Despite her seemingly insufficient time of l0 years, as being an artist, includingthe period of art education, Paula Modersohn-Becker was highly productive in herartist skills by leaving more than 500 oil paintings, 700 sketches and 13 etchings.This suggests that her passion for art was not infinitesimal. Paula Modersohn-Beckermostly worked in the Worpswede Art Association wherein liberty and artisticactivity were highly regarded. In spite of her length of duration within the art circle,she was able to be independent of the shadow of the association because she alwaystried to learn a new approach. Paula Modersohn-Becker, it is understood, that herawareness of Worpswede’s characteristics and overcoming them enabled her toproduce progressive work. The researcher studies the properties of female portraitsin Paula Modersohn-Becker’s work.The researcher noticed that women in Paula Modersohn-Becker’s portraits werenot the only attraction but the accessories which the women are wearing in theportraits also viewers’eyes over them. The researcher also categorizes the variousfemales in her portraits into basic three subjects based on Greek mythology:Persephone, Demeter and Aphrodite, who is unusually used as the goddess of thecreativity in this study, according to Jean Shinoda Bolen’s original grouping form.Repeating the original form of Greek mythology, women, in Paula Modersohn-Becker’s portrait, have a propensity to be classical, and very unlike modernpainting. Paula Modersohn-Becker does not appear to have expressed any sympathy with feminism - which represented the new life-style in the city - and ‘equal rights forwomen’in those times perhaps because of her bourgeois background and also hersupport for Worpswede’s conventional female distinctiveness based on naturalism.Although there is no doubt that Paula Modersohn-Becker had a pre-modern view ofwomanhood, what we should heed is regardless of whether it be modernism or not,is that she had her own thoughts in a subjective way. Not only did she have themodern impression of tableau but she also worked as a professional female painterwhich was her dream and a most unusual career for a woman in those days. Thisproves that Paula Modersohn-Becker had a independent and subjective view of herprofession. Suggested to be the forerunner of female artists among phallic Germanexpressionism, Paula Modersohn-Becker should not be misjudged as an old-fashioned woman judged only by her painting.One omission in this study is that the researcher does not study comprehensiblyPaula Modersohn-Becker as the forerunner of German expressionism. In spite of thefact that Paula Modersohn-Becker’s achivements have been referred to as result ofrecent studies of German expressionism, there is not enough data about her works,with the consequent lacking of concrete studies of her and her works. Havingstudied Paula Modersohn-Becker with the diverse approaches hereafter,achievements of German expressionism are, hopefully, more affluent.

Ⅰ. 서론
 Ⅱ. 파울라 모더존-베커의 회화입문과정 및 활동배경
  1. 파울라 모더존-베커의 회화 입문 과정
  2. 보르프스베데 및 파리 화단과의 교류
 Ⅲ. 액세서리의 활용
 Ⅳ. 재현된 여성의 유형들
  1. 페르세포네
  2. 데메테르
  3.‘ 창조의 여신’으로서의 아프로디테
 Ⅴ. 결 론

• 이해원(미술사전공) | Lee, Hae Won