@article{oai:tobunken.repo.nii.ac.jp:00008518,
 author = {椎野, 晃史 and Shiino, Akifumi},
 issue = {423},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Jan},
 note = {This article reproduces, transcribes and introduces the content of letters from Yamamoto Hôsui addressed to Kuroda Seiki and Sugi Takejirô, today preserved at the Tokyo National Research Institute for Cultural Properties. 
The correspondence consists of 13 items addressed to Kuroda and one to Sugi, consisting of 11 sealed letters and three postcards in all. Of those, seven letters are dated 1895, referring to Hôsui’s activities immediately after he returned to Japan from serving as a painter in the military during the Sino-Japanese War. These will provide content that aids future research on Hôsui. The year 1895 saw the production of his major work Urashima, and others. This was the period that saw him develop full artistic production, and thus is an important year in a consideration of his oeuvre. There had also been few materials dating to this year regarding Kuroda, and thus these letters are important for their suggestion of his activities at the time. That year saw Kuroda mixed up in the nude painting debate. In addition, there was the opposition between the new and old schools in the 7th Meiji Bijutsukai exhibition, thus making it a transitional period in the history of Japanese modern Western-style painting. These letters exchanged between the two men during that year provide important information. The letters also touch on Morning Toilette, the painting that lit the flames of the nude painting controversy, and mention many of the other issues of the Western-style painting circles of the period. These materials are useful not only for their insight into Kuroda and Hôsui, but are also noteworthy for conveying one aspect of the period. 
The information written in the letters adds new events to Hôsui’s timeline, such as the time when he returned from military duty and the process involved, his interactions with those involved in the Sino-Japanese War after his return, and background information on his painting Records of War: Meiji 27-28. The painter also touches on the poverty at the time, and so reveals the production environment surrounding the painter at the time. 
As well, these letters provided Kuroda, then living in Kyoto, with an update on Hôsui’s activities in Tokyo. He asked about Kuroda’s progress in his painting, and even included a message for Kuroda’s new wife at the end of the letter. These factors show that Hôsui was concerned about Kuroda on both a public and private front. Hôsui had guided Kuroda on the path to becoming a painter during his study period in Paris. While their relationship is widely known, there have been few known examples of their correspondence. These letters provide a detailed view of the exchange between Hôsui and Kuroda, and their correspondence indicates the closeness of the relationship. 
As indicated above, these letters provide an actual image of Hôsui and his interactions with Kuroda, and thus are extremely meaningful materials for art historical research.},
 pages = {98--135},
 title = {研究資料　黒田清輝宛、杉竹二郎宛　山本芳翠書簡　影印・翻刻・解題},
 year = {2018}
}