@article{oai:tobunken.repo.nii.ac.jp:00006109,
 author = {富澤ケイ, 愛理子 and Tomizawa-Kay, Eriko},
 issue = {419},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Jun},
 note = {This article focuses on an album of Meiji-era Nihonga held in the Metropolitan Museum of Art, New York. Although now separated into individual painting leaves, the album originally consisted of 96 Nihonga by seven known and little-known artists. This unique album assemblage was one of the thousands of Japanese artworks purchased by the American industrialist Charles Stewart Smith (1832-1909) from the Irish journalist and collector Francis Brinkley (1841-1912) when Smith was in Japan from 1892-1893. The album contained thirty-seven leaves by Kawanabe Kyôsai (1831-1889), twenty-one by Watanabe Seitei (1851- 1918), twelve by Kawabata Gyokushô (1842-1913), six by Hashimoto Gahô (1835-1908), sixteen by Seki Shûkô (1858-1915), three by Okada Baison (1864 -1913), and one by Ôide Tôkô (1841-1905). In terms of the production date of each image, inscriptions on the works indicate that the earliest was painted in 1887, and the latest work in 1892.
     Among the eighteen works by Kawanabe Kyôsai, there are images that have the same compositions as those found in the Preparatory Drawings of the album for the Englishmen (ca. 1887, Kawanabe Kyôsai Memorial Museum, Tokyo). From the notation “hyakumai gachô no uchi” on those preparatory drawings (found in the 100-leaf picture album), the array of production dates and the fact that the number of works by Kyôsai exceeds those of others in the album – occupying more than a third of the whole album – we can conclude that Brinkley had divided responsibility for the album leaf production among artists other than Kyôsai, and had prepared and sold this album to the Smiths prior to their return to America. Of the artists, today’s high regard for Hashimoto Gahô within the history of Japanese modern art, which began during his lifetime, remains intact, while Watanabe Seitei is relatively unknown by the general public. Today, there is an ongoing re-evaluation of Kawabata Gyokushô’s activities at the time and his works. In general, the three remaining artists, Seki Shûkô, Okada Baison, and Ôide Tôkô, are also little known today. But, at the time, these three artists had received honors at the various exhibitions that marked a painter’s official debut in the art circles of their day, while also displaying works at various world fairs, and participating in exhibitions and mutual critiquing sessions organized by Okakura Tenshin. Thus each artists was recognized, to some degree, at the time. Their lack of further achievements meant that they were gradually forgotten during the intervening decades.
     In terms of the background that led to the production of this album, we can consider the intermingling of the art exhibitions of the day, art education systems, the export of fine and decorative arts from Japan, such as ceramics, the art market in North America and its reception of Nihonga, and the presence of the painters, dealers and educators who were responsible for these various elements. Through the confirmation of the production process of this album and the related works and artistic activities by the involved modern Nihonga painters, and a reevaluation of all of these factors, we can shed light on these painters who have slipped between the cracks in the formation of the history of modern Japanese art, and reveal one aspect of how modern Japanese art collections were formed and received in North America at the time.},
 pages = {27--72},
 title = {研究資料　メトロポリタン美術館所蔵チャールズ・スチュワート・スミス・コレクション「近代日本画帖」},
 year = {2016}
}