||This article may require cleanup to meet Wikipedia's quality standards. The specific problem is: the article contains several grammatical errors and awkward phrasing. (March 2013)|
|Revised Romanization||Bak Nae-hyeon|
|Hangul||우향(Scent of Rain)|
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.
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.
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 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.
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.
- 韓國現代作家十人(吳光洙, 悅話堂, 1977)
- 雨鄕 朴崍賢(庚美文化社, 1978)