1998), pp. 294–329; Soyoung Lee, of Korea, Seoul, accessed 32. The Arrival of New Women thesis, Academy of Korean based on original work by Ahn March 26, 2023, https://www (in Korean), exh. cat. (Seoul: Studies, 2013), pp. 17–21. The Hwi- joon, “Mountain and Water: .museum.go.kr/site/main/relic National Museum of Modern and painting reproduced has neither Korean Landscape Painting, /recommend/view?relic Contemporary Art, Korea, 2017). a signature nor a seal, but 1400–1800,” in Heilbrunn RecommendId=164289. 33. Kee, “Modern Art in Late the composition and calligraphy Timeline of Art History (New 24. Todd Henry, Assimilating Colonial Korea,” p. 233. are stylistically similar to a York: The Metropolitan Museum Seoul: Japanese Rule and the work in the Seoul Museum of of Art, 2000–), http://www Politics of Public Space in 34. See Joan Kee, “What History, which bears Yang’s .metmuseum.org/toah/hd Colonial Korea, 1910–1945 Contemporary Art Means in name and seal. /mowa/hd_mowa.htm (October (Berkeley: University of California Korea,” in The Space Between, 42. See Robert E. Harrist, Jr., 2004); and Burglind Jungmann, Press, 2014), pp. 92–129. pp. 285–97. and Wen C. Fong, The Embodied Pathways to Korean Culture: 35. Chang Uc- chin painted Ferry Image: Chinese Calligraphy Paintings of the Joseon Dynasty, 25. See Lee et al., Diamond Boat on the back of his 1939 from the John B. Elliott 1392–1910 (London: Reaktion Mountains, pp. 81–82. work A Girl. During and a昀琀er the Collection, exh. cat. (Princeton, Books, 2014), pp. 37–49. 26. Wan-kyung Sung, “The Rise Korean War, many artists facing NJ: Princeton University Art 18. On the Three Perfections and Fall of Minjung Art,” in economic hardship reused what Museum in association with and gyehoedo, see Soyoung Lee, Being Political Popular: South they had on hand or turned to Harry N. Abrams, 1999); Stephen “Art and Patronage in the Early Korean Art at the Intersection of unconventional materials. Little and Virginia Moon, eds., Joseon,” in Lee et al., Art of the Popular Culture and Democracy, 36. See n. 26 above. Beyond Line: The Art of Korean Korean Renaissance, 1400–1600, 1980–2010, exh. cat., ed. Sohl Lee Writing, exh. cat. (Los Angeles: exh. cat. (New York: The (Seoul: Hyunsil Publishing, 2012), 37. Translation by Tim Zhang. LACMA; New York: DelMonico Metropolitan Museum of Art, pp. 189–202. 38. For Joseon court painters Books, 2019). 2009), pp. 25–30; Soyoung Lee, 27. See n. 19 above. and paintings, see The Court 43. For more on Lee Ufan, see “Art of the Korean Renaissance, Painters of the Joseon Dynasty Alexandra Munroe et al., Lee 1400–1600,” in Heilbrunn 28. I am grateful to Haely Chang (in Korean), exh. cat. (Seoul: Ufan: Marking In昀椀nity, exh. Timeline of Art History (New for her insights about Chae Leeum Museum of Art, 2011). cat. (New York: Guggenheim York: The Metropolitan Museum Yong- sin and this painting. As of Museum, 2011); Joan Kee, of Art, 2000–), http://www this writing, Haely is a Jane and 39. Gi- wook Shin and Michael E. Contemporary Korean Art: .metmuseum.org/toah/hd/kore Morgan Whitney Fellow at The Robinson, eds., Colonial Tansaekhwa and the Urgency /hd_kore.htm (September 2010). Met and a PhD candidate in Modernity in Korea, Harvard of Method (Minneapolis: 19. See Yi Song- mi, Searching History of Art at the University East Asian Monographs 184 University of Minnesota Press, for Modernity: Western of Michigan, Ann Arbor. She is (Cambridge, MA: Harvard 2013), pp. 147–89. In昀氀uence and True- View completing a dissertation titled University Asia Center, 1999), Landscape in Korean Painting “Painting a Di昀昀erent Picture.” pp. 21–51; Michael E. Robinson, 44. Joan Kee, “Points, Lines, of the Late Chos漃؀n Period 29. Eleanor Soo- ah Hyun, “Work Korea’s Twentieth- Century Encounters: The World (Seattle: University of and Leisure: Eighteenth- Century Odyssey: A Short History According to Lee Ufan,” Oxford Washington Press, 2015). Genre Painting in Korea,” in (Honolulu: University of Hawai‘i Art Journal 31, no. 3 (October Heilbrunn Timeline of Art History Press, 2007), pp. 8–35. 2008): pp. 403–24. 20. Joan Kee, “Contemporary (New York: The Metropolitan 40. For more on Min Young- 45. Joan Kee, Contemporary Art in Early Colonial Korea: The Museum of Art, 2000–), http:// hwan’s ideological stance, see Korean Art, pp. 74–93. Self Portraits of Ko Hui- dong,” www.metmuseum.org/toah/hd Min Y漃؀nghwan: The Selected Art History 36, no. 2 (April 2013): /kgnr/hd_kgnr.htm (October Writings of a Late Chos漃؀n 46. Alexandra Munroe, pp. 392–417. 2004). Diplomat, trans. Michael Finch “Buddhism and the Neo- Avant- 21. For more on Paik Nam- soon, (Berkeley: Institute of East Asian Garde: Cage Zen, Beat Zen, see Horlyck, Korean Art, 30. Roberta Wue, “Essentially Studies, University of California, and Zen,” in The Third Mind: pp. 47–49. Chinese: The Chinese Portrait 2008); Lee Sung- hyun, “A Study American Artists Contemplate Subject in Nineteenth-Century on the Discourse of Min Asia, 1860–1989, exh. cat., ed. 22. Soyoung Lee et al., Diamond Photography,” in Body and Face Young- hwan’s Patriotic Martyrs Munroe (New York: Guggenheim Mountains: Travel and Nostalgia in Chinese Visual Culture, eds. for the Country” (in Korean), Museum, 2009), pp. 199–216. in Korean Art, exh. cat. (New Wu Hung and Katherine R. Tsiang Kangwoen Sahak 26 (2014): For more on Kwon Young- woo, York: The Metropolitan Museum (Cambridge, MA: Harvard 47. of Art, 2018). University Art Center, 2005), pp. 99–146. see Kee, Contemporary Korean pp. 264–70. 41. Seo Jeong- min, “The Art, pp. 35–74. 23. Kim Seung- ik, “Spring Dawn Paintings of Seokyeon Yang 48. Joan Kee, “Contemporaneity at Mount Baegak—The Lost 31. On this painting, see Joan Gi- hun” (in Korean) (master’s as Calculus,” Third Text 25, no. 5 Spring of the Palace” (in Korean), Kee, “Modern Art in Late Colonial (October 2011): pp. 563–69. website of the National Museum Korea: A Research Experiment,” Modernism/modernity 25, no. 2 (April 2018): pp. 215–43. 47