WEKO3
アイテム
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The exhibition which it held in 1898 in commemoration of its tenth anniversary was fairly successful, but after many of its members went off to Europe at the opportunity of the International Fair in Paris in 1900, its subsequent exhibitions did not see much success. In 1901, therefore, when YOSHIDA Hiroshi, NAKAGAWA Hachirō, MITSUTANI Kunishirō and MARUYAMA Banka came back from Europe, these members, consulting with WATANABE Shin-ya, TOTORI Eiki, ISHIKAWA Toraji, OSHITA. Tōjirō and other artists, disbanded the Meiji Bijutsu-kai and organized the Taiheiyō Gakai anew. NAKAMURA Fusetsu, KANOKOGI Takeshirō and others, who had been studying in France, later came back and joined the Taiheiyō Gakai. Having studied under Jean Paul Laurens, the French Academic artist, they introduced the academic style which lay importance more on form than on colour, and their work influenced upon members of the Taiheiyō Gakai as well as upon younger artists of the time. The Taiheiyō Gakai, thus, stood opposed to the Hakuba-kai which sided with Plein-airism and Romanticism. Beginning with its first exhibition in May 1902 at Ueno Park, Tokyo the Taiheiyō Gakai held its exhibitions annually. In its early period Yoshida, Nakagawa, Ōshita and Maruyama frequently showed their landscapes, while Mitsutani, Nakamura and Kanokogi chiefly painted figure subjects.\n In 1904 the Taiheiyō Gakai also established its research institute at Yanaka in Tokyo, where Mitsutani, Yoshida, Nakagawa, Ishikawa and Nakamura guided younger artists. This institute, later renamed Taiheiyō Ga-gakkō (Taiheiyō School of Painting), gave birth to many Western-style painters.\n After tne Meiji Bijutsu-kai was disbanded, GOSEIDA Hōryū II, TŌJŌ Shōtarō, ISHIKAWA Kinichirō and other artists centered around KAWAMURA Kiyoo organized the Tomoe-kai and held exhibitions for the following several years. This society was not so active as the Hakuba-kai and the Taiheiyō Gakai, and disappeared not long after.\n Exhibitions in and outside Japan were notable in this period. At the International Fair in Paris in 1900, especially, many contemporary Japanese paintings were exhibited. It was at this exhibition that Japanese works were displayed for the first time at an art gallery in competition with those from other countries. It was the first time after more than twenty years that Japanese Westernstyle paintings were sent abroad for exhibition. The exhibited paintings, all painted in about 1897, were selected out of those shown at Meiji Bijutsu-kai and Hakuba-kai exhibitions. In comparison with European and American works, however, the level of Japanese Western-style painting was still generally low, only a painting by Kuroda Seiki having won the second silver prize. It was significant that many Japanese artists, art educators and administrators visited Europe at the opportunity of this exhibition, for their trip added to their knowledge and contributed much to the development of Japanese art.\n Besides oil-painting, water-colour art developed and spread rapidly in this period. Successive visits to Japan of famous water-colour painters from England in the late nineteenth century were a great inspiration. MIYAKE Katsumi of the Hakuba-kai, ŌSHITA Tōjirō and MARUYAMA Banka of the Taiheiyō Gakai and others thereafter specialized in water-colours, wrote books on water-colour techniques, held lecture courses and established research institutes. Their guidance led to a vogue of water-colur painting among amateurs and students.\n In Kyoto where traditional Japanese-style painting was prevalent, Western-style painting was relatively slow to develop. TAMURA Sōritsu, active early in the Meiji Period (1868-1911), was among the first to paint in the Western style. When the Kyoto-fu Ga-gakkō (Kyoto Prefectural School of Painting) was established in 1880 and a department of Western-style painting was created in it, Tamura temporarily taught in the department, and KOYAMA Sanzō later took his place. This school, however, was reorganized in about 1891 and the department of western-style was abolished. There was no group of Western-style painters in Kyoto until the Kansai Bijutsu-kai was organized in 1901 by ITŌ Yoshihiko, TAMURA Sōritsu and their friends. In 1902 the famous Western-style painter ASAI Chū came to Kyoto as a professor at the Kōto Kōgei Gakkō (Higher School of Decorative Arts). This event added to the importance of the Kansai Bijutsu-kai, which thereafter evolved notable activities. Asai also established a private educational institute to teach young artists. He later enlarged this institute and reorganized it as the Kansai Bijutsu-in, in which Asai as the Principal and Itō, Kanokogi and Totori as professors, guided many young painters. 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Mr. Asai Makoto, Tokyo", "subitem_subject_language": "en", "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": "明治中期の洋画(三)―太平洋画会と巴会―", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "明治中期の洋画(三)―太平洋画会と巴会―"}, {"subitem_title": "Western-style Painting in Japan during the Middle Part of the Meiji Period (III)", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1158"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6808", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6808", "relation": {}, "relation_version_is_last": true, "title": ["明治中期の洋画(三)―太平洋画会と巴会―"], "weko_shared_id": 3}
明治中期の洋画(三)―太平洋画会と巴会―
https://tobunken.repo.nii.ac.jp/records/6808
https://tobunken.repo.nii.ac.jp/records/68081b14bfd7-8635-4da2-8b8c-1ee85102184a
名前 / ファイル | ライセンス | アクション |
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201_21_Kumamoto_Redacted.pdf (36.7 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 | 明治中期の洋画(三)―太平洋画会と巴会― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Western-style Painting in Japan during the Middle Part of the Meiji Period (III) | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 浅井忠 冬のグレー(東京 浅井真氏蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | “Winter Landscape at Grez-sur-Loin” by Asai Chu, Coll. Mr. Asai Makoto, Tokyo | |||||
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 |
隈元, 謙次郎
× 隈元, 謙次郎× Kumamoto, Kenjiro |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | After KURODA Seiki, KUME Keiichirō and other members seceded in order to organize the Hakuba-kai, the Meiji Bijutsu-kai became notably inactive. The exhibition which it held in 1898 in commemoration of its tenth anniversary was fairly successful, but after many of its members went off to Europe at the opportunity of the International Fair in Paris in 1900, its subsequent exhibitions did not see much success. In 1901, therefore, when YOSHIDA Hiroshi, NAKAGAWA Hachirō, MITSUTANI Kunishirō and MARUYAMA Banka came back from Europe, these members, consulting with WATANABE Shin-ya, TOTORI Eiki, ISHIKAWA Toraji, OSHITA. Tōjirō and other artists, disbanded the Meiji Bijutsu-kai and organized the Taiheiyō Gakai anew. NAKAMURA Fusetsu, KANOKOGI Takeshirō and others, who had been studying in France, later came back and joined the Taiheiyō Gakai. Having studied under Jean Paul Laurens, the French Academic artist, they introduced the academic style which lay importance more on form than on colour, and their work influenced upon members of the Taiheiyō Gakai as well as upon younger artists of the time. The Taiheiyō Gakai, thus, stood opposed to the Hakuba-kai which sided with Plein-airism and Romanticism. Beginning with its first exhibition in May 1902 at Ueno Park, Tokyo the Taiheiyō Gakai held its exhibitions annually. In its early period Yoshida, Nakagawa, Ōshita and Maruyama frequently showed their landscapes, while Mitsutani, Nakamura and Kanokogi chiefly painted figure subjects. In 1904 the Taiheiyō Gakai also established its research institute at Yanaka in Tokyo, where Mitsutani, Yoshida, Nakagawa, Ishikawa and Nakamura guided younger artists. This institute, later renamed Taiheiyō Ga-gakkō (Taiheiyō School of Painting), gave birth to many Western-style painters. After tne Meiji Bijutsu-kai was disbanded, GOSEIDA Hōryū II, TŌJŌ Shōtarō, ISHIKAWA Kinichirō and other artists centered around KAWAMURA Kiyoo organized the Tomoe-kai and held exhibitions for the following several years. This society was not so active as the Hakuba-kai and the Taiheiyō Gakai, and disappeared not long after. Exhibitions in and outside Japan were notable in this period. At the International Fair in Paris in 1900, especially, many contemporary Japanese paintings were exhibited. It was at this exhibition that Japanese works were displayed for the first time at an art gallery in competition with those from other countries. It was the first time after more than twenty years that Japanese Westernstyle paintings were sent abroad for exhibition. The exhibited paintings, all painted in about 1897, were selected out of those shown at Meiji Bijutsu-kai and Hakuba-kai exhibitions. In comparison with European and American works, however, the level of Japanese Western-style painting was still generally low, only a painting by Kuroda Seiki having won the second silver prize. It was significant that many Japanese artists, art educators and administrators visited Europe at the opportunity of this exhibition, for their trip added to their knowledge and contributed much to the development of Japanese art. Besides oil-painting, water-colour art developed and spread rapidly in this period. Successive visits to Japan of famous water-colour painters from England in the late nineteenth century were a great inspiration. MIYAKE Katsumi of the Hakuba-kai, ŌSHITA Tōjirō and MARUYAMA Banka of the Taiheiyō Gakai and others thereafter specialized in water-colours, wrote books on water-colour techniques, held lecture courses and established research institutes. Their guidance led to a vogue of water-colur painting among amateurs and students. In Kyoto where traditional Japanese-style painting was prevalent, Western-style painting was relatively slow to develop. TAMURA Sōritsu, active early in the Meiji Period (1868-1911), was among the first to paint in the Western style. When the Kyoto-fu Ga-gakkō (Kyoto Prefectural School of Painting) was established in 1880 and a department of Western-style painting was created in it, Tamura temporarily taught in the department, and KOYAMA Sanzō later took his place. This school, however, was reorganized in about 1891 and the department of western-style was abolished. There was no group of Western-style painters in Kyoto until the Kansai Bijutsu-kai was organized in 1901 by ITŌ Yoshihiko, TAMURA Sōritsu and their friends. In 1902 the famous Western-style painter ASAI Chū came to Kyoto as a professor at the Kōto Kōgei Gakkō (Higher School of Decorative Arts). This event added to the importance of the Kansai Bijutsu-kai, which thereafter evolved notable activities. Asai also established a private educational institute to teach young artists. He later enlarged this institute and reorganized it as the Kansai Bijutsu-in, in which Asai as the Principal and Itō, Kanokogi and Totori as professors, guided many young painters. The foundation of Westernstyle art education in the Kansai area was thus firmly established. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 201, p. 21-44, 発行日 1959-03-24 |