Na Hye-sok was a gifted Korean painter, writer, and feminist who made an important contribution to modern Korean art. She is known as the first Korean woman to receive formal training in Western-style painting at the Tokyo Women's Arts College in 1913. In 1921, she became the first Korean woman to hold a solo exhibition of Western style paintings in Korea. Her work was widely appreciated and she received several awards for her contribution to art.
Na Hye-sok married in 1920. In the late 1920s, she received financial support from the Japanese colonial government to travel across Europe and study Western painting. During her travel, she was influenced by modern art style as well as feminist ideas, which shaped both her art and her writing. However, her personal life change when her husband filed for divorce in 1931, accusing her of being faithless. She had already faced criticism because of her openly stood for women rights. In 1934, she published an essay about divorce, women's sexuality, and the problems in her marriage. The essay was considered too bold for Korean society at that time and caused a public scandal. As a result, her artistic and literary career falls, and she was rejected by many people, including by her own children. Despite these hardships, she stayed true to her ideals and continued creating art until the end of her life. She died in 1948 in a charity hospital, but her contributions to Korean art and literature continue to be remembered today.
Na, Self-Portrait moves away from traditional ideas of Korean identity and the expected role of women in society. Instead, she portrays herself as a modern, educated, and confident woman. She wears Western-style clothing instead of the traditional Korean dress (hanbok), and her hairstyle and makeup highlight the fashion of the 1920s. However, these details are more than the sense of modern fashion. They represent her desire to express herself as an independent individual.
The dark background blends with her hair and dress, making her face the main focus of the painting. Her serious expression, deep eyes, and her lips express sadness, emotional exhaustion, and inner struggles. Although she looks confident and modern, the portrait also reflects the reality of a society where conservative and patriarchal values limited women's freedom and opportunities.
Her expression reflects the challenges faced by the "New Woman" in early twentieth-century Korea. At the same time, her values shows her determination to stand by her principles. The painting also shows the influence of Cubism, particularly in the sharp and structured features of her face. This may reflect her interest in Western modern ideas and a hope of a society where women could achieve greater freedom, equality, and independence.
Na Hye-sok's artistic style changed over time and can be divided into two main phases. Before travelling abroad, she mainly painted in a realistic style. After returning in 1927, her work began to show the influence of Fauvism and Expressionism. She started using stronger colours, bolder brushstrokes, and a more expressive style to convey emotions. Through both her paintings and her writings, Na Hye-sok challenged traditional social norm and became one of the most influencer in the history of modern Korean art.
Na Hye-sok was a gifted Korean painter, writer, and feminist who made an important contribution to modern Korean art. She is known as the first Korean woman to receive formal training in Western-style painting at the Tokyo Women\'s Arts College in 1913. In 1921
