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  1. 美術研究
  2. 201-220号
  3. 213号

五姓田義松に就て

https://tobunken.repo.nii.ac.jp/records/6857
https://tobunken.repo.nii.ac.jp/records/6857
04cd1a9c-f602-4fe1-bf13-b39f2ebee591
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213_1_Kumamoto_Redacted.pdf 213_1_Kumamoto_Redacted.pdf (39.0 MB)
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Item type 学術雑誌論文 / Journal Article(1)
公開日 2017-10-05
タイトル
タイトル 五姓田義松に就て
タイトル
タイトル Goseda Yoshimatsu
言語 en
言語
言語 jpn
キーワード
主題Scheme Other
主題 五姓田義松 操人形・読書・西洋婦人肖像(東京藝術大学蔵)
キーワード
言語 en
主題Scheme Other
主題 Marionette Show, by Goseda Yoshimatsu, Coll. Tokyo University of Arts / Reading by Goseda Yoshimatsu, Coll. Tokyo University of Arts / Portrait of a Western Lady by Goseda Yoshimatsu, Coll. Tokyo University of Arts
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 隈元, 謙次郎

× 隈元, 謙次郎

隈元, 謙次郎

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Kumamoto, Kenjiro

× Kumamoto, Kenjiro

en Kumamoto, Kenjiro

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内容記述タイプ Abstract
内容記述 Goseda Yoshimatsu (1855–1915) was one of the unforgettable pioneers of Western-style painting in Japan. (Cf. “Western-style Painting in Japan During the Early Meiji Period”, The Bijutsu Kenkyū, No. 206.) His father, Goseda Hōryū I (1827-1892), was also an artist. Hōryū first studied Ukiyo-e and Kanō Schools traditional in Japan since earlier times, but later introduced Western technique of chiaroscuro into his art and tried portraits and genres in water colours on silk. Portraits of the Emperor Meiji are among his representative works. Because his style was semiJapanese and semi-Western, however, he trusted the guidance of his son Yoshimatsu, aged eleven, in 1866 to Charles Wirgman, a painter from England who was living in Yokohama. Yoshimatsu learned from Wirgman the principles of Western painting and techniques of oil and water colours, and became at still a young age an artist of established fame. In 1876 he entered the Art School attached to the Kōbu Daigaku (Industrial University) where he was taught by Antonio Fontanesi. In 1877 at the first National Fair he won the top prize for Westernstyle paintings with a landscape and a portrait, and at the second National Fair in 1881 he was again honoured with a prize for a landscape. He was thus a top-ranking artist of his time. Not satisfied with his fame, he went in 1880 to Paris and studied for about ten years under the leading Academic School painter J. Léon Bonnat. During this period he became the first Japanese whose painting was accepted by the French Governmental exhibition. He came back to Japan in 1888 via England and America and participated in the establishment of the Meiji Bijutsu-kai Society. In 1890 he made a second trip in America with his father Hōryū.
After his return home he remained iather inactive owing to poor health. His main works, therefore, were painted between about 1870 and 1893. Early ones are portraits of women and self-portraits, all of which show a modest, realistic style after Wirgman's. These paintings are now
in the collection of the Tokyo University of Arts. During the following period he painted portraits of members of the Imperial Family, and also many landscapes when he travelled in the suite of the Emperor Meiji's inspections to various parts of the country. More than twenty of these works are owned by the Imperial Household Agency. Among the works of his Paris period, several study sketches of figures, portraits of women and the painting entitled “Marionette Show” are kept in the Tokyo University of Arts. The last-mentioned painting, an oversized piece showing people gathered in front of a marionette show stage in highly trained brushwork, is his representative work and one of representative existing examples of Japanese Western-style painting in Early Meiji. His art in the middle part of the Meiji Period is represented by “Niagara Falls”, “Victoria Port in Canada” and “Mt. Fuji viewed from Tago Beach” owned by the Imperial Household Agency. They are large landscapes in a gentle style.
As stated before, ill health limited his activity after his return home, and the influence he exe:ted on other artists was at work cnly during the period prior to his trip to Europe. Yamamoto Hōsui, a pupil of Hōryū I, was inspired more by Yoshimatsu than by Hōryū, but details on this artist will be discussed in another article. Among the pupils of Yoshimatsu were Watanabe Bunzaburō, Watanabe Yūkō, and Goseda Hōryū II. Watanabe Bunzaburō (1853-1936) showed oil and water-colour paintings at Meiji Bijutsu-kai exhibitiens and was known for his realistic landscapes. His wife Yüko (1856–1942) was the younger sister of Yoshimatsu. Besides oil painting she was good also at copper-plate print and lithograph. The earliest of Japanese female artists to try Western-style art, she is notable for her sound realistic technique. Hōryū II (1864-1943), adopted son of Hōryū I, specialized in historical subjects, and painted many commemorative works treating of persons associated with the biography of the Emperor Meiji.
書誌情報 美術研究
en : The bijutsu kenkyu : the journal of art studies

号 213, p. 1-22, 発行日 1961-03-30
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