The Chosŏn Art Exhibition which started from 1922 in order to control the art of Chosŏn systematically, sponsored by the colonial government, exercised its huge influence over Korean artists. More than half of the participants were Japanese artists who lived in Korea, and almost all the jurors were Japanese-invited from Japan. The major motivation of exotic interest represented in Korean modern figure painting was to imitate the tendency of Japanese salon because it was viewed as a shortcut to public recognition. The exotic atmosphere and interest were represented dominantly in the early days of Korean modern paintings, especially in figure paintings. The most examples of < Beauty Painting > show strong influence of Japanese tradition. In case of western-style painting section, exotic women with western appearance reflected the longing for the modern culture and abundance. The public favored the exotic appearance of modernized women as well. The symbols of modern civilization, which were depicted as an object of figure painting, show the exotic interest of new era. At the same time they reflect a sense of superiority of artists who benefited from western civilization. The image of reading woman was a favorite theme, for reading was recognized as a modern hobby. And, man smoking a pipe was considered as a typical feature of a new intellectual. In contrast to the western world of artists, the exotic interest and taste represented in Korean modern figure painting cannot be taken for the interest of other foreign culture of the artist and society. It is rather natural consequences of modernization process during the colonial period of the imperial Japan. The figure painting of this period requires further research from the gender or Post-colonialistic perspective. (Keimyung University)