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図版解説 鹿子木孟郎筆 某未亡人の肖像[大正元年、京都市美術館蔵]
https://tobunken.repo.nii.ac.jp/records/6309
https://tobunken.repo.nii.ac.jp/records/63093caa82e3-9f0a-43fd-8df8-ecf1ab22272d
名前 / ファイル | ライセンス | アクション |
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349_44_Yamanashi_Redacted.pdf (8.6 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 | 図版解説 鹿子木孟郎筆 某未亡人の肖像[大正元年、京都市美術館蔵] | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Explanation of the Plates: “Portrait of Widow” by Takeshiro Kanokogi (1912, Kyoto Municipal Art Museum) | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 鹿子木孟郎 ジプシーの女(明治三十九〜四十年・個人蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | “Gypsy Woman” by Takeshiro Kanokogi, 1906-07, Private Collection | |||||
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 |
山梨, 絵美子
× 山梨, 絵美子× Yamanashi, Emiko |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | “Portrait of a Widow” by Takeshirō KANOKOGI (1874-1941), in the collection of the Kyoto Municipal Museum, was exhibited in the sixth Bunten in 1912. Since then, the sitter of this portrait has not been known to the public. Introducing the diary by the painter's wife, Haruko, the author demonstrates that the sitter is the painter's mother in low, Yasu(ko) SENOO. The painter's wife, Haruko was the first child of Tokufū SENOO, who was famous for his carigraphy. Haruko's true mother died in 1882, and Yasu(ko) was married to Tokufū later. Since Tokufū's death in 1887, Yasu(ko) grew Haruko and two sons between Tokufū by herself. This family history and the relation between the painter and the sitter help the understanding of this successful portrait. Kanokogi's style of the figure painting can be divided chronologically into three stages. The first one is characterized by its dark pallet, honest representation of the appearance of the sitter, and rather conventional rendition. This refrects his study under Shōtarō KOYAMA. The second style which appeared during his study at Academie Julian in Paris is characterized by keen sense of light and more spontaneous brushwork. The third style is recognized in the works after 1907 when KANOKOGI'S work was accepted by the Salon in France for the first time. Spontaneous, sketchy rendition of the second style is taken over by more refined style which tends to be rather stiff and artificial. This style derived from academic thoughts of Western painting in which the concept of refined composition attains the first rank in the hierarchy of paintings. With the conjunction of characteristics of the third style and the meaning of the portrait, as a family icon representing an ancestor, that it must give unchanging, stable image of the sitter, “Portrait of a Widow” became one of the masterpieces by KANOKOGI. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 349, p. 44-48, 発行日 1991-03-22 |