WEKO3
アイテム
{"_buckets": {"deposit": "0d6bc6bb-9af5-4ba2-93b6-a1881589c56a"}, "_deposit": {"created_by": 3, "id": "6943", "owners": [3], "pid": {"revision_id": 0, "type": "depid", "value": "6943"}, "status": "published"}, "_oai": {"id": "oai:tobunken.repo.nii.ac.jp:00006943", "sets": ["1191"]}, "author_link": ["28116", "28117"], "item_10001_biblio_info_7": {"attribute_name": "書誌情報", "attribute_value_mlt": [{"bibliographicIssueDates": {"bibliographicIssueDate": "1957-08-15", "bibliographicIssueDateType": "Issued"}, "bibliographicIssueNumber": "192", "bibliographicPageEnd": "34", "bibliographicPageStart": "6", "bibliographic_titles": [{"bibliographic_title": "美術研究"}, {"bibliographic_title": "The bijutsu kenkyu : the journal of art studies", "bibliographic_titleLang": "en"}]}]}, "item_10001_description_5": {"attribute_name": "抄録", "attribute_value_mlt": [{"subitem_description": " For a long period after the Kōbu Bijutsu Gakkō was abolished, there was no Governmental educational institution of Western-style art, until in 1896 the Western Painting Department was established in addition to that of traditional Japanese painting at the Tokyo Art School (now Tokyo University of Arts). The leader of this new department was KURODA Seiki ; KUME Keiichirō and IWAMURA Tōru took charge of art anatomy and history of Western art; and FUJISHIMA Takeji and OKADA Saburosuke were nominated Assistant Professors for technical lessons. In stead of previously common excercises in conte chalk sketches of alabaster busts and models, Kuroda let his students use charcoal after the French manner; in excercises of figure subjects he encouraged sketches of nudes. He thus laid the foundation of modern methodology for education of Western painting. Plein-airistic technique was also studied by his students, and this school held the main current of academism in Japan over a long period of time to follow.\n The older, dark academic style and the new, bright Plein-airistic style existed side by side in the Meiji Bijutsu-kai to present a marked contrast at its exhibitions. MORI Ōgai, TAKAYAMA Chogyū and other critics had heated discussions on the two styles. The Plein-airistic art, thus, gradually attracted attention of the public. However, Kuroda, Kume and others, who had professed themselves as liberalists, had been dissatisfied with the bureaucratic system of the Meiji Bijutsu-kai. They left the Meiji Bijutsukai, and with their friends organized the Hakuba-kai in 1896, holding its first exhibition the same year. The two rivalling groups thereafter competed their skills side by side.\n The Hakuba-kai, during its period of activity until 1911, held thirteen exhibitions. Throughout the period Kuroda remained its leader, and painted the famous “By the Lake” (Kohan), “Tales of Olden Days” (Mukashi-gatari) as well as many fine portraits. Kume later gave up creative activity and devoted himself to art administration, while such younger artists as FUJISHIMA Takeji, OKADA Saburosuke, WADA Eisaku, SHIRATAKI Ikunosuke and NAKAZAWA Hiromitsu gradually began to work with vengeance. At first the Hakuba-kai, under the influence of Kuroda and Kume, was imbued with Plein-airistic naturalism, but around 1900 some of its members turned to romantic style. Fujishima and AOKI Shigeru were representative, and painted fine works in this field.\n The Hakuba-kai around this time established the Yōga Kenkyū-jo (Institute of Western Painting Research), where it offered technical guidance and lectures in order to promote and spread Western style art.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "隈元, 謙次郎"}], "nameIdentifiers": [{"nameIdentifier": "28116", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Kumamoto, Kenjiro", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "28117", "nameIdentifierScheme": "WEKO"}]}]}, "item_files": {"attribute_name": "ファイル情報", "attribute_type": "file", "attribute_value_mlt": [{"accessrole": "open_date", "date": [{"dateType": "Available", "dateValue": "2016-12-27"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "192_6_Kumamoto_Redacted.pdf", "filesize": [{"value": "41.8 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 41800000.0, "url": {"label": "192_6_Kumamoto_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6943/files/192_6_Kumamoto_Redacted.pdf"}, "version_id": "f299e681-dc99-4908-af1c-df992ff3a0ff"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "藤島武二 蝶(埼玉 大里一太郎氏蔵)・長原孝太郎 停車場の夜(東京国立博物館蔵)東京美術学校西洋画科・森鴎外・高山樗牛・黒田清輝・久米桂一郎・岡田三郎助・和田英作・中沢弘光・小林萬吾・山本森之助・青木繁・安藤仲太郎・白瀧幾之助・北蓮蔵・三宅克己", "subitem_subject_scheme": "Other"}, {"subitem_subject": "Western-style Painting in Japan during the Middle Part of the Meiji Period (II)", "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(二)―白馬会を中心として―", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "明治中期の洋画(二)―白馬会を中心として―"}, {"subitem_title": "Western-style Painting in Japan during the Middle Part of the Meiji Period (II)", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1191"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6943", "pubdate": {"attribute_name": "公開日", "attribute_value": "2016-12-27"}, "publish_date": "2016-12-27", "publish_status": "0", "recid": "6943", "relation": {}, "relation_version_is_last": true, "title": ["明治中期の洋画(二)―白馬会を中心として―"], "weko_shared_id": 3}
明治中期の洋画(二)―白馬会を中心として―
https://tobunken.repo.nii.ac.jp/records/6943
https://tobunken.repo.nii.ac.jp/records/6943b48a45a4-23c1-4b97-8121-c4329dcb0cfd
名前 / ファイル | ライセンス | アクション |
---|---|---|
192_6_Kumamoto_Redacted.pdf (41.8 MB)
|
Item type | 学術雑誌論文 / Journal Article(1) | |||||
---|---|---|---|---|---|---|
公開日 | 2016-12-27 | |||||
タイトル | ||||||
タイトル | 明治中期の洋画(二)―白馬会を中心として― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Western-style Painting in Japan during the Middle Part of the Meiji Period (II) | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 藤島武二 蝶(埼玉 大里一太郎氏蔵)・長原孝太郎 停車場の夜(東京国立博物館蔵)東京美術学校西洋画科・森鴎外・高山樗牛・黒田清輝・久米桂一郎・岡田三郎助・和田英作・中沢弘光・小林萬吾・山本森之助・青木繁・安藤仲太郎・白瀧幾之助・北蓮蔵・三宅克己 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Western-style Painting in Japan during the Middle Part of the Meiji Period (II) | |||||
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 |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | For a long period after the Kōbu Bijutsu Gakkō was abolished, there was no Governmental educational institution of Western-style art, until in 1896 the Western Painting Department was established in addition to that of traditional Japanese painting at the Tokyo Art School (now Tokyo University of Arts). The leader of this new department was KURODA Seiki ; KUME Keiichirō and IWAMURA Tōru took charge of art anatomy and history of Western art; and FUJISHIMA Takeji and OKADA Saburosuke were nominated Assistant Professors for technical lessons. In stead of previously common excercises in conte chalk sketches of alabaster busts and models, Kuroda let his students use charcoal after the French manner; in excercises of figure subjects he encouraged sketches of nudes. He thus laid the foundation of modern methodology for education of Western painting. Plein-airistic technique was also studied by his students, and this school held the main current of academism in Japan over a long period of time to follow. The older, dark academic style and the new, bright Plein-airistic style existed side by side in the Meiji Bijutsu-kai to present a marked contrast at its exhibitions. MORI Ōgai, TAKAYAMA Chogyū and other critics had heated discussions on the two styles. The Plein-airistic art, thus, gradually attracted attention of the public. However, Kuroda, Kume and others, who had professed themselves as liberalists, had been dissatisfied with the bureaucratic system of the Meiji Bijutsu-kai. They left the Meiji Bijutsukai, and with their friends organized the Hakuba-kai in 1896, holding its first exhibition the same year. The two rivalling groups thereafter competed their skills side by side. The Hakuba-kai, during its period of activity until 1911, held thirteen exhibitions. Throughout the period Kuroda remained its leader, and painted the famous “By the Lake” (Kohan), “Tales of Olden Days” (Mukashi-gatari) as well as many fine portraits. Kume later gave up creative activity and devoted himself to art administration, while such younger artists as FUJISHIMA Takeji, OKADA Saburosuke, WADA Eisaku, SHIRATAKI Ikunosuke and NAKAZAWA Hiromitsu gradually began to work with vengeance. At first the Hakuba-kai, under the influence of Kuroda and Kume, was imbued with Plein-airistic naturalism, but around 1900 some of its members turned to romantic style. Fujishima and AOKI Shigeru were representative, and painted fine works in this field. The Hakuba-kai around this time established the Yōga Kenkyū-jo (Institute of Western Painting Research), where it offered technical guidance and lectures in order to promote and spread Western style art. |
|||||
書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 192, p. 6-34, 発行日 1957-08-15 |