WEKO3
アイテム
{"_buckets": {"deposit": "5c0e13a9-73cf-40c7-beae-a7a9fb3dc996"}, "_deposit": {"created_by": 3, "id": "6136", "owners": [3], "pid": {"revision_id": 0, "type": "depid", "value": "6136"}, "status": "published"}, "_oai": {"id": "oai:tobunken.repo.nii.ac.jp:00006136", "sets": ["974"]}, "author_link": ["26183", "26182"], "item_10001_biblio_info_7": {"attribute_name": "書誌情報", "attribute_value_mlt": [{"bibliographicIssueDates": {"bibliographicIssueDate": "2005-06-07", "bibliographicIssueDateType": "Issued"}, "bibliographicIssueNumber": "386", "bibliographicPageEnd": "58", "bibliographicPageStart": "19", "bibliographic_titles": [{"bibliographic_title": "美術研究"}, {"bibliographic_title": "The bijutsu kenkyu : the journal of art studies", "bibliographic_titleLang": "en"}]}]}, "item_10001_description_5": {"attribute_name": "抄録", "attribute_value_mlt": [{"subitem_description": " One of the pioneers of Japanese studies in France, Emmanuel Tronquois (1855-1918), arrived in Japan in 1894 to deepen his studies related to Japan. He then spent a total of 13 years in Japan until 1910 over the course of two stays. Tronquois assembled an important collection of paintings, illustrated books, and painting albums. As part of preparations for the 1900 Paris Exposition, Tronquois translated the Japanese text of the Imperial Japanese art history, published as Histoire de l\u0027art du Japon, which was conceived by Okakura Tenshin and largely edited by Fukuchi Mataichi. Tronquois\u0027s interests were not restricted to antique arts. Through the introduction of the French painter Raphaël Collin, Tronquois met some of the Japanese west\nern-style painters of the day, such as Kuroda Seiki and Kume Keiichirô, and the printmaker Gôda Kiyoshi. This led Tronquois to a fruitful interchange with Japanese men of letters and arts, which contributed to Franco-Japanese artistic interchange. Also, and this was rare for a foreigner, Tronquois actively supported the activities of Japan\u0027s western-style painters of the day. Tronquois, who himself had set out to be a painter when younger, became particularly close to Kuroda Seiki, and he was eloquent in his defense of Kuroda when the “nude painting debate” arose around Kuroda\u0027s Morning Toilette, entered in the 4th National Industrial Exhibition held in 1895. In May of 1895, Tronquois gave a series of lectures entitled, “Oshû ni okeru bijutsu kyôiku no soshiki oyobi seishin” [The organization and spirit of arts education in Europe] at the Tokyo Art School. In that lecture he stated his advice and opinion regarding Japan\u0027s arts education and arts policies. He published a detailed review of the October 1895 Meiji Bijutsukai\u0027s 7th exhibition in Revue française du Japon, highly praising not only the oil paintings but also the watercolors and sculptures on display. While conscious of the stylistic differences between the plein air school influenced by the Impressionists and the older traditional school of painters, he noted that more important issues lay in the study of nude paintings and the preeminence of history paintings.\n When the Japanese western-style painters encountered various difficulties, Tronquois played an important role, helping to interpret the late 19th century artistic revolutions then occurring under new influences from French painting styles. In spite of this importance he has been forgotten by later generations. This article presents previously buried materials regarding Tronquois and Japan\u0027s modern westernstyle painting groups, and properly positions him in regards to his achievements in the history of artistic interchange between Japan and France during the mid Meiji era.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "クリストフ・マルケ"}], "nameIdentifiers": [{"nameIdentifier": "26182", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Christophe, Marquet", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "26183", "nameIdentifierScheme": "WEKO"}]}]}, "item_files": {"attribute_name": "ファイル情報", "attribute_type": "file", "attribute_value_mlt": [{"accessrole": "open_date", "date": [{"dateType": "Available", "dateValue": "2017-10-05"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "386_19_Christophe_Redacted.pdf", "filesize": [{"value": "52.0 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 52000000.0, "url": {"label": "386_19_Christophe_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6136/files/386_19_Christophe_Redacted.pdf"}, "version_id": "b1f563f0-b066-4800-b1ac-552eb0b92141"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "黒田清輝・久米桂一郎・合田清・杉竹次郎・裸体画論争・明治美術会展", "subitem_subject_scheme": "Other"}]}, "item_language": {"attribute_name": "言語", "attribute_value_mlt": [{"subitem_language": "jpn"}]}, "item_resource_type": {"attribute_name": "資源タイプ", "attribute_value_mlt": [{"resourcetype": "journal article", "resourceuri": "http://purl.org/coar/resource_type/c_6501"}]}, "item_title": "エマニュエル・トロンコワと明治中期の洋画壇", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "エマニュエル・トロンコワと明治中期の洋画壇"}, {"subitem_title": "Emmanuel Tronquois and the Mid-Meiji Era Western Painting Circles", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["974"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6136", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6136", "relation": {}, "relation_version_is_last": true, "title": ["エマニュエル・トロンコワと明治中期の洋画壇"], "weko_shared_id": 3}
エマニュエル・トロンコワと明治中期の洋画壇
https://tobunken.repo.nii.ac.jp/records/6136
https://tobunken.repo.nii.ac.jp/records/61361e26d341-27a2-4120-a29d-ce555130d4d6
名前 / ファイル | ライセンス | アクション |
---|---|---|
386_19_Christophe_Redacted.pdf (52.0 MB)
|
Item type | 学術雑誌論文 / Journal Article(1) | |||||
---|---|---|---|---|---|---|
公開日 | 2017-10-05 | |||||
タイトル | ||||||
タイトル | エマニュエル・トロンコワと明治中期の洋画壇 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Emmanuel Tronquois and the Mid-Meiji Era Western Painting Circles | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 黒田清輝・久米桂一郎・合田清・杉竹次郎・裸体画論争・明治美術会展 | |||||
資源タイプ | ||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
資源タイプ | journal article | |||||
著者 |
クリストフ・マルケ
× クリストフ・マルケ× Christophe, Marquet |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | One of the pioneers of Japanese studies in France, Emmanuel Tronquois (1855-1918), arrived in Japan in 1894 to deepen his studies related to Japan. He then spent a total of 13 years in Japan until 1910 over the course of two stays. Tronquois assembled an important collection of paintings, illustrated books, and painting albums. As part of preparations for the 1900 Paris Exposition, Tronquois translated the Japanese text of the Imperial Japanese art history, published as Histoire de l'art du Japon, which was conceived by Okakura Tenshin and largely edited by Fukuchi Mataichi. Tronquois's interests were not restricted to antique arts. Through the introduction of the French painter Raphaël Collin, Tronquois met some of the Japanese west ern-style painters of the day, such as Kuroda Seiki and Kume Keiichirô, and the printmaker Gôda Kiyoshi. This led Tronquois to a fruitful interchange with Japanese men of letters and arts, which contributed to Franco-Japanese artistic interchange. Also, and this was rare for a foreigner, Tronquois actively supported the activities of Japan's western-style painters of the day. Tronquois, who himself had set out to be a painter when younger, became particularly close to Kuroda Seiki, and he was eloquent in his defense of Kuroda when the “nude painting debate” arose around Kuroda's Morning Toilette, entered in the 4th National Industrial Exhibition held in 1895. In May of 1895, Tronquois gave a series of lectures entitled, “Oshû ni okeru bijutsu kyôiku no soshiki oyobi seishin” [The organization and spirit of arts education in Europe] at the Tokyo Art School. In that lecture he stated his advice and opinion regarding Japan's arts education and arts policies. He published a detailed review of the October 1895 Meiji Bijutsukai's 7th exhibition in Revue française du Japon, highly praising not only the oil paintings but also the watercolors and sculptures on display. While conscious of the stylistic differences between the plein air school influenced by the Impressionists and the older traditional school of painters, he noted that more important issues lay in the study of nude paintings and the preeminence of history paintings. When the Japanese western-style painters encountered various difficulties, Tronquois played an important role, helping to interpret the late 19th century artistic revolutions then occurring under new influences from French painting styles. In spite of this importance he has been forgotten by later generations. This article presents previously buried materials regarding Tronquois and Japan's modern westernstyle painting groups, and properly positions him in regards to his achievements in the history of artistic interchange between Japan and France during the mid Meiji era. |
|||||
書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 386, p. 19-58, 発行日 2005-06-07 |