in major Korean exhibitions, much to the artist’s disappointment. He refused to submit works to Gukjeon (국전, 國展, National Art Exhibition) after "Three Women" (세 여인) failed to win a prize in the 1957 exhibition, but was soon appointed as Recommended Artist by the Gukjeon committee in 1959 and subsequently submitted works "Spring" (봄), "Woman Resting" (휴녀), "Old Man and Playing Children" (노인과 유동). Artistic Style Throughout his career, Park Su-geun retained his conviction to portray ordinary, humble people and to capture mundane yet truthful scenes of familial life, especially the lifestyle that he had personally experienced in rural, agricultural Korea. Park also liked to paint daily lives of women and trees. Some typical works including women and trees are "Woman Pounding Grain" (절구질하는 여인, 1952), "A Wash Place" (빨래터,1954), "Returning Home" (귀가, 1962), and "Old Tree and Woman" (고목과 여인, 1964). Many of his trees are shown bare, twisted, and brittle. The use of trees in his paintings are thought to be both reflections of contemporary social climate and hope and belief in the resilience of the tree in surviving hardship. Peasant women that most frequently appear were often modelled on his wife who often took on the task of making a living and taking care of daily chores From the lack of distinct facial features and humility in their dress and poses, it can be seen that Park Su-geun reflected his own romantic interpretations of strong and diligent women during times of national hardship and suffering. Park Su-geun predominantly used unique, granite-like surface textures and light gray or brown tones to depict simple Korean local scenes and daily lives of ordinary Korean people, using the "matière technique" (마티에르 기법). The merging of his Cubist painting style with the "matière technique" that derived from Art Informel practices that emphasised matter and abstraction resulted in a unique image from the 1950s. He used both brushes and knives to handle oil paint that had been filtered to reduce the amount of oil and achieved a rough texture that resembled “carved reliefs.” On this surface, he applied thick, bold lines to depict simple forms. His focus on subjects of naïveté and geometric, flattened, and simplified painting style was strengthened from the late 1950s, and his paintings reflected architectural inspirations as he experimented with the juxtaposition of flat, contrasting shapes and forms in formulating his spatial compositions. Most of his later works are