WEKO3
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The first elements to note in this consideration are the seal “jûgo no in” (seal of fifteen) and the inscription “25. 2. 21 yoru” (Meiji 25, Feb. 21st, night). In order to consider whether that date accords with Mitsutani’s life, the first section of this paper traces Mitsutani’s life up through 1892. In an attempt to reconstruct the nature of Mitsutani’s studies in his home town of Okayama, the section considers the guidance given by Mitsutani’s teacher, Matsubara Sangorô, around 1887, and examines the group of sketchbooks by Kaihara Kyôhei, in order to create an analogy for the study environment of the Goseda studio, where Mitsutani is thought to have studied around 1892. 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満谷国四郎《自画像》の彷徨い―五姓田派の所在を問うことの意味―
https://tobunken.repo.nii.ac.jp/records/6200
https://tobunken.repo.nii.ac.jp/records/6200c56f2c24-0fa0-48fd-b32d-a2088f58ee98
名前 / ファイル | ライセンス | アクション |
---|---|---|
397_18_Tsunoda_Redacted.pdf (1.9 MB)
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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 | 満谷国四郎《自画像》の彷徨い―五姓田派の所在を問うことの意味― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | A Long-Puzzling Self-Portrait by Mitsutani Kunishiro: The Importance of the Goseda Studio in Modern Japanese Art History | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 満谷国四郎 自画像(明治二十五年銘・東京国立博物館蔵)五姓田義松・松原三五郎・貝原京平・クロスハッチング・鉛筆デッサン | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Self-Portrait, by Mitsutani Kunishiro, Tokyo National Museum | |||||
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 |
角田, 拓朗
× 角田, 拓朗× Tsunoda, Takuro |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | This essay aims to demonstrate that a long-puzzling work, an image of a young man with a cynical smile all drawn in crosshatching, is in fact a self-portrait by Mitsutani Kunishirô. The first elements to note in this consideration are the seal “jûgo no in” (seal of fifteen) and the inscription “25. 2. 21 yoru” (Meiji 25, Feb. 21st, night). In order to consider whether that date accords with Mitsutani’s life, the first section of this paper traces Mitsutani’s life up through 1892. In an attempt to reconstruct the nature of Mitsutani’s studies in his home town of Okayama, the section considers the guidance given by Mitsutani’s teacher, Matsubara Sangorô, around 1887, and examines the group of sketchbooks by Kaihara Kyôhei, in order to create an analogy for the study environment of the Goseda studio, where Mitsutani is thought to have studied around 1892. The results of these considerations reveal that it is highly likely that Matsubara provided guidance about the crosshatching technique and the Goseda studio’s form of self-portrait expression, and similarly, that members of the Goseda studio did a focused study on self-portraiture and crosshatching techniques around 1892. The second section of the paper considers the group of self-portraits created by Goseda Yoshimatsu, creator of the self-portrait format inherited by members of the Goseda studio, in order to determine whether or not Mitsutani’s self-portrait is an example of portraits following that format. The characteristics of Yoshimatsu’s self-portraits were examined by lining them up in order of his age, and thus determining their year of production. As a result, it was clarified that the crosshatching technique was used in the expression on many of the self-portraits created by Yoshimatsu, and his usage of the technique may predate 1872. The third section clarifies the nature of the Goseda studio before and after Yoshimatsu’s studies in France. First, the memoirs of Yamamoto Hôsui and the teaching of Charles Wirgman suggest the nature of the Goseda studio setup during the time of Yoshimatsu’s own study period. In particular, focus was turned on the Illustrated London News as a possible source for Yoshimatsu’s acquisition of the crosshatching technique. Second, Hiraki Masatsugu’s memoirs suggest that even after Yoshimatsu had left for France, the Goseda studio kept its older teaching methods. Further, it can be indicated that Watanabe Bunzaburô played a central role in guiding the studio during that period. This section introduces a work that is thought to be a self-portrait by Bunzaburô. The above observations provide details on how techniques were handed down and continued in the Goseda studio, a previously unknown process, and the article concludes that the painting that was the object of the study is a self-portrait by Mitsutani Kunishirô created within that studio’s historical development. | |||||
書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 397, p. 18-78, 発行日 2009-03-27 |