Seohyun (Sera) Park

This painting portrays a clandestine rendezvous between a military officer and a woman of a lower class, observed by another woman, possibly a courtesan who is facilitating the meeting or the man’s wife secretly watching the scene of infidelity. The painting depicts a scene of forbidden desire, where the protagonists passionately yearn for each other in secret hinting at the social conventions forbidding such an encounter in this period. The paintings challenge the Confucian, aristocratic ideals of Joseon society that dictated strict gender roles and relationships. It stands as a critique of the conservative norms and the social constraints, which restricted open romantic relationships, especially between individuals of different social status. Through the portrayal of this illicit relationship, Sin Yun-bok is highlighting the limitations imposed by Confucian moral values, shedding light on the intricate interplay of human desire and societal hierarchy in late Joseon society. 

"The Useless Resistance" by Fragonard similarly depicts a scene where a man of a higher social class, asserts his desires over a resisting woman, a servant. The painting captures a moment of confrontation and tension, as the woman playfully yet futilely resists the man's advances. Despite her efforts, the woman's partially exposed state, contrasted with the man's fully clothed figure, suggests vulnerability and highlights the power dynamics at play. The aggressive eroticism of the subject reflects societal conventions, where lower-class women were often subjected to coercion or exploitation by those in power. Fragonard skillfully portrays the complexities of social hierarchy and gender dynamics in 18th-century France. It's important to recognize that both male artists depict resistance from women, with a playful tone, reflecting societal views of women’s resistance at this time. Both artworks offer insights into the nuances of social stratification, particularly regarding issues of consent, agency, and exploitation. 

In conclusion, the comparative analysis of Sin Yun-bok's and Jean-Honoré Fragonard's depictions of the upper-class offers valuable insights into the power structures and cultural values of late 18th-century Korea and France, highlighting the diverse ways in which artists engage with and reflect upon their respective societies.