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It is, so to speak, a transitional period from the art of the Meiji Period\nto that of present day.\n It was in 1909 that the new artistic movement originated in France, called the Later Impressionism, was introduced in Japan by Saitō Yori, who came home that year after studying the works of Cézanne and other progressive painters there. The Impressionism was imported in the following year by Yamashita Shintarō, Arishima Mibuma, Fujishima Takeji and others who also studied in France and brought back the influence of that school. That is to say, the Impessionism and the Later Impressionism were introduced here almost at the same time, or rather to say, the Later Impressionism was brought a little earlier.\n Japanese painters who actually studied abroad were very few. Most artists learned through magazines and albums of reproductions. Those magazines were mostly literary magazines such as the Shirakaba and the Waseda Bungaku, which in this respect did\nmuch for the art world here. But the mere monochrome reproductions and commen\ntaries on them could not supply full understanding of the modern French movements. Moreover, what were introduced of them were the “spirits” only, and problems of formative techniques that should necessarily accompany them were left aside. Thus it was that Japanese Western style painting at the time did not belong distinctly to either of the Impressionism or Late Impressionism, but hovered, so to say, between those two.\n The Later Impressionism, however, which laid importance on idiosyncratic expression, exerted by no means little influence upon young Japanese artists. It rapidly gained in popularity here in a few years from 1910 to \u002712, and finally came to have the Fusin Society devoted to it in 1912 formed by a part of those progressive artists in opposition to the traditional circles of academic art.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "岡, 畏三郎"}], "nameIdentifiers": [{"nameIdentifier": "28420", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Oka, Isaburo", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "28421", "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": "160_19_Oka_Redacted.pdf", "filesize": [{"value": "18.4 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 18400000.0, "url": {"label": "160_19_Oka_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/7150/files/160_19_Oka_Redacted.pdf"}, "version_id": "1cb14393-bd4b-46ab-bbcf-1a5a8e153622"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "後期印象派・斎藤與里", "subitem_subject_scheme": "Other"}, {"subitem_subject": "New Tendencies of Japanese Art in the Late Meiji Period", "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": "明治末期に於ける「新傾向」に就て", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "明治末期に於ける「新傾向」に就て"}, {"subitem_title": "New Tendencies of Japanese Art in the Late Meiji Period", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1241"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/7150", "pubdate": {"attribute_name": "公開日", "attribute_value": "2016-12-27"}, "publish_date": "2016-12-27", "publish_status": "0", "recid": "7150", "relation": {}, "relation_version_is_last": true, "title": ["明治末期に於ける「新傾向」に就て"], "weko_shared_id": -1}
明治末期に於ける「新傾向」に就て
https://tobunken.repo.nii.ac.jp/records/7150
https://tobunken.repo.nii.ac.jp/records/7150d1959977-161d-4f4e-a200-6ee1e624940b
名前 / ファイル | ライセンス | アクション |
---|---|---|
160_19_Oka_Redacted.pdf (18.4 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 | 明治末期に於ける「新傾向」に就て | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | New Tendencies of Japanese Art in the Late Meiji Period | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 後期印象派・斎藤與里 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | New Tendencies of Japanese Art in the Late Meiji Period | |||||
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 |
岡, 畏三郎
× 岡, 畏三郎× Oka, Isaburo |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | From the viewpoint of the history of Western style painting in Japan, the few years from the late Meiji to the eraly Taisho Eras around 1910, was the period when the Impressionism and the Later Impressionism of the West were introduced for the first time here. It is, so to speak, a transitional period from the art of the Meiji Period to that of present day. It was in 1909 that the new artistic movement originated in France, called the Later Impressionism, was introduced in Japan by Saitō Yori, who came home that year after studying the works of Cézanne and other progressive painters there. The Impressionism was imported in the following year by Yamashita Shintarō, Arishima Mibuma, Fujishima Takeji and others who also studied in France and brought back the influence of that school. That is to say, the Impessionism and the Later Impressionism were introduced here almost at the same time, or rather to say, the Later Impressionism was brought a little earlier. Japanese painters who actually studied abroad were very few. Most artists learned through magazines and albums of reproductions. Those magazines were mostly literary magazines such as the Shirakaba and the Waseda Bungaku, which in this respect did much for the art world here. But the mere monochrome reproductions and commen taries on them could not supply full understanding of the modern French movements. Moreover, what were introduced of them were the “spirits” only, and problems of formative techniques that should necessarily accompany them were left aside. Thus it was that Japanese Western style painting at the time did not belong distinctly to either of the Impressionism or Late Impressionism, but hovered, so to say, between those two. The Later Impressionism, however, which laid importance on idiosyncratic expression, exerted by no means little influence upon young Japanese artists. It rapidly gained in popularity here in a few years from 1910 to '12, and finally came to have the Fusin Society devoted to it in 1912 formed by a part of those progressive artists in opposition to the traditional circles of academic art. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 160, p. 19-30, 発行日 1951-03-20 |