Within the periodical waves of Korea, the new divided country, the art of the 1950s sought a new change along with a struggle for the leadership through its objective conditions: the three-year period of war, the period of returning to the capital, and the renaissance. The main themes included a succession of the tradition of the ethnic arts, the internationalization of modern art, and so on. In addition to another reenactment of the fascist nationalism of the Japanese Occupation, an effort to overcome Japanese style since Koreas liberation has continued. Meanwhile, the modern arts of the Asian modernism, which encompassed both nationalism and modernism, yielded certain positive results, so that they started accelerating their movement toward modern arts. Such creative activities were developed by professors in Koreas first art college and emerging artists of the first generation that was from the art college. The activities were conducted in the art field that was mainly organized by the Korean Arts Association that has reconstructed the right-wing-based Joseon Arts Association. Also, the Korean Arts Association has been reorganized by North and South Korean artists. With a focus on the paintings that compose most part of the Korean artworks in the 1950s, this dissertation introduces them by dividing them into several categories of the themes. In doing so, this dissertation attempts to rebuild a step of the history of Korean paintings, that is, the time when switched from modern arts of the Japanese Occupation to contemporary arts of the Republic of Korea, while exploring the structure and characteristics of the arts in the period. As a part of it, the dissertation describes the reorganization of the art field, which only consisted of the right wingers, the art activities in refuges, and the artists and their styles, particularly, the artists who worked mainly for national exhibitions, that is, the main battleground for gaining cultural hegemony and fame distributed by the country.