he found inspiration from ancient Korean stone pagodas and Buddha sculptures. Park Su-geun also experimented with print during his stay at Pyeongyang and from his affiliation with Juhohoe. Seoul Period During the Korean War, Park Su-geun moved from Pyeongyang to Seoul (서울) alone in 1950 and was later joined by his family in 1952. Many of his earlier works from Chuncheon and Pyeongyang, as well as those produced during fleeing throughout the Korean War were lost or destroyed when he defected to South Korea, leaving his paintings behind in North Korea. However, his artistic style of using geometric and flat shapes and simple lines in depicting familiar and realistic scenes of peasant life had already been established at this point, and Park Su-geun readdressed many of his prior works and further developed them after the war. Financial hardship continued in Seoul, but Park Su-geun was able to make a living by drawing portraits for American soldiers stationed in Seoul. In 1953, Park Su-geun won first prize in the 2nd annual National Art Exhibition (대한민국미술전람회, 大韓民國美術展覽會, also referred to as Gukjeon, 국전, 國展) with "House" (집), after which he painted full-time as an artist. Park Su-geun became a member of Daehan Art Association (Daehan Misul Hyeophoe, 대한미술협회, 大韓美術協會) from 1955 and participated in their annual exhibitions until 1960. Park was also a founding member of Korea Woodblock Printing Association (Hanguk Panhwa Hyeophoe, 한국판화협회, 韓國版畵協會) in 1958, and submitted a woodblock print piece, "Old Man and Woman" (노인과 여인) in the first annual group exhibition of the club. He also participated in a group exhibition in 1960 as a founding member of Hyeondae Panhwa Dong-in (현대판화동인, 現代版畫同人), alongside Kim Whanki (김환기, 金煥基, 1913-1974), Choi Yeong-rim (최영림, 崔榮林, 1916-1985), Yu Gang-ryeol (유강렬, 劉康烈, 1920-1976), and Jeong Gyu (정규, 鄭圭, 1922-1971). In 1959, he got became a Recommended Artist of the National Art Exhibition and served on the judging committee in 1962. Park Su-geun also submitted oil paintings for group exhibitions abroad, including in Hong Kong and in San Francisco Museum in 1957, and in New York World House Gallery in 1958. He received help in selling his works and participating in exhibitions abroad from an American journalist, Margaret G. Miller, to whom he left numerous letters regarding the sales of his paintings, financial situations, and his daily life. Despite the popularity and recognition of his paintings abroad, Park Su-geun’s paintings were often rejected