@article{oai:tobunken.repo.nii.ac.jp:00006193,
 author = {小林, 未央子 and Kobayashi, Mioko},
 issue = {395},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Aug},
 note = {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.},
 pages = {85--97},
 title = {研究ノート　なめらかな表面のために―小出楢重再考―},
 year = {2008}
}