@article{oai:tobunken.repo.nii.ac.jp:00006129,
 author = {塩谷, 純 and Shioya, Jun},
 issue = {384},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Nov},
 note = {This article introduces two drawings (both in private collections) by Hayami Gyoshû (1894-1935), a major Nihonga painter of the Taishô and early Shôwa eras. These drawings executed in pencil both show the face of an infant. Gyoshû inscribed one of the two drawings with the date September 25 1920 (Taishô 9). Around that time Gyoshû entered two paintings, Maiko Girl of Kyoto and Mt. Hiei, in the 7th Reorganized Nihon Bijutsuin exhibition. The depictions of the infant faces in the two drawings closely resemble the facial depiction in the powerful Maiko Girl of Kyoto, one of Gyoshû's few figural paintings.
     Kawakami Kei (b. 1920), a scholar of East Asian painting history, is said to be the model for these two drawings. Gyoshû was the person who gave Kawakami his personal name, Kei, and took an interest in Kawakami as he grew up. The act of drawing the face of such a closely known infant recalls the series of works depicting Reiko created by Kishida Ryûsei (1891-1929), a gifted Western-style painter whose career began to flourish around the time of Gyoshứ's drawings. There have been many attempts in the intervening decades to link discussion of the two fascinating painters Gyoshû and Ryûsei. The drawings introduced in this article may suggest a new point of connection between the two men.
     However, Gyoshû did not create a finished painting based on these two drawings. Possibly because the Maiko Girl of Kyoto painting of this same period was met with mixed reviews, Gyoshû did not actively pursue figural painting works until a few years later in the Shốwa era. Hence, these two drawings, along with the Maiko Girl of Kyoto painting, can be considered works that reveal Gyoshû's potential during the Taishô period.},
 pages = {44--47},
 title = {図版解説　速水御舟《幼児像素描》［個人蔵］},
 year = {2004}
}