Gyeongseong(Seoul) in the 1920s saw the era of exhibitions in full scale. The Seowhahyupheo(書畵協會) Exhibition was held in 1921, and the Chosun Art Exhibition(朝鮮美術展覽會) was founded the next year. Furthermore, various group exhibitions, including student, solo, as well as large-scale private exhibitions for selling artwork, were held one after another in public venues like the Mitsukoshi(三 越吳服店), Gyeongseong Daily Newspaper’s Raechunggak(來靑閣), or in school halls. The opportunity to appreciate paintings and calligraphy, which had been exclusive to a few intellectuals (識者) who had an eye for such artworks and was only displayed in a limited space before the modern period, had started to expand to include the general public. This study aimed to trace some aspects of the popularization of art, focusing on the soaring number of exhibitions after the establishment of the Chosun Art Exhibition and those who demanded these exhibitions. Toward this end, this study examined how the general public, who had been alienated from the privilege of appreciating paintings and calligraphy for a long time, transformed into viewers, purchasers, and finally producers. The fact that over 30,000 people visited the Chosun Art Exhibition per session and that exhibitions hosted by newspapers were packed with people who wanted to purchase artworks exemplifies the reality of the time in which “social awareness and common sense toward paintings was being widely expanded.” Indeed, art was still an object of appreciation(玩賞物) for the elite classes and something that the majority of the general public could not understand and amid difficult economic circumstances, it was an extravagant hobby. Since the 1920s, however, the reorganization of visual culture, such as hosting exhibitions, including government-supervised exhibitions(官展), and the progress in art educationallowed new and modern experiences, and it was evident that these ushered in the popularization of art that took a different pathway than that of the past. It is hoped that this study will offer an opportunity to shed light on the modern art community by approaching some of the multi-layered aspects of art consumers, which are often generalized as the “popularization of art.”

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