速水御舟を中心に、今村紫紅、小茂田青樹などの、大正期の日本画家たちの作品を展示。
この3人は、横山大観、菱田春草、下村観山らの明治初期に、フェノロサから直接薫陶を受けた第1世代に続く、第2世代の日本画家たちと言っていい。
大観たちは、西洋画家の影響を多分に受けていたが、御舟たちも、西洋画家から多くを学んでいた。
特に、アルブレヒト・デューラーに代表される、細部にわたる詳細な表現を、日本画に取り入れようとした。
周りの風景には、ざっくりと表現する、伝統的な日本画の表現を使い、その中に佇む猫については、毛の一本一本まで描く、といった感じだ。
この展覧会でも、そうした速水御舟の作品が、何をも展示されていた点。
大観は、ある時、畳の線の一本一本を描いた御舟の絵を見て、これは日本画ではないと、激怒したという。
日本画の革新を目指した御舟は、残念ながら、昭和10年に、40歳でこの世を去ってしまう。
大観は、その時に、逸材を失ったことを嘆く追悼文を、新聞に掲載しました。
奇しくも、今村紫紅、小茂田青樹も、若くして亡くなってしまう。
この作品で展示された、彼らの多くの作品は、今も私たちの心に、日本画の美しさを伝えている。
Around Hayami Gyoshu, Shiko Imamura, such as Seiki Omoda, are exhibited the works of Japanese painters of the Taisho period.
The three people, Taikan Yokoyama, Hishida Shunso, Shimomura Kanzan of the early Meiji period, subsequent to the first generation that has received the tutelage directly from Fenollosa, I said that the second generation of Japanese painters.
Taikan et al. Also, but it had received maybe the influence of western painters, Gyoshu et al. Also, had learned a lot from the West painter.
In particular, represented by Albrecht Dürer, a detailed representation over the details, we tried to Toriireyo in Japanese paintings.
The landscape around, use a loosely traditional Japanese painting of representation, for cat nestled in it, draw up one by one in the hair, it's feeling.
In this exhibition, works of such Gyoshu Mifune is, had been exhibited many points.
Taikan is, some time, to see a picture of Gyoshu depicting one by one of the tatami of the line, this is not a Japanese painting, that was furious.
Gyoshu is aimed at Japanese painting of innovation, unfortunately, in 1935, it would died at 40 years old.
Taikan is, at that time, a memorial statement that lament that it has lost its talent, was published in the newspaper.
Coincidentally, Shiko Imamura, Omoda Seiki also, it would died young.
This work has been exhibited at, their many works, now also in our hearts, that convey the beauty of Japanese painting.
(Translated by Google Translate)
0 件のコメント:
コメントを投稿