then “traditional” art. Hence, in Autumn Landscape, his If Ko Hui- dong’s Autumn Landscape can be broadly election to paint what could be a Korean scene, real or described as an ink landscape with some Western paint- imagined, in ink and color on paper can be easily linked ing techniques, then Paik Nam- soon’s Paradise, from to political issues related to ethnic consciousness, 1936, is an oil painting that incorporates Korean painting nationalism, and social hierarchy. Like so many artists techniques (昀椀g. 26). Paik trained in oil painting at the active in the early twentieth century, Ko grappled with Women’s School of Fine Arts in Tokyo and, in 1928, went to his identity as a Korean and an artist, questioning how study in Paris, where she became interested in Fauvism. As and what it meant to make modern art.�� colonial subjects, Koreans were allowed to travel abroad, 23