{"created":"2023-05-15T13:34:56.054521+00:00","id":6128,"links":{},"metadata":{"_buckets":{"deposit":"2e9ab81a-78fd-4778-94c5-8c812bac78cc"},"_deposit":{"created_by":3,"id":"6128","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"6128"},"status":"published"},"_oai":{"id":"oai:tobunken.repo.nii.ac.jp:00006128","sets":["20:968:972"]},"author_link":["26165","26164"],"item_10001_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2004-11-12","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"384","bibliographicPageEnd":"43","bibliographicPageStart":"18","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":"     The first part of this article clarified the motives of Matsumoto Shunsuke (1912-1948) for his production of Portrait of the Artist (1941), Standing Figure (1942), and Five People and Three People (both 1943). Matsumoto became aware that one of his major internal issues from childhood was his experience of having barely escaped the loss of his mental faculties. As a way of resolving the issue, he decided to create a triptych of works that featured fullscale self-portraits as their central motifs. Part II of the article explicates the meanings of each of the three works.\n     Portrait of the Artist and Standing Figure have opposite meanings. The former is the image of “an ideal self,” while the latter is the image of a “negative self” showing how he would not like to be. In Portrait of the Artist, with its depiction of the artist, his wife and child against an urban background, Matsumoto quotes from various artists, with imagery drawn from Piero della Francesca's group figure imagery, Bruegel's landscape depiction, and the figural poses seen in paintings by Manet and Picasso. In a sense, the painting is a distillation of the history of painting in the West. The urban scene in the background is an ideal city created by Matsumoto. A church in the center of the city, and the artist standing in the foreground, are linked by the light of “creativity” and “reason” which emanate from the sky directly above the church. In other words, the image of Matsumoto depicted here is a “god-like artist,” a person who created with his own hands an ideal world bathed in the light of reason, and a person who lives in this ideal world with his beloved wife and child.\n     On the other hand, Standing Figure depicts Matsumoto standing alone, with his back to the light, beneath a cloudy sky. The view of a somewhat dingy, lonely town street is split to the right and left of the gigantic figural image. The figural details reveal a number of right-left imbalances, particularly in his depiction of the figure's eyes, which open to right and left without focusing on a central point. The preparatory drawings for this painting further emphasize this split gaze looking out to right and left. Thus this figure is the image of the artist's “self with reason lost,” encompassing Matsumoto's long-held fears. In this work we can see compositional quotations from Antoine Watteau's Pierrot and Henri Rousseau's famous Myself, Portrait-Landscape.\n     Through his painting the works Portrait of the Artist and Standing Figure, Matsumoto discerned that “the ideal self' and the “negative self' are both nothing more than illusions. These two selves do not actually exist. The self that actually exists is not found in either of these images. Matsumoto's recognition of these facts brought almost complete resolution of his internal issues. Then, Matsumoto created the final part of his self-portrait triptych, Five People and Three People, in order to grasp the actual state of his actual self. Five People and Three People were created on two Number 100 canvases as a single work, the largest of Matsumoto's career. On these two canvases he painted images of his past, present, and future selves, a condensed view of his entirety. Further, in the various figures depicted in these two canvases, Matsumoto quoted poses from ancient Greek sculpture and relief sculpture. Five People depicts the “actual present self” surrounded by his family and living a modest but happy life. In this image he is shown more as an ordinary worker than as an artist. On the other hand, Three People depicts three images of Matsumoto, in his childhood, at puberty, and in the future. In the future image, the Acropolis rises as the hill behind a man leaning on a staff, and the evening light shining on his forehead is the light of a wise old age, acquired by the ordinary person through layers and layers of human experience. This man leaning on a staff is Matsumoto's image of a “new ideal self.”\n     Thus we can see the dialectical development of the subject matter “self” across this triptych work. Through Five People and Three People, which extinguish the opposition between Portrait of the Artist and Standing Figure, Matsumoto was able to affirmatively grasp a sense of his actual self, and thus through his own powers resolve his heart-deep issues. This triptych thus records the psychological and human maturation process of Matsumoto Shunsuke.","subitem_description_type":"Abstract"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"村上, 博哉"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"Murakami, Hiroya","creatorNameLang":"en"}],"nameIdentifiers":[{}]}]},"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","filename":"384_18_Murakami_Redacted.pdf","filesize":[{"value":"36.8 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"384_18_Murakami_Redacted.pdf","url":"https://tobunken.repo.nii.ac.jp/record/6128/files/384_18_Murakami_Redacted.pdf"},"version_id":"9537f579-6633-4ebf-b26f-adc038e32f1a"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"松本俊介　立てる像（昭和十七年・神奈川県立近代美術館蔵）・松本俊介　五人（昭和十八年・個人蔵）・松本俊介　三人（昭和十八年・個人蔵）","subitem_subject_scheme":"Other"},{"subitem_subject":"Standing Figure, by Matsumoto Shunsuke, The Museum of Modern Art, Kamakura and Hayama / Five People, by Matsumoto Shunsuke, Private Collection / Three People, by Matsumoto Shunsuke, Private Collection","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":"自己イメージの弁証法（下）―松本竣介《画家の像》、《立てる像》、《五人》《三人》の解読―","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"自己イメージの弁証法（下）―松本竣介《画家の像》、《立てる像》、《五人》《三人》の解読―"},{"subitem_title":"The Dialectics of Self-Image: An Interpretation of Matsumoto Shunsuke's Portrait of the Artist, Standing Figure, Five People, and Three People (Part II)","subitem_title_language":"en"}]},"item_type_id":"10001","owner":"3","path":["972"],"pubdate":{"attribute_name":"公開日","attribute_value":"2017-10-05"},"publish_date":"2017-10-05","publish_status":"0","recid":"6128","relation_version_is_last":true,"title":["自己イメージの弁証法（下）―松本竣介《画家の像》、《立てる像》、《五人》《三人》の解読―"],"weko_creator_id":"3","weko_shared_id":3},"updated":"2023-05-15T14:41:53.713574+00:00"}