her husband's behavior in their marriage. Although both Na Hyeseok and her husband committed faults in their relationship, Na lost more than her husband and eventually became a social outcast after releasing this work. This painting was made just a year after this incident, reflecting her hope to be free from social restrictions. Na uses the impasto painting technique in this work, which is a style in which visible brushstrokes of thick paint are used to create clear paint streaks on top of the canvas. By doing so, she is able to capture the fleeting moments when the wind blows the peonies to a blur in the foreground. The texture and the appearance of movement in the painting evoke a realistic experience of a windy excursion and the vibrant colors (orange, green, yellow, and white) make the painting appear animated and lively. Both of these qualities are symbolic of the freedom Na seeks as a woman in 20th-century conservative Korean society. More recently, another landscape painting created by Na has been unveiled. The drawing was found at her nephew Na Sanggyun’s house in Buam-dong, northern Seoul. According to Na Sanggyun, the painting had belonged to the granddaughter of Choi Nam-seon, a renowned writer during the Japanese colonial period. Choi Namseon and Na Hyeseok had been acquaintances ever since they studied together in Japan. She gave the drawing to him, and it had been preserved through three generations. The drawing is estimated to have been made in 1928 during Na's stay in Paris as part of her 21-month trip around the world with her husband. The painting is 60 centimeters long (24 inches) and 50 centimeters wide and depicts a typical landscape painting of a French village with surrounding trees and a red-roofed house with white walls. The bold brush strokes in the work simplify the object while also bringing it to life, and elements of Fauvinism and expressionism can also be found in it. The artwork was recognized by Kim Yi-sun, a professor of Korean modern art at Hongik University, to be from Na's collection book. The piece was confirmed to be hers due to a signature 'HR' found on it that she used regularly in her works as a form of identification. Some other paintings potentially created by Na during her stay in Europe include Harbor in Spain and Beach in Spain. These pieces differ from Na's Paris landscape