@article{oai:tobunken.repo.nii.ac.jp:00006198,
 author = {綿田, 稔 and Watada, Minoru},
 issue = {396},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Nov},
 note = {This review covers the Kano Eitoku, Momoyama Painter Extraordinaire exhibition held at the Kyoto National Museum from October 16 through November 18, 2007.
     Eitoku has been declared the “master artist representative of the Momoyama era” and his unique breakaway talent has been described by such phrases as “genius” and “new sensibility.” However, the reviewer thinks, in general, that he should be considered within the context of his continuity from the Muromachi period. The author anticipated that this Kano Eitoku exhibition would be a continuation of the 1996 Kano School in the Muromachi Period exhibition, and from that viewpoint, hoped that it would further clarify Eitoku's actual image. The exhibition had superb content beyond anticipation. Indeed, this exhibition was truly epoch-making for its ability to present a comprehensive image of Eitoku, who has previously been known only on a fragmentary basis given the fact that the majority of his major works have been lost.
     The special characteristic of this exhibition was the fact that it fleshed out our image of Eitoku's oeuvre through the display of Muromachi period style works. The dating of the wall panel paintings of the Jukô-in main hall to 1583 can be considered noteworthy. However, if we strictly follow the exhibition stance that seeks to make decisions by painting
style, then there are a number of various other possibilities that must be considered, and it goes without saying that one of those is the fact that the 1583 argument is not at all persuasive.
     In general, it seems that heretofore the evaluation of Eitoku has considered him to have been a “genius” who broke ground on a “new era.”　  Rather, we must make our evaluation of this artist by coolly and directly confronting the reality of his works. While undoubtedly he was one of the founders of the culture of his period in Japan, at the same time we must not overlook the fact that he was the orthodox inheritor of the culture of the prior age. Indeed, a balanced consideration of these two aspects of the artist is necessary. Further, there is little point in considering Eitoku, who had such a major social position, solely in terms of painting style. There is a considerable amount we can learn about Eitoku from the information we have about the figures surrounding him. What is essential for present and future Eitoku study is a gathering and sharing of fundamental materials, a detailed confirmation of facts based on these materials, and then the presentation of a full, actual image of the artist as the product of this process. Undoubtedly this exhibition can be seen as the first step in this essential process.},
 pages = {53--60},
 title = {展覧会評　狩野永徳展},
 year = {2008}
}