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Up until now, the matière of his works\nhas been noted as Koide’s greatest characteristic. However,\nthere has been no detailed examination of how such matière\nwas expressed. What kind of painting surface was Koide\nstriving for?\n In addition to expressing whatever is depicted in a\npainting, the surface of a painting also contains traces\nof the painter’s actions and intentions, and indeed, the\npainting materials of the surface also emphasize the materials\nthemselves. What kind of painting surface did Koide create?\nThis essay considers what type of formative awareness lies\nbehind Koide’s surfaces, and is based on an appreciation of\nthe issue of how Koide’s surfaces are positioned in the history\nof formative arts.\n It seems that Koide always strove to create a smooth\nand velvety matière, no matter what painting methods he\nused, from the expression of highlights to the selection of\nmotifs or the use of deform methods. When he depicted\nthe reflection of light, he did not build up his pigment\non the painting surface to render a highlight, rather he\npainted the highlights as if they were something reflected\nin a mirror, where the surface of the motif was so smooth\nthat it was reflective itself. Further, he selected motifs that\nhad a swelling skin of a surface, which he then rendered\nin deformé style, highlighting the differences in shape and\nmaterial rather than creating a detailed depiction. The\nmotifs rendered in such deformé form were then placed on\na table that reflected their shapes, further emphasizing the\nsmooth shine of the tabletop. In the case of Standing Nude\n(Mie Prefectural Art Museum), he coated the surface of the\npainting with translucent pigments that are almost invisible\nto the naked eye, thus effectively enhancing the model’s skin.\n Koide’s characteristics –– such previously considered\nseparate aspects as his highlights, use of deformé, and\nhandling of materials on his painting surface –– were in\nfact intended by Koide as a totality for conveying a smooth\nsurface. Wasn’t the aim of Koide’s creation of painting\nsurfaces to emphasize the material nature of the motif by\nthe very substance of paint materials, to show the physical\nquality as smooth, and to render the painting surface in the\nsmoothest possible fashion. For Koide, who also painted on\nglass, a smooth surface texture allowed him to approach the\nEuropean painting traditions that he considered the pinnacle\nof oil painting production, and clearly this aspect of painting\nwas the entire focus of his efforts. Further, it can also be\nsurmised that the contemporary direction of painting can be\nseen in such efforts.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "小林, 未央子"}], "nameIdentifiers": [{"nameIdentifier": "26308", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Kobayashi, Mioko", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "26309", "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": "2017-10-05"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "395_85_Kobayashi_Redacted.pdf", "filesize": [{"value": "1.9 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 1900000.0, "url": {"label": "395_85_Kobayashi_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6193/files/395_85_Kobayashi_Redacted.pdf"}, "version_id": "c7ff8bf7-a1af-4787-a935-8964f90b6d04"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "小出楢重 裸女立像(大正十四年・三重県立美術館蔵)グレーズ・ハイライト・岸田劉生", "subitem_subject_scheme": "Other"}, {"subitem_subject": "Standing Nude, by Koide Narashige, Mie Prefectural Museum of Art", "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": "研究ノート なめらかな表面のために―小出楢重再考―", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "研究ノート なめらかな表面のために―小出楢重再考―"}, {"subitem_title": "Research Note: For a Smooth Surface: A Reconsideration of Koide Narashige", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["983"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6193", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6193", "relation": {}, "relation_version_is_last": true, "title": ["研究ノート なめらかな表面のために―小出楢重再考―"], "weko_shared_id": 3}
研究ノート なめらかな表面のために―小出楢重再考―
https://tobunken.repo.nii.ac.jp/records/6193
https://tobunken.repo.nii.ac.jp/records/6193f430aa67-4201-4a0b-bdd2-4e0a65c52489
名前 / ファイル | ライセンス | アクション |
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395_85_Kobayashi_Redacted.pdf (1.9 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 | 研究ノート なめらかな表面のために―小出楢重再考― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Research Note: For a Smooth Surface: A Reconsideration of Koide Narashige | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 小出楢重 裸女立像(大正十四年・三重県立美術館蔵)グレーズ・ハイライト・岸田劉生 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Standing Nude, by Koide Narashige, Mie Prefectural Museum of Art | |||||
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 |
小林, 未央子
× 小林, 未央子× Kobayashi, Mioko |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | This article considers to what lengths Koide Narashige (1887-1931) ―― highly renowned for his matière which was dubbed the “birei na gamen,” literally beautiful painting surface, by Yasui Sôtarô –– went to create what type of painting surfaces. Up until now, the matière of his works has been noted as Koide’s greatest characteristic. However, there has been no detailed examination of how such matière was expressed. What kind of painting surface was Koide striving for? In addition to expressing whatever is depicted in a painting, the surface of a painting also contains traces of the painter’s actions and intentions, and indeed, the painting materials of the surface also emphasize the materials themselves. What kind of painting surface did Koide create? This essay considers what type of formative awareness lies behind Koide’s surfaces, and is based on an appreciation of the issue of how Koide’s surfaces are positioned in the history of formative arts. It seems that Koide always strove to create a smooth and velvety matière, no matter what painting methods he used, from the expression of highlights to the selection of motifs or the use of deform methods. When he depicted the reflection of light, he did not build up his pigment on the painting surface to render a highlight, rather he painted the highlights as if they were something reflected in a mirror, where the surface of the motif was so smooth that it was reflective itself. Further, he selected motifs that had a swelling skin of a surface, which he then rendered in deformé style, highlighting the differences in shape and material rather than creating a detailed depiction. The motifs rendered in such deformé form were then placed on a table that reflected their shapes, further emphasizing the smooth shine of the tabletop. In the case of Standing Nude (Mie Prefectural Art Museum), he coated the surface of the painting with translucent pigments that are almost invisible to the naked eye, thus effectively enhancing the model’s skin. Koide’s characteristics –– such previously considered separate aspects as his highlights, use of deformé, and handling of materials on his painting surface –– were in fact intended by Koide as a totality for conveying a smooth surface. Wasn’t the aim of Koide’s creation of painting surfaces to emphasize the material nature of the motif by the very substance of paint materials, to show the physical quality as smooth, and to render the painting surface in the smoothest possible fashion. For Koide, who also painted on glass, a smooth surface texture allowed him to approach the European painting traditions that he considered the pinnacle of oil painting production, and clearly this aspect of painting was the entire focus of his efforts. Further, it can also be surmised that the contemporary direction of painting can be seen in such efforts. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 395, p. 85-97, 発行日 2008-08-28 |