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Especially we can observe his own approach to Western painting in his landscapes since Fenollosa did not directly affected his landscapes. Speaking of his approach to Western painting, it is recorded that he executed copperplates and lithographs in Western methods already in early Meiji Era and the earliest remaining works in which he dealt with Western subject matter are “Mediterranean View” and “Western Landscape” painted in the fifteenth year of Meiji Era (1882). After this stage his landscapes increased the dynamism in their compositions receiving influence from the European Romantic landscape painting. Romantic landscapes played leading role in the development of landscape painting of nineteenth-century Europe and the greatest representative was J.M.W. Turner (1775–1851). Landscapes Hōgai painted in his latest years show strong impact from the grand mountain-scapes which Turner and artists around him executed based on their actual experience in mountain regions like the Alps. 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狩野芳崖晩期の山水画と西洋絵画
https://tobunken.repo.nii.ac.jp/records/6386
https://tobunken.repo.nii.ac.jp/records/63865c08c3ad-af5f-42a5-a3ee-cd663cf7e0e1
名前 / ファイル | ライセンス | アクション |
---|---|---|
329_1_Satou_Redacted.pdf (42.8 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 | 狩野芳崖晩期の山水画と西洋絵画 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Late Landscapes of Hogai Kano and Western Painting | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 狩野芳崖 暁霧山水図(東京藝術大学蔵)・狩野芳崖 江流百里図(ボストン ボストン美術館蔵)・狩野芳崖 懸崖飛沫図(山口県立美術館蔵)・狩野芳崖 谿間雄飛図(ボストン ボストン美術館蔵)・狩野芳崖 柳下牧牛図(福井県立美術館蔵)ロマン主義風景画 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | “Cupid, a Jar and a Man,” “A Terrestrial Globe and Western God,” “Het Beeltnis van de Akker Godes,” “Nieuwe Kaart van Groningen” by Denzen Aodo, Etching, Sukagawa Municipal Museum / Niewe Atlas, Map No, 39: Ukraine, No.50: Greece, No. 54 Brandenburg, No. 58: Bohemia, Cartouche Ornamentation, Shizuoka Prefectural Central Library | |||||
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 |
佐藤, 道信
× 佐藤, 道信× Sato, Doshin |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | In the oevre of Hōgai KANŌ (1828–1888) who was so to speak in the boundary between the Eastern and Western painting, what showed most prominent Western influence were the works of his last several years. Especially we can observe his own approach to Western painting in his landscapes since Fenollosa did not directly affected his landscapes. Speaking of his approach to Western painting, it is recorded that he executed copperplates and lithographs in Western methods already in early Meiji Era and the earliest remaining works in which he dealt with Western subject matter are “Mediterranean View” and “Western Landscape” painted in the fifteenth year of Meiji Era (1882). After this stage his landscapes increased the dynamism in their compositions receiving influence from the European Romantic landscape painting. Romantic landscapes played leading role in the development of landscape painting of nineteenth-century Europe and the greatest representative was J.M.W. Turner (1775–1851). Landscapes Hōgai painted in his latest years show strong impact from the grand mountain-scapes which Turner and artists around him executed based on their actual experience in mountain regions like the Alps. The impact to Hōgai reveals itself in the swirling compositions and the exaggerated depiction of expansive space, deep ravines, cliffs and waterfalls. His trip to Mt. Myōgi in the twentieth year of Meiji Era (1887) had virtually a common character with the Romantists mountain experience. It had an important significance to connect Hōgai's landscape works with actual scenery. On the other hand Hōgai positively guided Western painting methods into his work; namely, the representation of light and three-dimensionality, and the borrowing of scientific colour theory. However, fundamentally he insisted on the Japanese painting material and Oriental art tradition, and consequently established a unique world of landscape painting in which the Eastern and Western factors were integrated into one. | |||||
書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 329, p. 1-21, 発行日 1984-09-29 |