:ISBN
1354:동아닷컴
1329:ISBN
1243:ISBN
1152:link
1138:2011
1037:2011
892:and
715:any
713:cite
554:and
546:and
361:was
339:poet
71:Died
43:Born
1438:羅蕙錫
1408:doi
781:),
778:자화상
726:by
636:자화상
533:won
327:나혜석
167:나혜석
124:Art
1959::
1370:.
1291:^
1251:.
1198:.
1160:^
1148:}}
1144:{{
1115:^
1045:^
956:A
926:,
922:,
915:경희
822:c.
783:c.
666:c.
600:경희
416:경희
389:,
374:晶月
368:정월
349:,
345:,
341:,
337:,
311:Na
242:정월
134:,
130:,
126:,
122:,
118:,
87:,
83:,
1486:e
1479:t
1472:v
1410::
1356:.
1337:.
1259:.
1202:.
1154:)
1140:.
1088:)
1039:.
912:(
851:(
820:(
775:(
753:)
747:(
742:)
738:(
734:.
720:.
664:(
655:)
649:(
641:,
639:)
633:(
627:)
621:(
615:)
609:(
603:)
597:(
591:)
585:(
413:(
365:(
320:(
314:.
262:月
259:晶
190:錫
187:蕙
184:羅
51:)
47:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
