Thanks to him, Western Painting Came into Existence in Korea

In the early 20th century, Koreans’ perceptions about Western painting were not very good. At the time, those who were doing Western-style sketches outdoors were often mistaken for vendors selling taffies or tobacco.

Back then, it was hard to introduce new styles of painting due to the prevalent cultural stereotypes. But a pioneering artist named Ko Hee-dong ventured to learn Western painting in Japan as the first Korean student studying art overseas. After returning home, he established the Calligraphic Painters' Association, opening the way for modern Korean art.

Showing Interest in Painting

Ko Hee-dong was born in Seoul in 1886 as the third son of Ko Young-cheol(고영철), who served as a county governor in the later years of the Joseon Dynasty. At the recommendation of his father who had enlightened ideas, Ko entered a French language institute at the age of 13. There, he learned French and modern subjects for four years, showing interest in Western culture.

Ko did very well at school. In 1904, before he even graduated, he was named official of the government office in charge of affairs related to the royal household. He worked as a French interpreter and translator in the royal court. However, when the humiliating Japan-Korea Treaty was signed the following year to deprive Korea of its diplomatic sovereignty, he left government service and began to paint. He hung around with famous artists to make a fresh start as a painter. But what he discovered was that most painters were simply copying Chinese art books.

Ko was not satisfied with the traditional way Korean artists insisted on using, as he had already been exposed to Western painting while attending the French language school. At the time, he saw his French teacher Leopold Remion drawing a portrait. In 1909, Ko went to Japan and entered the department of Western painting at Tokyo Art School. From then on, he began to study Western painting in earnest.

Self-Portrait Envisions a New Way

After studying art in Japan for five years, Ko presented ‘A Self-portrait’ as his graduation project.
It was hard to find any art student submitting a self-portrait as graduation work. Ko’s self-portrait features a young man dressed in the Korean traditional attire of hanbok, wearing a traditional headpiece called jeongjagwan(정자관). The man in the picture is staring into the air, with his face shimmering in a faint light from the left. The oil painting, which is the first Western-style painting in Korea, represents the confidence and dignity of a young man who pioneered a new way.

After returning home in 1915, Ko taught Western painting and established the term ‘art’ in Korea. Also, he enlisted cooperation from master painters and calligraphers and launched the Calligraphic Painters' Association in 1918. It was the first gathering of painters and calligraphers and the first modern art group in Korea.

The association’s main activities were holding exhibitions of members’ work. The first such exhibition was held at the hall of Choong Ang(중앙) Secondary School in 1921. It was the first modern art exhibition for the general public.

As part of the enlightenment campaign, Ko also founded the Calligraphic Painters' Association News, Korea’s first art magazine. He was committed to promoting unity among patriotic artists until the association was dissolved in 1939 due to Japan’s oppression.

Pioneer who Laid the Groundwork for Korean Art Community

After Korea’s liberation from Japanese colonial rule, Ko played a key role in the Korean art community by serving as the head of the Joseon Art Construction Center and the Korean Fine Arts Association. He joined the 5th National Assembly on the Democratic ticket after the April 19th democracy protests of 1960. As a politician, Ko paid a great deal of attention to the institutional development of Korean art.

Unfortunately, Ko suffered the disgrace of being called a pro-Japanese painter as he submitted his work ‘A Beauty Playing the Gayageum’ to an exhibition organized by the Japanese Government General of Korea in 1915. The 1964 work “River, Forests and Hills in Spring,” which is Ko’s last piece, illustrates a vivid green landscape. Including this, his works reflect his strenuous efforts to properly maintain his true identity, which would falter in times of turbulence.

Ko never stopped drawing pictures until he died on October 22nd, 1965. He wasn’t allowed to lead the cultural trend, as Korea lost its sovereignty and suffered under colonial rule. Despite the limitations he faced as an artist, Ko explored a new way and laid the groundwork for the Korean art community as a pioneer.