Author: nakano

Ueno Royal Museum

Numerous art works using waste materials born from the slums of Ghana, Agbogblothy.
The world’s attention is now focused on the activities of Shingo Nagasaka, an artist aiming for sustainable capitalism.
Nagasaka’s first solo exhibition at a museum is currently being held at the Ueno Royal Museum.

Game consoles, computer keyboards… Covered on the canvas are electronic devices and their parts that we are all too familiar with.
Shingo Nagasaka is an artist who creates original works with broken electronic devices discarded by developed countries.
In addition to his work, the philosophy symbolized by the word “sustainable capitalism” and the method of investing profits in slums have attracted attention from all over the world. Still A Black Star was also produced.

“Shingo Nagasaka Exhibition Still A “BLACK” STAR Supported by Nanboya” is his first solo exhibition at an art museum. About 200 works are exhibited.

The truth of the world that I met in the slums of Ghana

“We in developed countries can’t be the only ones to be happy.”

Mr. Nagasaka appealed to the assembled press with a sincere look. He then speaks forcefully about his vision of raising 10 billion yen to build a recycling plant in the slums of Ghana.

In June 2017, Mr. Nagasaka, who was a street painter, visited Ghana’s slum area Agbogbloshie, which is called the “ graveyard of the world’s electronic equipment ”. There, he was shocked to meet young people who live on a meager 500 yen a day by burning electronic devices discarded by developed countries.

Since then, Mr. Nagasaka has continued to use the power of art to convey the reality that “our rich lives are made possible by the sacrifices of the people of this slum.”

If the world is not beautiful, we cannot live a beautiful life either.

As can be seen in the monstrous form of “Law of Conservation of Mass,” in which the smoke of cinders, a young man, and a cow are integrated, Mr. Nagasaka severely criticized the consumer society that ignored the local natural environment. there is
However, at the same time, to borrow Mr. Nagasaka’s words, we are born “capitalist draggers,” and we cannot immediately realize a social form that completely ignores capitalism.

Therefore, he proposes “sustainable capitalism ,” a form in which the three wheels of “culture,” “economy,” and “social contribution” rotate continuously.
For example, the more Ghanaian works he owns, the less garbage there will be, the more it will contribute to the economy, and the more cultural it will become. And at the same time, the message of this problem spreads all over the world. It is an attempt to create a sustainable virtuous circle while making good use of the form of capitalism.

One of his sustainable capitalism activities is his first NFT * project “MAGO Mint”.

In the first project, “Waste St. in NYC,” he created a unique collection of 300 limited photographic works, using home appliances that are thrown away on the streets of New York every day as canvases. did.
Things that will disappear in a few days will continue to live as digital archives with the artist’s energy. It can be said that this is an attempt unique to NFT.

The daily trading volume of this “Waste St. in NYC” has reached a scale second only to Mr. Takashi Murakami’s, and the sales are said to be invested in the establishment of a recycling factory in the slums.

The form of love shown in the theory of relativity

There are about 200 works on display at this exhibition, but one of the works that left a personal impression on me was Theory of Relativity, which was displayed at the end of the exhibition.
This diagrammatically expresses the ideal society and the way love should be based on the advanced/backward axis and the rich-poor axis.
“If you put your hand on a hot stove for a minute, it feels like an hour. If you sit with a pretty girl for an hour, it feels like a minute.”
A work inspired by the famous theory of relativity.

In other words, when there is love, the sense of time disappears. Conversely, when we talk about “advanced countries” and “underdeveloped countries,” there is no love there.
What is shown in the center of the canvas is exactly the state where time has disappeared. Eternal peace and full of love.
In order to achieve this, we need the participation of the viewers. A coin slot is provided on the side of the canvas, and the inserted coin reaches the “underdeveloped country” along the pipe.
It can be said that this is a work that embodies Mr. Nagasaka’s method of sustainable capitalism.

In addition, at the venue, there was an animated video of “Millie-chan” inspired by Anpanman, an art work made of dumped waste from the Seto Inland Sea that was visited for olive cultivation, and a work drawn before the corona disaster. Despite this, various works such as “Let’s Go Diversity”, a future forecast that seems to imply the “new normal” due to the spread of infectious diseases after 2020, are exhibited.

Building factories in slums, and world peace.
Shingo Nagasaka’s attempt to change the world through art continues at this very moment.
Why don’t you visit the venue and participate in the “MAGO Project” yourself?

* NFT – “Non-Fungible Token” = Non-fungible token. Non-fungibility means irreplaceable. Tokens are crypto assets that use blockchain technology. Art, music, and other works circulating on the Internet, which until now were easy to copy due to the abuse of copyrights, can now be marked with a unique data identification signature, making the ownership clear. system.

*The content of this article is as of the preview (September 9, 2022). Please check the exhibition website for details, as it may differ from the latest information.

Overview of the event

Article provided by: kokosil Ueno

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The University Art Museum, Tokyo University of the Arts

Tokyo University of the Arts (former Tokyo Fine Arts School) plays an important role as an art education and research institution.
A special exhibition that combines the collection of the Imperial Household Agency's Sannomaru Shozokan with the collection of gems
“Unraveling Japanese Art: The Imperial Household, the Treasure Box of Beauty” has begun.

From August 6th (Sat) to September 25th (Sun), 2022, the special exhibition “Unraveling Japanese Art: The Imperial Family, the Treasure Box of Beauty” is being held at the University Art Museum, Tokyo University of the Arts.

The Tokyo University of the Arts, where this exhibition will be held, is the place where Okakura Tenshin first systematically lectured on Japanese art history in 1890 at its predecessor, the Tokyo School of Fine Arts, and is an important art education and research institution in Japan. has played a role.

In this exhibition, 82 works will be exhibited, including masterpieces and excellent works related to the imperial family, which are stored in the Sannomaru Shozokan, Imperial Household Agency, and those in the collection of Tokyo University of the Arts. Japanese art from the Nara period to the Showa period is introduced in an easy-to-understand manner by motifs and themes such as calligraphy, waka poems, people and stories, flowers and birds, animals, and landscapes.

*The content of the article is as of August 5, 2022. Please check the exhibition website for the latest information.

An overview of masterpieces from each era! A true textbook to experience

Tenshin Okakura, who contributed to the founding of the Tokyo School of Fine Arts, established the history of Japanese art as a foundation for creating future art, and developed it as an academic discipline. It can be said that the achievement is very large.
However, although it is not limited to Japan, when appreciating art, it is not uncommon for people to avoid it because it is difficult to know the author, historical background, technical terms and concepts.

What is shown in the special exhibition “Unraveling Japanese Art: The Imperial Family, the Treasure Box of Beauty” is to untangle the rigid image of “Japanese art” as much as possible, and to touch and become familiar with individual works. National treasures that everyone knows are lined up at the venue, and conversations such as "I saw it in a textbook!"

At the venue, works are exhibited according to themes such as "The beauty of Japan that begins with letters," "Collaboration between people and stories," "Exciting creatures," and "Feeling heartened by landscapes." Ingenuity has been devised so that you can enjoy it.

The exhibition begins with Chapter 1, "Beauty of Japan Beginning with Letters," which introduces how kana characters created by Japanese sensibilities are linked to art. In the second chapter, "Collaboration of People and Stories," you can see the process in which the various written stories are linked to the scenery of the four seasons and the state of people, and sublimated into beauty.

Here, precious picture scrolls such as " Kasuga Gongen Genki Eki-e" and " Mongol Invasion Ekotoba" , which were designated as National Treasures for the first time in the Sannomaru Shozokan collection last year, are on display. Furthermore, works such as The Tale of Genji Folding Screen , which is said to have been made by Eitoku Kano, tell us that literature from the Heian period was long loved by Japanese people after that.

In Chapter 3, "Wakuwaku Ikimono," which focuses on the diverse gazes and expressions of Japanese people toward living things, there are a lot of noteworthy exhibits.
Hoichi Sakai’s “12 Months of Flowers and Birds”, which will be exhibited at once in all 12 paintings, Ito Jakuchu’s National Treasure “Animals and Plants” (Exhibition 1), and Tani Buncho’s “Tiger” (Exhibition 1). All of them are lined up with works that should be called the treasures of Japanese art.

The most notable is the National Treasure "Karajishi-zu Folding Screen" , which was drawn by Eitoku Kano on the right screen (Momoyama period, 16th century) and by Tsunenobu Kano on the left screen (Edo period, 17th century). I would like you to see the powerful lion on the right screen, which is considered to be Eitoku Kano's masterpiece, at the venue.

In Chapter 4, "Focus on the Landscape", works with nature and landscape motifs will be exhibited, starting with the traditional natural theme of "Hamamatsu-zu" and landscape paintings from the early days of Western painting. You can trace how the essence of ancient Japanese landscape expression has been passed down to modern painting while changing its form.

Yoshimatsu Gosoda's "Niagara Landscape" is a painting from the Meiji period depicting the magnificent Niagara Falls. By contrasting the sightseeing boat in the foreground with the waterfall, the grand scale is communicated to the viewer.

Many masterpieces have been handed down to future generations through the efforts of the Imperial Household Agency and the Tokyo Fine Arts School.
"That work" that everyone knows will have a fresh impression if you actually see it.

By all means, I would like you to visit the venue to see the real thing.

*All works that do not indicate where they are owned are in the collection of the Sannomaru Shozokan, Imperial Household Agency.

Overview of the event

Article provided by: kokosil Ueno

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Tokyo Metropolitan Art Museum

This exhibition was planned for 2020, the 150th anniversary of the establishment of the Museum of Fine Arts, Boston, but was forced to be postponed due to the spread of the new coronavirus.
The “Boston Museum of Fine Arts Exhibition: Art x Power” opened on July 23rd.

From Saturday, July 23, 2022 to Sunday, October 2, 2022, the “Boston Museum of Fine Arts Exhibition Art x Power” is being held at the Tokyo Metropolitan Art Museum.
Egypt, Europe, India, Japan… The warp thread running through the approximately 60 artworks collected from various regions in this exhibition is “authority” and “power”.

Many people today have an image that art is “anti-authority” and “anti-authority”. But historically, the two are closely related.
Powerful people in all ages and countries have used the power of art to maintain their power, decorate their courts, and demonstrate their legitimacy.
As a result, the excellent works of art created by the top painters and craftsmen of the times by those in power continue to fascinate us even today.

Focusing on the relationship between “art and power,” this exhibition presents carefully selected works from the encyclopedic collection of the Museum of Fine Arts, Boston. Focus on the social role that works of art have played since ancient times.

A majestic collection of beauty loved by those in power

Throughout history, works of art have played a variety of roles, not just for viewing.
For example, the portrait of Princess Mary painted by Van Dyck is splendid, expressing the texture of the fabric of the dress, the elegance of the hand, and the sparkle of the innocent eyes. Or there was an important “role” to advance.

Natsuko Ohashi, curator in charge

“An exhibition that highlights the power of the powerful in each era through art and follows how each work has been used to demonstrate that power. I want you

and the significance of holding this exhibition.

This exhibition consists of five chapters. Each chapter focuses on the relationship between power and art from various angles, but it is also interesting to pay attention to the differences depending on the era and regional characteristics.

For example , in the Portrait of Napoleon I in Coronation Dress , displayed at the entrance of the exhibition hall, Napoleon is depicted in a simple and dignified manner with a gold laurel wreath and an eagle-tipped scepter. ing.

However, in the Heiji Monogatari Emaki Sanjoden Night Raid Scroll , the existence of the emperor is hidden behind the bamboo blinds, and is not shown overtly in accordance with the tradition of Japanese art. Just as regalia such as Kusanagi no Tsurugi and Yata no Kagami are never seen by the public, “authority” is a hidden existence in Japan.

Since ancient times, it has been supernatural and religious concepts such as ‘God’ and ‘Heaven’ that give ‘approval’ to authority and power. A chapter titled “Sacred Worlds” presents religious artworks produced by those in power who have become “God’s Agents.”

In addition to statues of the Madonna and Child and Tathagata statues, many statues of monks, saints, and earthly figures with strong ties to the spiritual world were created, and El Greco’s “St. Dominic Praying” is one of them. A very private moment of devotion by St. Dominic, who founded the Order of the Preachers, known as the Dominican Order, is depicted in powerful strokes.

The palace is one of the direct and symbolic representations of authority and power. It can be said that many of the works of art displayed in this exhibition are deeply connected to the formal ceremonies and social customs of these palaces and courts.
In particular, costumes and accessories are decisive in conveying the power and status of the individual who wears them.

“Marjorie Meriweather Post Brooch” was purchased by Marjorie Meriweather Post from Manhattan’s Marcus Company when she had an audience with King George V and Queen Mary of England. Adorned with platinum and diamonds, the 60-carat emerald set in the center sparkles.
Although this brooch was never used for the audience, it is said that it continued to be treasured as a treasure in Post’s jewelry collection.

A national treasure in Japan? ! Famous Treasures Returned Home

The Boston Museum of Fine Arts in the United States is called the “Eastern Art Hall of Fame” and has collected more than 100,000 works of Japanese art for over 100 years, beginning with Ernest Fenollosa and Tenshin Okakura. Among the vast collection, Kibi Daijin iri Tang Emaki , which stands out, is a valuable work that is said to be a national treasure in Japan, along with the previously introduced Heiji Monogatari Emaki Sanjoden Night Attack Scroll .
The two major picture scrolls are exhibited together, giving off a presence that can be called the highlight of this exhibition.

“Kibi Daijin Nyuu Emaki” is a story about Kibi Makibi, who has crossed the sea as an envoy to Tang Dynasty, and solves many difficult problems with the help of Nakamaro Abe, who has turned into a demon. Due to its large size, the room is displayed in a U-shape. It has been protected and handed down from generation to generation by temples and shrines and powerful families, but due to social changes from the end of the Edo period to the Meiji period, it was leaked to the market. For a long time there was no buyer, but eventually it was purchased by the Museum of Fine Arts, Boston in 1932.

This work has become a “phantom national treasure”. It would be interesting to think about the strange fate that this emakimono followed when viewing it.

The final piece of this exhibition is Peacock, which depicts a charming peacock on the left and right sides.
The painter Sessai Masuyama, whose name was Masataka, was a feudal lord who ruled the Ise-Nagashima domain (present-day Nagashima-cho, Kuwana City, Mie Prefecture) in the mid-Edo period. He protected many painters and intellectuals, and even produced many paintings and calligraphy himself.
“Peacock”, which was restored for this exhibition and returned home for the first time, is a theme Sessai worked on many times, and boasts a high quality that can be said to be a representative work.

Balance and gradient woven by power and art in different places and different times.
Those in power have used the power of art to showcase themselves and lend mythic legitimacy to the stories they depend on. However, what is shown in this exhibition is not just the appearance of art that is subordinate to authority.

Art hides within it a “power” that surpasses the “power” of the world, and moves not only people’s hearts, but sometimes even the world. When I look at the many treasures that have been collected, such a thought sprouts in my heart.

After being postponed for a while, the long-awaited opening of this exhibition is finally here. We hope that you will be able to see it directly at the venue.

Outline of “Museum of Fine Arts, Boston: Art x Power”

*The content of the article is as of the interview date (2022/7/22). Please check the official website for the latest information.

Article provided by: kokosil Ueno

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Tokyo Metropolitan Art Museum

A special exhibition "Finn Juhl and the Danish Chair" will be held at the Tokyo Metropolitan Art Museum, introducing the history and transition of Danish furniture design, focusing on the works of Finn Juhl, a Danish designer known as a "furniture sculptor." It started on July 23, 2022.

Since I participated in the press preview held earlier, I will report the state of the venue.

An exhibition focusing on "chairs" that support everyday life

In Denmark, a Scandinavian country known as a design powerhouse, the value of hygge, which means "comfortable and enjoyable time", has taken root in lifestyles, and simple comfort has been pursued in furniture design. rice field.

In particular, from the 1940s to the 1960s, Denmark entered a golden age when many outstanding pieces of furniture appeared in history. Finn Juhl (1912-1989) is one of the representative designers of this golden age.

The furniture he creates not only fits comfortably on the body, but also stands out for its modern design featuring graceful curves and the beauty of its details, like a work of art. increase.

The exhibition "Finn Juhl and Danish Chairs" traces the history and transition of furniture design centered on Danish chairs with a wide variety of examples, while approaching the charm of Finn Juhl's design.

At the end of the exhibition, there is also a special corner where you can actually experience Danish designed chairs.

Many of the exhibits are from the world-famous "Oda Collection" owned by Higashikawa-cho, Hokkaido. Kenji Oda (Professor Emeritus, Tokai University), one of the academic collaborators of this exhibition and a chair researcher, has collected furniture and daily necessities from the 20th century as research materials for many years. Is this the first opportunity for you?

Chapter 1 “The Danish Chair ─ Background of its design”

This exhibition consists of three chapters, from Chapter 1 to Chapter 3.

Chapter 1, "The Danish Chair," begins with an introduction to the 1930 Stockholm Exposition, which gave young Danish architects and designers a chance to come into contact with the modernist movement, which advocated rationalism and functionalism that swept Europe. increase.

He led the Danish modernism movement, which sought to open up design to the general public while inheriting traditional furniture-making techniques. Koa Klint (1888-1954) is known as the father of modern Danish furniture design .

Founding of the Furniture Department of the Royal Danish Academy of Fine Arts , where he served as the first professor and is said to have had the greatest impact on the development of Danish furniture design.

The existence of the furniture craftsmen's association that efficiently trained furniture craftsmen and frequently held exhibitions to appeal the high level of technology.

Along with various materials such as photographs, posters, publications, and videos, we carefully look back on the background of the creation of Danish masterpiece furniture that is loved all over the world.

In addition to Kohr Clint, Ole Wanscher, who became the second professor of the furniture department at the Royal Academy of Arts , Børge Mogensen , who designed functional furniture without superfluous decorations for the general public, and his deep knowledge of wood. You can see a wide variety of chairs by famous designers such as Hans J. Wegner, who created masterpiece furniture one after another with his knowledge and outstanding craftsmanship.

Chairs consist of a simple basic structure consisting of a seat, back, and legs, but some of them include Helge Vestgaard Jensen's "Racquet Chair," which uses strings stretched over a tennis racket, and Werner's ice cream cone-shaped chair.・There is a wide variety of slightly eccentric designs, such as Pantone's "Cone Chair" and Grete Jalk's "Plywood Chair" that looks like it is made of origami.

However, even if it is eccentric, it does not have a gorgeous impression, and it has a calm atmosphere common to Danish design.

In the same chapter, you will find an amazing variety of thoughts and ideas during the golden age of Danish furniture design.

Chapter 2 "The World of Finn Juhl"

Many of the furniture designers of the time were students of Koor Klint or from furniture workshops.

On the other hand, Finn Juhl entered the Royal Academy of Arts in 1930 to study architecture on the recommendation of his father, even though he aspired to be an art historian. He studied furniture design on his own while working in building and interior design at an architectural firm.

Chapter 2, "The World of Finn Juhl," begins with early architectural drawings by Finn Juhl, an architect, interior designer, and furniture designer.

In the latter half of the 1930s, he collaborated with the excellent cabinetmaker Niels Votter to explore unique forms.

The design of his own house (Finn Juhl House), which was built in 1942 in northern Copenhagen and became his life's workplace.

Since 1950, Finn Juhl's wide-ranging work has been recognized internationally, from the interior design of the United Nations Headquarters in New York to the design of the offices of Swedish Scandinavian Airlines and passenger aircraft cabins. Introducing the whole picture.

Described as "sculpture-like", Finn Juhl's work is heavily influenced by the forms and underlying aesthetics of abstract sculpture by sculptor Hans (Jean) Arp.

The sculptural approach is particularly prominent in his early works, and the smooth curves of the arms that follow the elbows and the slender, sharp legs are abstract, like sculptures of the human body by Arp. Makes me think of my body.

As Finn Juhl said, "A chair is not just a daily item, but a form and a space in itself." It is a great attraction that it creates harmony in the space while closely resonating with daily necessities.

The exhibition related to the Finn Juhl House clearly shows its charm. As a place where you can embody your own ideas without anyone interfering, it is a discerning mansion that not only designed the building but also the furniture and daily necessities.

Artworks such as paintings by Wilhelm Lunström are also beautifully arranged, and from the video material that introduces the space of the mansion in harmony with the lush forest scenery, you can feel a part of Finn Juhl's design aesthetic.

Chapter 3 "Experiencing Danish Design"

Finn Juhl believed that a chair is nothing more than an object if no one sits on it.

As a corner unique to this exhibition featuring such Finn Juhl, Chapter 3, "Experience Danish Design," presents the original role of a chair as an everyday tool and designed with the user's lifestyle in mind. I'm back to You can actually sit in over 30 Danish chairs!

Not only Finn Juhl, but also chairs by designers who supported the golden age of Danish furniture design that we saw in Chapter 1. There are solid leather chairs like the president's seat, and folding stools that are perfect for outdoor production.

You can directly touch the chair to check how comfortable it is to sit on and how it feels to the touch, and observe the appearance of the person sitting on it. How did the designers deal with the issues surrounding chairs and how did they solve them? You can enjoy rich ideas with your body.

The chairs and lighting fixtures introduced here are all still being produced by Danish manufacturers.

Denmark is known as "the happiest country in the world".
In a world where values and lifestyles are constantly changing, the fact that Danish design, with its simple design, functionality, and universal friendliness that blends in with any space, has taken root all over the world is something that I am very proud of. It may be a hint for us to live comfortably.

Until October 9, 2022, the exhibition “Finn Juhl and the Danish Chair” will shed light on familiar furniture such as chairs that support every day.

By the way, regarding the holding of this exhibition, due to the renovation of the Tokyo Metropolitan Art Museum in 2012, Finn Juhl and other Danish chairs and tables have been set up in the "Sato Keitaro Memorial Art Lounge" on the first floor of the central building, and a rest area has been set up. It is said that it was triggered by the new establishment.

It seems that it was installed to create a comfortable space where visitors can spend a relaxing time, and not only the high affinity between the architecture of the Tokyo Metropolitan Art Museum and Scandinavian furniture, but also the power of the furniture to completely change the impression of the space. was also surprised.

If you visit this exhibition, please take a look at the "Sato Keitaro Memorial Art Lounge".

Overview of the exhibition “Finn Juhl and the Danish Chair”

*The content of the article is as of the interview date (2022/7/22). Please check the official website for the latest information.

Article provided by: kokosil Ueno

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National Museum of Western Art

The National Museum of Western Art was reopened in April this year after being closed for about a year and a half.

This exhibition, which commemorates the reopening, will be a joint project with the Volkwang Museum in Germany, which is celebrating its 100th anniversary.

It is an attempt to trace the development of art born from dialogue between nature and people through more than 100 masterpieces that both museums are proud of.

This time, I will tell you about the state of the press preview held the day before the event.

This exhibition "National Museum of Western Art Reopening Memorial Nature and People's Dialogue Friedrich, Monet, Van Gogh, Richter" will be held with the cooperation of the Volkwang Museum in Germany.

The Volkwang Museum is centered around works of art collected from the 19th century by Karl Ernst Osthaus (1874-1921), who was born in a banker's house in Hagen, Germany, while the National Museum of Western Art is also Kojiro Matsukata (1874-1921). 1866-1950) is a museum based on Western art collected in Europe.

In other words, both buildings have in common that they are based on a collection of individuals who lived at about the same time.
The Osthouse opened the collection to the people of the local Ruhr region, known for its coal mining areas, and Kojiro Matsukata also conceived the "Kyoraku Museum" to provide the common people with the opportunity to enjoy Western culture.

It can be said that the ambitions of the two businessmen met at this exhibition after a long time.

Nature and people resonate through dialogue

The theme of this exhibition is "Nature and People".
Various landscapes and natural motifs cut out in the frame of the collections of the two museums resonate with each other in the composition of all four chapters. Van Gogh, Signac, Courbet … The painters of these works are unmistakable "masters" of Western art.

Regarding the contents of the exhibition, Megumi Jingaoka, a researcher in charge of this exhibition (Senior Researcher of the National Museum of Western Art), says, "This exhibition is not in chronological order, but in a structure that repeatedly adds variations to nature." ..

For example, Chapter 1 "Time Flowing in the Sky" shows the constantly changing aspects of nature, and Chapter 2 "Journey to <Beyond>" exhibits an invisible mental landscape linked to the artist's own five senses. In the following Chapter 3, "Architecture of Light," we extract permanent elements in nature such as order and law, and in the final chapter, "Circular Time Between Heaven and Earth," we link the permanent cycle of nature with human life. You can find a work that seems to have made you.

The gaze toward nature, which begins with the expression of "sky," descends into the depths of our own spirit as we move forward at the venue, and eventually changes into the expression of light and the universe. It's like a magnificent journey around nature itself.

Introducing natural expressions in Europe with over 100 works

This exhibition introduces European natural expressions with more than 100 works, from German Romanticism to Impressionism, Post-Impressionism, and 20th century paintings.
In addition to being able to enjoy the various expressions of nature through the competition of Western painting masters such as Van Gogh, Manet, Monet, Cezanne, Gauguin, Signac, Nolde, Hodler, and Ernst, the works of the same painter in each of the two buildings. It is also a point that you can compare them.

Among such works, the one that can be said to be the white eye is the landscape painting "Pruning (the wheat field behind Saint-Paul Hospital where there are people who cut)" that Vincent van Gogh worked on in his later years. This is one of the representative landscape paintings in which Van Gogh, who was suffering from mental illness in his later years, portrayed "the image of death told by the great book of nature", and this is his first visit to Japan.

Gustave Courbet's Wave , exhibited in Chapter 2, also shows us the harsh nature of nature, which goes beyond mere objective events.
The sea, which has long been an unknown world for Courbet, who grew up in the mountains of France. He is said to have been working on this magnificent motif in earnest since the late 1860s. The color contrast between the black turquoise sea and the grayish madder sky, and the distinction of the texture with a paintbrush and a painting knife … It is a work that shows the writer's excellent skill in a simple composition.

In the final chapter, Claude Monet 's "Waterlilies, Reflections of Willows" and "Waterlilies" , as well as photographs taken by German female photographer Enne Biaman, are exhibited at the same time. Is.

Monet's "Waterlilies and Reflections of Willows" (1916), which was discovered in France in recent years and was first released in 2019 after restoration work, and the famous "Waterlilies" resonate in the same space, and it is a mysterious impression to our hearts. To evoke. The nature presented here is from a very close, micro-perspective, giving the impression that this journey, which began with a magnificent "sky" exhibition, is nearing its end.

In this exhibition, which Mr. Chenoka says, "the work was the starting point," each work must be the main character, but the walls are studded with the words of poets and artists who lived in the same era. In addition, it is said that various parts of the exhibition space were also adventurous.
At the opening of the exhibition, Mr. Chenoka

"I tried to create a structure in which each work interacts with each other. The work, the text, and the space. I hope you can enjoy the exhibition in the overall resonance."

I summarized the highlights of this exhibition.
I hope you will come to the venue and feel the sound of nature and people.

Outline of the event

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