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アイテム
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This article, the second in the series, examines the Japanese reception of the paintings of the PostImpressionists which were received in Japan via both images and verbal descriptions. The article will discuss the interpretations and attitudes of four key men in the Shirakaba Group of literary figures: Mushanokōji Saneatsu, Yanagi Muneyoshi, Kimura Shohachi, and Hitomi Tomei, centering on Mushanokoji and Yanagi. (Note: These men first translated the term Post-Impressionism into Japanese as “Ko-Insho-ha”). This article takes as its theme, “The Post-Impressionism of the Shirakaba,” and is structured in the following manner:\n\nA. The Events Known as “The Debate of A Painting\u0027s Promise” \nB. Yamawaki Shintoku\u0027s Work which Set Off the Debate \nC. The Background of the Debate and How the Shirakaba Group Perceived Art-Mushanokōji Saneatsu \nD. 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This is what we now call the “The Debate of A Painting\u0027s Promise.” \n Scholars of modern literature quickly noted this debate as a critical element of the formation of the literary views of the Shirakaba faction, in contrast, the present article experiments with a reconsideration of this debate as an artistic debate regarding paintings. Section A provides the basic chronology of the debate, while Section B examines the painting which set off this debate, a painting which had not previously been discussed. A survey of contemporary critiques has lead to the supposition that the work shown on the color frontispiece of this issue of Bijutsu Kenkyū, “Setting Sun”, was the painting which ignited the debate. Section B examines the artistic stances of Kinoshita and Mushanokōji, the two men involved in the debate. Kinoshita expressed contradictory tastes, writing esthete poetry on the one hand, and revering Kuroda Seiki\u0027s paintings on the other. 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後期印象派・考―一九一二年前後を中心に(中の一)
https://tobunken.repo.nii.ac.jp/records/6242
https://tobunken.repo.nii.ac.jp/records/6242331ef21f-f833-4344-aa0d-49d5637591a9
名前 / ファイル | ライセンス | アクション |
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369_1_Tanaka_Redacted.pdf (39.8 MB)
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Item type | 学術雑誌論文 / Journal Article(1) | |||||
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公開日 | 2017-10-05 | |||||
タイトル | ||||||
タイトル | 後期印象派・考―一九一二年前後を中心に(中の一) | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Koki-Inshoha: Japanese Post-Impressionism around 1912 (First Half of Second in a Series of Three) | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 山脇信徳 夕日(明治四十四・一九一一年頃・高知市立中央公民館蔵・高知県立美術館寄託)・山脇信徳 雪の停車場(明治四十三・一九一〇年頃(個人蔵)・黒田清輝 野辺図画稿(明治四十・一九〇七年・東京国立文化財研究所蔵)・黒田清輝 女の顔(明治二十・一八八七年頃・東京国立文化財研究所蔵)白樺・柳宗悦・武者小路実篤 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Setting Sun by Yamawaki Shintoku, Kochi Municipal Central Public Hall (on Loan to Kochi Prefectural Museum of Art) / Station in Snow by Yamawaki Shintoku, Private Collection / Study for in the Field by Kuroda Seiki, Tokyo National Research Institute of Cultural Properties / Head of Woman by Kuroda Seiki, Tokyo National Research Institute of Cultural Properties | |||||
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 |
田中, 淳
× 田中, 淳× Tanaka, Atsushi |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | The first article in this series of three, published in the previous issue of Bijutsu Kenkyū, examined the state of affairs in Japan immediately prior to the introduction of Post-Impressionism, primarily through an examination of artists' and poets' search for expression, exemplified by the freely vernacular poems of Kawaji Ryuko. This article, the second in the series, examines the Japanese reception of the paintings of the PostImpressionists which were received in Japan via both images and verbal descriptions. The article will discuss the interpretations and attitudes of four key men in the Shirakaba Group of literary figures: Mushanokōji Saneatsu, Yanagi Muneyoshi, Kimura Shohachi, and Hitomi Tomei, centering on Mushanokoji and Yanagi. (Note: These men first translated the term Post-Impressionism into Japanese as “Ko-Insho-ha”). This article takes as its theme, “The Post-Impressionism of the Shirakaba,” and is structured in the following manner: A. The Events Known as “The Debate of A Painting's Promise” B. Yamawaki Shintoku's Work which Set Off the Debate C. The Background of the Debate and How the Shirakaba Group Perceived Art-Mushanokōji Saneatsu D. The Appearance of “Post-Impressionism” — Yanagi Muneyoshi An exhibition of Yamawaki Shintoku's works was held in April 1911 in Tokyo. This was a oneman show of works by an avant-garde painter whose Impressionist style works had already been noted in the Bunten exhibitions. Yamawaki was criticized by Kinoshita Mokutarō-a progressive critic, poet and dramatist of the period—who decried a purely subjective expression which ignored technique. Kinoshita believed that painters must create paintings which abide by the shared “agreement or promise” between artist and viewer. Yamawaki published his rebuttal in the Shirakaba magazine. A debate between Kinoshita and Yamawaki then raged in the Shirakaba. This is what we now call the “The Debate of A Painting's Promise.” Scholars of modern literature quickly noted this debate as a critical element of the formation of the literary views of the Shirakaba faction, in contrast, the present article experiments with a reconsideration of this debate as an artistic debate regarding paintings. Section A provides the basic chronology of the debate, while Section B examines the painting which set off this debate, a painting which had not previously been discussed. A survey of contemporary critiques has lead to the supposition that the work shown on the color frontispiece of this issue of Bijutsu Kenkyū, “Setting Sun”, was the painting which ignited the debate. Section B examines the artistic stances of Kinoshita and Mushanokōji, the two men involved in the debate. Kinoshita expressed contradictory tastes, writing esthete poetry on the one hand, and revering Kuroda Seiki's paintings on the other. It was Kinoshita's love of Kuroda's sweet, lyric paintings which led to his criticism of the expressionistic works of Yamawaki. Mushanokōji, on the other hand, sought to understand the arts as part of an ethical lifestyle and used this debate to concentrate on the selfcentered concept of “art for the self.” Finally, Section D considers the authors of the Shirakaba school who were in the midst of this debate when they first received a copy of C. Lewis Hind's The Post-Impressionists (London, 1911). This book provided them with their first glimpse of Cézanne, Van Gogh, Gauguin, and Matisse as one named artistic group. Yanagi Muneyoshi was the first to provide a serious introduction and critique of this group of artists, purely on the basis of this book. His first article on the subject, entitled “Revolutionary Painters,” was published in the January 1912 issue of Shirakaba. This article, in line with Mushanokōji's thinking, interpreted the Post-Impressionists more from a literary, ethical stance, than from an artistic standpoint addressing issues of form. Yanagi's article became the model for the Japanese interpretation of the Post-Impressionists and the reproduction prints of Post-Impressionist paintings published in the Shirakaba magazine had an immense impact in Japan. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 369, p. 1-38, 発行日 1998-03-25 |