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グレー＝シュル＝ロワンの黒田清輝―未完の「大きな肖像」と芸術家ブルス夫妻―
https://tobunken.repo.nii.ac.jp/records/6236
https://tobunken.repo.nii.ac.jp/records/6236180f4541-f39c-4da5-b90c-fcfad0f50800
| 名前 / ファイル | ライセンス | アクション |
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367_1_Arayashiki_Redacted.pdf (38.5 MB)
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| Item type | 学術雑誌論文 / Journal Article(1) | |||||||||
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| 公開日 | 2017-10-05 | |||||||||
| タイトル | ||||||||||
| タイトル | グレー＝シュル＝ロワンの黒田清輝―未完の「大きな肖像」と芸術家ブルス夫妻― | |||||||||
| タイトル | ||||||||||
| タイトル | Seiki Kuroda in Grez-sur-Loing: His Friendship with William Blair Bruce and Caroline Benedicks Bruce | |||||||||
| 言語 | en | |||||||||
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| 言語 | jpn | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | ウィリアム・ブレア・ブルス ローマのアトリエにいるカロリーヌ・ベネディックス・ブルス（一八九一年・スウェーデン 財団法人「ブルス記念館」ゴットランド美術館蔵）・ウィリアム・ブレア・ブルス 彫刻を制作するカロリーヌ（一八九二〜一八九三年・スウェーデン 財団法人「ブルス記念館」ゴットランド美術館蔵）・ウィリアム・ブレア・ブルス 樹蔭読書（一八八七年・東京国立文化財研究所蔵）・ウィリアム・ブレア・ブルス 戸外のアトリエ（ストックホルム スウェーデン国立美術館蔵）・黒田清輝 婦人図（厨房・一八九二年・東京藝術大学芸術資料館蔵） | |||||||||
| キーワード | ||||||||||
| 言語 | en | |||||||||
| 主題Scheme | Other | |||||||||
| 主題 | Caroline Benedicks Bruce in her Studio in Rome by William Blair Bruce, Brucebo Foundation, The Gotland Art Museum / Portrait of a Woman: Kitchen by Kuroda Seiki, University Art Museum, The Tokyo National University of Fine Arts and Music / Caroline Working on her Sculpture by William Blair Bruce, Brucebo Foundation, The Gotland Art Museum / Reading in the Shade by William Blair Bruce, Tokyo National Research Institute of Cultural Properties / Open-air Studio by William Blair Bruce, The Swedish National Art Museum | |||||||||
| 資源タイプ | ||||||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||||
| 資源タイプ | journal article | |||||||||
| 著者 |
荒屋鋪, 透
× 荒屋鋪, 透
× Arayashiki, Toru
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| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | The Japanese Impressionist painter Kuroda Seiki (1866–1924) studied in Paris from 1884 to 1893. In 1888 and again from 1890 to 1892 he lived in the small village of Grez-sur-Loing on the banks of the Seine some 64 kilometers southeast of Paris. His oil painting Reading (Lecture en été) depicting the young villager Maria Billault at the Hôtel Chevillon, was selected for exhibition in the 1891 Salon of the French Artists' Society (Salon de la Société des Artistes Français). This article discusses the process by which Kuroda created an unfinished oil painting in Grez during the autumn of 1892. As part of the understanding of this process, the author examined Kuroda's friendship with a couple closely related to the painting's creation, the Canadian painter William Blair Bruce (1859-1906) and his wife, the Swedish sculptor Caroline Benedicks Bruce (1856– 1935). Further, the history of the artists' community at Grez-sur-Loing : 1875-1914 is briefly introduced. This community provided the background for the friendship of these three individuals and for the creation of a great number of paintings. The Bruces are first mentioned in Kuroda's correspondence in a letter dated July 16, 1892. My survey of materials on the Bruces was furthered by the generous assistance of Dr. Torsten Gunnarsson, Curator of The Swedish National Art Museum, Stockholm, and Dr. Lionel Carley of The Delius Trust, London, a scholar researching Frederick Delius (1862-1934), the composer who spent the latter half of his life in Grez. Reference was also made to Dr. Hanne Ödin's article Caroline Benedicks Bruce : skulptris och akvarellist, Särtryck ur Gotländskt Arkiv, 1990, of the Brucebo Foundation, The Gotland Art Museum, Visby. In his journal entry for October 1, 1892, Kuroda notes that he gave Caroline a piece of silk cloth (thought to have Japanese characters woven into it), and he also mentions that he had seen her sculpture-in-process, The Wounded Bather. The Gotland Art Museum preserves preparatory drawings for this sculpture and an oil sketch by the sculptor's husband William, in which his wife is seen at work on The Wounded Bather, is also included in this collection. According to Dr. Ödin's work, The Wounded Bather was entered in the Salon of 1893, where it received an Honorable Mention, and it is considered Caroline's representative work. Because Kuroda's second work using Maria Billault as model, Portrait of a Woman : Kitchen, was rejected by the Salon of 1892, Kuroda extended his study in France by another year in order to start work on a number of potential Salon entries painted in the plein-air style. One of these works resembles Summer (The Gothenburg Art Museum) by Raphaël Collin (1850-1916), the painter who advised Kuroda from 1886-1893 at the Académie Colarossi in Paris. Another of these works, an oil painting portraying two women in a sunlit garden, is the same size as Portrait of a Woman : Kitchen (179.8 X 114.5cm). The Bruces were intimately connected to the creation of this garden scene, as we can surmise from Kuroda's journal and writings. Further, in his memoirs Cooking for One's Self in Grez (1905) [Japanese : Gure no jisui monogatari], Kuroda recounts his experiences working as the caretaker of a vacant hotel in Grez. This hotel, the Pension Laurent, can be seen in the background of a number of works by northern European painters of the 1880s, such as the Norwegian painter Christian Krohg (1852-1925)'s work Karl Nordström at Grez (1882), and The Old Man and the Re-Planting (1883) by the Swedish artist, Carl Larsson (1853– 1919). Kuroda himself depicted this hotel in his A Woman Picking Herbs (1892, Tokyo Fuji Museum). As noted in Kuroda's journal and his letters, the Billault sisters were the models for Kuroda's unfinished work, Two Women, and the work was created at the Pension Laurent. Around the time that Kuroda was painting this work, the Pension Laurent was being purchased by Francis (Frank) Chadwick, a painter from Boston, and his wife, the Swedish painter Emma Löwstädt Chadwick. The oil painting Reading in the Shade by William Blair Bruce is in the collections of the Tokyo National Research Institute of Cultural Properties. This work is evidence of Kuroda's friendship with the Bruces, and in its presentation of Bruce's clear, plein-air style, we can see how the Bruces played a not insignificant role in Kuroda's plein-air style paintings realized in Grez. |
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| 書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 367, p. 1-27, 発行日 1997-03-25 |
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