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Tokyo Metropolitan Art Museum

The first retrospective exhibition of Tamana Araki, a New York-based artist who continues to engage in a wide range of expressive activities from prints to installations, will be held at the Tokyo Metropolitan Art Museum in Ueno, Tokyo. It is being held at The exhibition period is until October 9, 2023.

Tamana Araki (1970-) studied abroad in Mexico after graduating from Musashino Art University Junior College in 1991, and was fascinated by the unique culture where “brightness and darkness'' and “life and death'' coexist. Masu. Since then, he has repeatedly stayed in Mexico, creating works with a unique world view through a variety of expressions, including copperplate prints, which he learned techniques for locally, three-dimensional works, installations, and animations.

In 2012, she moved her base of activities to New York and took a new step by consciously living as an immigrant.In recent years, she has been interested in themes such as “crossing borders,'' “diversity,'' and “inclusion .''

This exhibition is Araki's first retrospective exhibition. Approximately 120 pieces of variety, from early works to new works, from palm-sized three-dimensional works to large-scale installations that take up an entire floor, “There of Memories'' (2023/to be shown for the first time at this exhibition), inspired by “ Ueno's memories.'' A rich collection of works is being developed.

The exhibition consists of four chapters. The charm of Araki's work is the motifs and expressions that evoke the lives and stories of people, giving a sense of intimacy and nostalgia, and at the same time creating a boundary between the everyday and the extraordinary that makes your heart feel transported somewhere. The viewer is invited on a mysterious journey through the world.

Chapter 1, "The 'Beginning, Beginning!' of Travel," introduces relatively early works, including those with travel motifs and those inspired by the experience of staying in Mexico. I am introducing this as a starting point.

At the entrance, there is a piece called Untitled (1995) that is made up of a music box, and viewers can turn the screw themselves. Regarding this work, Araki commented in a gallery talk, “While one song is playing, I created it with the idea of going on an imaginary journey while listening to it.'' The many empty picture frames foreshadow wonderful encounters on the journey that are about to begin.

The exhibition begins like a curtain opening in “Beginning, Beginning'' (2003), and a story begins. “Day'' and “Night'' (1999) were made with the idea that “It would be great if there was a portable work that could be placed next to the bed in the room I stayed in while traveling, or on a small table by the train window.'' A unique foldable three-dimensional work created by. All are made using the copperplate engraving technique.

La calavera amarilla (Yellow Skeleton) (2005), which uses skeletons as a motif, and Una marcha de los esqueletos (March of the Skeletons) (2004), which use colorful decorations and illuminations to welcome the dead cheerfully, You can feel the influence of Mexico's unique view of life and death, as exemplified by the “Sun''.

“Caos poetico” (2005) is a fantastical scene sprinkled with warm light reminiscent of a lantern. This design was inspired by the strong lifestyle of poor people in Mexico, who used to draw electric wires from telephone poles without permission and use them to light their houses and food stalls, and how the streets decorated with these lights were so beautiful that they looked like a starry sky. This is an installation that was inspired by the concept.

Numerous power cords hang from the ceiling, and at the end of them are attached small boxes that look like houses. Not only the color of the light but also the pattern of each small box is different, and various items are used, such as a box of tea that Araki drank in Mexico, a bus ticket, and a flyer for Lucha Libre (Mexican wrestling).

The image of the chaotic state comes from the “strength of living in chaos'' that Araki felt from the houses painted with colorful paint and the people of Mexico City living there. Is not it.

Please note that this work is a participatory work. Following the guidance of the exhibition facilitators (volunteers who support the viewing, nicknamed Kee-jin), viewers were able to connect small boxes to any socket of their choice and make them part of the cityscape.

In Chapter 2, “Darkness Lurking in Soft Light,” two installations are arranged symmetrically to express light and darkness, respectively.

In Uchi (1999), which Araki created with the image of the housing complex where he lived as a child, about 100 boxes made of white plywood were set up against a white wall to resemble the houses in the housing complex. thing.

Each box is randomly numbered, and viewers receive a key from the facilitator and open the door of the box that matches the number. Then, light spilled out from inside, and we began to see the warm lives of each family depicted in the prints, which was hard to imagine from the uniform exterior.

On the other side of the wall of “Home'', “Invisible'' (2011) has a strong presence as a black and ominous object spreads out from above, as if filling out the everyday world of small happiness in the same work. .

This work was created after the Great East Japan Earthquake in 2011, and visually captures the feelings of anxiety and disgust felt at the time due to the nuclear power plant accident, in which invisible dangerous substances called radioactive materials might come flying. What I tried to make. The black objects are said to have been made by dyeing black orchid fibers purchased in large quantities in Mexico, rolling them into dumplings, and pasting them together.

Chapter 3, “The world of stories, butterflies that cross borders,'' fully introduces Araki's “world of stories,'' which is cute yet somehow unsettling, and full of the poetic nature of Araki.

Most of the people Araki draws are just silhouettes, and their expressions cannot be seen. He is alone in the vast world, sometimes facing something frightening. Do you see loneliness, freedom, or a longing for something? As my own self mysteriously overlapped with my own, my memories were shaken, and before I knew it, my mind seemed to be absorbed into the world of the work.

NeNe Sol – The Youngest Sun – is a picture book based on the Mayan myth of the creation of the sun that is still passed down in the Chiabas region of Mexico, and was co-produced by Mr. Araki and Leñateros Kobo, a printmaking studio whose members are mainly indigenous Mayan people. thing. A prototype version and the original illustrations are on display at the venue. The unique binding, which looks like a stone carving, was created by a Mexican sculptor.

In 2022, Araki will hold a workshop called “I Hear Folk Tales'' at the Tokyo Metropolitan Art Museum with children who have roots in various countries. The children experienced making tents and picture books in the shape of butterflies using paper pulp, and they also introduced folk tales from the countries where they have roots. The tent that was actually made at that time is on display at the venue.

Mr. Araki is interested in the Monarch butterfly that he encountered in Mexico, which migrates from country to country like a migratory bird to overwinter. This work was apparently inspired by the image of a Monarch butterfly resting its wings on the ground.

This work is based on Araki, who lived in the United States as an immigrant during the Trump administration, and his thoughts on refugees who are blocked by walls and unable to cross borders, and the monarch butterfly, which can move freely around the world regardless of borders. It is superimposed on.

Additionally, since tents are meant for people to temporarily stay or take shelter, Araki revealed that this work has the meaning of “a place where people can hide with peace of mind.''

In Chapter 4, “An Adventure Around the Bottom of Ueno,'' we use the entire space of the exhibition room on the third basement floor, which can be called “there'' ( the bottom) of the museum, with a ceiling height of 10 meters, to create ideas for “Memories of Ueno.'' The large-scale installation I obtained , “Beyond Memories'' (2023), will be the last part of this exhibition's journey.

During my research, I learned that it became the stage for many historical events, such as the birth of Japan's first parks, museums, and zoos, the Great Kanto Earthquake, the Great Tokyo Air Raid, and the emergence of the black market after the war, and attracted people from various countries and regions. Mr. Araki was attracted to the chaos of Ueno, a place he had adopted.

Around the huge object resembling a black birdcage in the center, fragmentary images of Ueno's past and present are shown, including photographs of Ueno taken by Araki himself and ukiyo-e prints depicting Ueno. , a pair of mirrors symbolizing “eyes'' suspended from the ceiling play the role of bringing to light the image of Ueno that was buried “down there'' (at the bottom).

The object is “a cage-like, hollow basket that swallows up and spits out the past, the future, the beautiful, and the trivial.''The upper part of the object looks like it's being grasped by a large hand. Some of the columns are curved, as if they were forced out from within or pried open from the outside.

Regarding this shape, Araki says, “Bird cages and cages seem to protect the birds, but they also confine them so that they can't fly away freely, and the shape emerges from these dual aspects.'' ” he explained.

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Regarding this exhibition, Mr. Araki says, “I would like many children and young people to see it.I hope that they can go underground and have a somewhat mysterious experience, and enjoy it as if they were traveling.'' The journey from the ground to "there" in Ueno also aroused my longing for another journey.

An exhibition that brings to mind the common themes that modern society has across countries and regions, such as crossing borders, diversity, and inclusion, which Araki is interested in. ' will be held until October 9, 2023.

Ueno's "Beginning, Beginning" Tamana Araki Exhibition

Period	July 22, 2023 (Sat) – October 9, 2023 (Monday/holiday)
venue	Tokyo Metropolitan Art Museum Gallery A, B, C
Opening hours	9:30-17:30, Fridays 9:30-20:00 (Last entry is 30 minutes before closing)
Closed days	Monday, September 19th (Tuesday) *However, the office will be open on September 18th (Monday/Holiday) and October 9th (Monday/Holiday)
Admission fee	General: 1,100 yen / University and vocational school students: 700 yen / Ages 65 and over: 800 yen *Free for high school students and under *Please check the official website for other details on admission fees.
Sponsored by	Tokyo Metropolitan Foundation for History and Culture Tokyo Metropolitan Art Museum
inquiry	03-3823-6921 (Tokyo Metropolitan Art Museum)
Exhibition official website	https://www.tobikan.jp/hajimarihajimari

*The contents of the article are as of the time of reporting. Please check the official website for the latest information.

Article provided by: Kokosil Ueno

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Tokyo National Museum

A special exhibition "Ancient Mexico – Maya, Aztec, Teotihuacan", which introduces the treasures of three civilizations representing ancient Mexico, will be held from Friday, June 16, 2023 to Sunday, September 3, 2023 at the Tokyo National Museum. Currently being held at the museum (Ueno, Tokyo).

This exhibition will focus on the three civilizations representing Mesoamerica ( the Maya, Aztec, and Teotihuacan civilizations that shared cultural elements and prospered in parts of Mexico and Central America until the Spanish invasion in the 16th century). Focused.

About 140 valuable excavated items such as inscriptions and reliefs and archaeological relics carefully selected from major museums in Mexico are introduced along with the results of recent excavations. We will explore the depth and charm of the ancient Mexican civilization, such as the unique world view and the beauty of molding created from the diverse natural environment.

The exhibition consists of four chapters : "An Invitation to Ancient Mexico", "Teotihuacan: City of the Gods", "Maya: The Rise and Fall of City-States", and "Aztec: The Great Temple of Tenochtitlan".

Chapter 1 "Invitation to Ancient Mexico"

Chapter 1, "An Invitation to Ancient Mexico," is a cross-sectional exhibition of works based on common themes of the three civilizations, such as "corn," "celestial bodies and calendars," "ball games," and "human sacrifices," as well as images of the ruins of each civilization. It is an introductory part that conveys the world view of the whole ancient Mexico through.

Here, the roots of Mesoamerica, which arose in the Gulf of Mexico around 1500 B.C., were the Olmec civilization, which inherited various elements to later Mesoamerican civilizations, such as the concept of sovereignty and many gods linked to rituals. The work "Olmec style stone figurine" that shows the existence of

Chapter 2 "Teotihuacan City of the Gods"

Chapter 2, "Teotihuacan: City of the Gods," deals with the Teotihuacan civilization, which flourished from 100 B.C. to 550 A.D.

Based on the cosmic view of the world that people believed in at the time, Teotihuacan is a state-led city centered on the "boulevard of the dead" and incorporating pyramids, ritual halls, palace-type buildings, and strict housing complexes. It was a planned city and a large religious city . Recent research has revealed that up to 100,000 people lived there, but the language and characters used have not been clarified, and it is still a civilization with many mysteries.

Here, we introduce the three pyramids representing Teotihuacan , the Pyramid of the Sun, the Pyramid of the Moon, and the Pyramid of the Feathered Snake, as well as works excavated from their surroundings.

The "Death Disk Stone Sculpture" exposed in the center of the exhibition room was excavated from the plaza in front of the Pyramid of the Sun, the largest of the pyramids in Teotihuacan, during an excavation in 1964.
It is a stone sculpture with a diameter of more than 1m, and the motif that spreads radially like a halo and the tongue protruding from the mouth of the skull are impressive. In Mesoamerica, sunset is death and sunrise is rebirth.

The exhibits that had a particularly strong presence were the Stone Sculpture of the Feathered Serpent God and the Stone Sculpture of the Sipaktri Headdress .
This is part of the large stone carving that covered the four walls of the Feathered Snake Pyramid, the central temple of the Citadel, a large ceremonial hall measuring 400m on a side. It is said to represent the headdress of the Feathered Snake God, which is a symbol of Venus and power, and the creator god, Shivakhtri, who symbolizes the beginning of time (calendar).

At the venue, the installation was devised so that you can see how these stone carvings protrude from the pyramid.

The feathered serpent god's wavy body is repeatedly carved with the motif of the Cipactri's headdress, so the entire Feathered Serpent Pyramid is the first monument in Mesoamerica to represent sacred kingship and coronation. It is thought that

Among the artifacts excavated from the 15m – deep, 103m-long tunnel beneath the Feathered Snake Pyramid, the trumpet, a musical instrument made from the tip of a snail shell, was eye-catching. This work has an iconography similar in style and content to that of Mayan religious centers, which is not found in Teotihuacan.

Buried in the burial body of the Teotihuacan dwelling site was an animal-shaped pottery with gorgeous decorations such as shells, which the excavator named "a strange duck". Since it was found with many shellfish products, it is thought that it was a grave goods related to shellfish traders who traded with the Gulf of Mexico.

Exhibits such as the "Trumpet" and "Bird Pottery" tell us that Teotihuacan was a multi-ethnic city with thriving trade and market economic activities.

In addition, the murals and earthenware that make you imagine life in Teotihuacan are also interesting.
Multicolored murals, such as the Storm God Mural , which is said to represent one of Teotihuacan's principal deities, the storm god, or Tlaloc, the rain god, are found in many apartment complexes and ceremonial facilities. It was

In addition, many incense burners excavated from the ruins of dwellings were made by rearranging various decorative pieces according to their purpose. The "incense burner" on display is thought to have been used for ceremonial requiems for dead warriors, based on motifs such as arrows and shields.

Chapter 3 "Rise and Fall of Mayan City-States"

Chapter 3, "The Rise and Fall of Maya City-States," introduces the culture and dynasties of the Mayan civilization, which flourished around the Yucatan Peninsula from around 1200 BC to the 16th century. This section is composed of the largest number of works in this exhibition.

It is said that the Maya established a dynasty with a distinct culture and form of governance around the first century AD. However, it has never been politically unified, and has formed a large network society through friendly exchanges such as trade between countless cities and the coming and going of diplomatic missions, and sometimes wars for supremacy. The excavated items convey various trends in the Mayan region.

One of the Maya's forested cities is Palenque , a middle-sized city that prospered in the western region between 400 and 800 AD. In particular, the artifacts excavated from the tomb of the Red Queen (Reina Roja), which will be exhibited for the first time in Japan, is one of the highlights of this exhibition, which is famous as a masterpiece of dynasty art .

Palenque, the city of art, is known for its sophisticated architecture, sculptures and inscriptions, and its golden age was the reign of King Kinichi Hanab Pakal (615-683).
It is said that while King Pakal strengthened the influence of Palenque through diplomacy and warfare, he also focused on expanding the royal palace, making it one of the most magnificent buildings in the Mayan region. His body was placed in a mausoleum called the Temple of Inscriptions, which is said to have been designed by King Pakal himself.

The body, called "Red Queen (Reina Roja)", was found in 1994 in Temple 13 next to the Temple of Inscriptions. Its common name comes from the fact that it was buried covered with bright red cinnabar (mercury red). As a result of the investigation, it is highly likely that this person is Ish Tsakub Ahau, the wife of King Pakal.

At the venue, the 12 burial goods of the "Red Queen" were attached to mannequins to recreate the state of burial in a space inspired by the stone chamber of Temple 13. The "Red Queen's Mask" is made of small pieces of malachite, with obsidian for the eyes and white jadeite for the whites of the eyes.

Although it is not shown in the photograph, among the beautiful grave goods such as necklaces and crowns, there was a small, unremarkable "needle" quietly displayed next to the mannequin that caught my eye. Strange as it may seem, spinning and weaving is one of the activities that women of all social classes do, and the needle was also used by the "Red Queen" on a daily basis and was thought to be necessary in the afterlife. that there is
Not only do they dress up according to their status, but they also empathize with the life-size wish of the person himself or the people around him, who say, "I want to live without trouble."

Next to the reproduction exhibition, video materials of the excavation survey of "Red Queen" were also played.

In addition, at the exhibition of the 96-character lithograph found in the royal palace of Palenque ruins, we were able to thoroughly appreciate the picturesque and beautifully shaped Mayan characters.

The Maya script is a mysterious language composed of logograms and syllabaries, but currently about 700 characters and various combinations that are said to be tens of thousands of weaves are being elucidated. People's deeds were thought to reproduce the deeds of gods and ancestors, so letters were mainly used to record the histories of kings and nations, as well as court ceremonies.
This work also records the accession of the kings of Palenque with exact dates.

Like in Japan, calligraphy was not only used to convey information, but was also loved as a work of art in the Maya.

After the decline of Palenque and many other cities, the excavated artifacts of Chechen Itza, which became the largest city in the Maya region in the northern part of the Yucatan Peninsula around 900, are also worth seeing.
Among them, "Charcoal statue" is a work that I felt the scariest of this exhibition after reading the explanation. On the belly of the statue there is something like a plate, in which it is possible that an offering, sometimes a heart taken from a human sacrifice, was placed…

In this exhibition, there are many frightening keywords such as "sacrifice" and "human sacrifice." These peculiar practices have persisted in Mesoamerica for over 3,000 years, and modern sensibilities may raise eyebrows at their brutality.

However, it is not just an inhumane ritual act. All life forms are born and move through the work and sacrifice of the gods. This was due to the ethics of the indigenous peoples, who believed that principles must be maintained. There is a universal prayer to God and nature.

Chapter 4 "The Great Temple of the Aztec Tenochtitlan"

Chapter 4 "Temple of the Aztec Tenochtitlan" is a large city of the Aztec Kingdom of Tenochtitlan (present-day Mexico) founded in 1325 on an island in Lake Texcoco in the central highlands of Mexico by people whose mother tongue was Nahuatl , such as the Mexica. City) excavated items. With a population of over 200,000 at its peak, it prospered until it fell to Spain in 1521.

By the way, in the central highlands of Mexico, civilizations rise and fall in the order of Teotihuacan ⇒ Toltec ⇒ Aztec. The name "Teotihuacan", which means "City of the Gods" in Nahuatl, was named by the Mexica people of the Aztec kingdom who discovered the ruins.

The Aztecs, which strengthened their national power with military power and a tribute system, brought amazing developments in architecture and painting, especially sculpture. Tenochtitlan, where the Aztecs concentrated their wealth, is said to have created a creative environment unlike any other in history, with national and international artists sharing techniques, tastes and traditions.

The courageous "Eagle Warrior Statue" conveys a part of the creative beauty of Tenochtitlan.

At the heart of Tenochtitlan stood the Templo Mayor, a pair of majestic pyramidal temples dedicated to Huitzilopochtli, god of the sun and war, and Tlaloc, god of rain and earth. This work was discovered in the "Eagle House" on the north side of the Great Temple. Life-size and powerful.

Many experts consider them to be the warriors of the "Eagle Legion" under the direct control of the king, who played an important role in battle and religion. It seems that there are still various theories that it represents the appearance of Lopochitori.

Many of the sculptures on display represented the gods worshiped by the Aztecs.

"Tralok God's Vase" is impressive with its bulging eyes and bright blue.
Mesoamerica, an agricultural society, is said to have had an obsession with controlling rainfall for centuries. Therefore, prayers, offerings, and child sacrifices were all devoted to Tlaloc, the rain god and 'giver' who provides everything that plants need to germinate.

It is believed that this work contains a wish for rain and a bountiful harvest, as the pot for storing water is decorated with the deity Tralok.

One of the exhibits is a "mask" made of green serpentinite, and it has a similar atmosphere to the "mosaic statue" introduced in the Teotihuacan exhibition in Chapter 2. In fact, it was a mask excavated from the ruins of Teotihuacan, polished by the Mexicans, and touched with eyes and earrings.

It is said that the people of the late postclassic period (1250-1521), including the Messikas, dug up past civilizations and dedicated them to their temples as sacred substances with magical powers. One of the interesting things about this exhibition is that you can feel these connections.

At the end of the exhibition, pendants, earrings, and scepter-shaped ornaments made of gold, which are rare in Mesoamerica, were exhibited all at once, showing the latest excavation results of Templo Mayor.

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At the venue, we were particular about the production of the exhibition space, such as video materials that convey the charm of the ancient city ruins and realistic reproduction exhibitions, and we could feel the atmosphere of ancient Mexico just by walking. It is also a nice point that the distance between the exhibits is wide and it is easy to appreciate.

By the way, at present, all the exhibits in the venue are allowed to be photographed for personal use only. (There is a possibility that it will be canceled or changed in the future, so please see the information in the hall and the official website for details.)

The special exhibition “Ancient Mexico” explores the depth and charm of the cultural traditions of ancient Mexico, which are still passed down by the people living in the land. The event will be held until September 3, 2023 (Sun).

Overview of the Special Exhibition “Ancient Mexico: Maya, Aztec, and Teotihuacan”

exhibition period	June 16th (Friday) to September 3rd (Sunday), 2023
venue	Tokyo National Museum Heiseikan
Opening hours	9:30 a.m. to 5:00 p.m. *Saturday until 7:00 p.m. *From Friday, June 30 to Sunday, July 2, and from Friday, July 7 to Sunday, July 9 until 8:00 p.m. * General cultural exhibition closes at 5:00 p.m. *Admission until 30 minutes before closing
closing day	Monday, July 18 (Tue) *Open on July 17th (Mon/holiday) and August 14th (Mon)
Viewing fee (tax included)	Adults ¥2200, University students ¥1400, High school students ¥1000, Junior high school students and younger free *For details, please see the ticket page on the official website.
organizer	Tokyo National Museum, NHK, NHK Promotions, Asahi Shimbun
inquiry	050-5541-8600 (Hello Dial/9:00 a.m. to 8:00 p.m., open all year round)
Exhibition official website	https://mexico2023.exhibit.jp/

*The content of the article is as of the interview date (June 15, 2023). Please check the official website for the latest information.

Article provided by: kokosil Ueno

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Ueno Royal Museum

A unique dinosaur exhibition that collects only dinosaur art centered on paintings, not fossils and skeletal specimens, a special exhibition “Dinosaur Picture Book-Imagination / Creation of the Lost World” May 31, 2023 (Wednesday)-7 It is being held at the Ueno Royal Museum on Saturday, March 22nd.

This exhibition draws attention for its large number of works by Charles R. Knight and Zdenek Briand, two of the greatest dinosaur paintings of the 20th century. Report on the state of the venue.

When we think of dinosaur exhibitions, we usually think of exhibits centering on fossils and skeletal specimens, but in this exhibition , we draw paleontological creatures such as dinosaurs based on scientific evidence such as fossils, which are usually placed beside those materials. The spotlight is on ecological reconstruction map = “Paleoart” .

Dinosaurs, which ruled the earth in the Mesozoic Era from about 250 to 66 million years ago, came to be known to the general public through ecological reconstruction maps following the excavation of fossils in the first half of the 19th century. Since then, many scholars have worked hand-in-hand with artists to try to reproduce the appearance of ancient creatures full of romance from ancient times.

At the venue, about 150 pieces of paleo art collected from all over the world will be displayed, ranging from strange reconstruction drawings drawn in the early days to masterpieces by contemporary artists based on recent research.

In the 200 years since the “discovery” of dinosaurs until today, we will trace how the expressions of dinosaurs (paleontology) have changed as the scientific basis changes with each new discovery.

Chapter 1 “The Birth of Dinosaurs – Strange Monsters of the Dawn”

The exhibition consists of four chapters. Chapter 1, “The Birth of Dinosaurs – Strange Monsters of the Dawn” introduces a group of works created with limited knowledge shortly after the “discovery” of dinosaurs in the 19th century. You can enjoy a unique appearance that is far from the dinosaurs that we imagine in our minds.

At the beginning, the lithograph “Douria Antiquiol (Ancient Dorset)” (1830) based on the original painting by geologist Henry de La Beach, is said to be one of the first paintings in history to restore the ecology of paleontology. Display your work.

The work is a female fossil collector known for contributing to the development of paleontology in the 19th century by discovering marine reptiles such as the ichthyosaur Ichthyosaurus and the plesiosaur plesiosaur before the dinosaurs in Dorset, southern England. It was made to honor the achievements of Mary Anning .

Set on the prehistoric coast of Dorset, it is filled with ancient creatures discovered by Anning. Attention is drawn to the right side of the screen, and it seems that the Ichthyosaurus is biting the thin neck of the Plesiosaurus.

Hiroki Okamoto (Professor at Kobe Design University and former curator at the Hyogo Prefectural Museum of Art), the organizer of this exhibition, said, “From modern research, it’s hard to imagine an ichthyosaur attacking a plesiosaur. It conveys that there was an image of a predator that was overwhelmingly stronger.”

In addition, this exhibition focuses on introducing the evolution of the image of Iguanodon , the first dinosaur to be “discovered” along with Megalosaurus.

British physician and amateur geologist Gideon Mantell, known as “the man who discovered the dinosaurs”, named it “Iguanodon” (iguana tooth) in 1825 because it had teeth similar to those of the modern reptile Iguana. It seems that this creature was originally imagined as a gigantic iguana.

An early example of an Iguanodon, George Schaaf’s Reconstructed Reptile (1833), depicts an exceptionally large Iguanodon with its enormous body crawling on the ground and its long, snake-like tail undulating.

However, if you look at the sculpture Iguanodon of the Crystal Palace produced around 1853, the image has undergone a minor change. Iguanodon’s four legs descended straight from its body to the ground like mammals such as elephants and rhinos.

It was created under the guidance of Richard Owen , the most influential British paleontologist of the time and the person who coined the word “dinosaur” . According to Okamoto, this physical feature is one of the current definitions of dinosaurs.

Furthermore, the discovery of near-perfect Iguanodon fossils in Belgian coal mines in 1878-80 greatly revised the image of the Iguanodon reconstruction that had spread for nearly 50 years since Mantell’s discovery. Especially. It turned out that it was erecting its upper body, and that the bones previously thought to be the snout horns were actually thumb spikes on its forelimbs.

For nearly 100 years, Iguanodon was depicted in paleo art as a bipedal creature with sharp spikes on its forelimbs. In the following chapters 2 and 4, you can see works depicting the appearance of Iguanodon that “evolved” while being modified in this way.

In addition, in Chapter 1, eerie dinosaurs that look and behave like humans are disgusted by their friends who are being attacked and retreat, or walk around the residential area like a monster movie. It is interesting that there are works that depict dinosaurs more like story paintings than restoration paintings. It was a glimpse of the people’s fluffy perception of dinosaurs and the richness of their imagination at the time.

Chapter 2 “Establishment and Popularization of Classical Dinosaur Images”

In Chapter 2, “Establishment and Popularization of Classical Dinosaur Statues,” which introduces works from the golden age of paleo art from the end of the 19th century to the middle of the 20th century, Charles R. and Zdeněk Briand have a lot of space.

The stage for dinosaur excavation and research gradually shifted from Europe to the North American continent, and from the 1870s to the 1890s, two paleontologists fought a fierce battle called the “Bone Wars” over the discovery of dinosaur fossils. We waged a competition. As a result, numerous types of dinosaurs such as Stegosaurus and Triceratops were found, revealing the diversity of animals that lived in the Mesozoic Era.

Charles R. Knight (1874-1953), an American paleontology painter, was the greatest contributor to the realistic visualization of new dinosaurs that had taken off the veil of the unknown and popularized them.

Knight, who was also a wildlife painter, left nearly 1,000 paintings of living animals, and it is believed that the observational eyes and biological knowledge cultivated through such activities were useful in the creation of paleo art.

Knight’s realistic landscapes, and the lively figures of dinosaurs and extinct creatures placed within them, were excellent for the time in terms of both anatomical and natural environment depictions, and soon became popular. It has attracted the attention of both the general public and experts. His work had an impact on film culture, such as the movies “The Lost World” (1925) and “King Kong” (1933).

In the exhibition of Knight’s work, one of his greatest masterpieces , Cretaceous-Montana (1928), one of the sketches for the murals of the Field Museum of Natural History, cannot be overlooked.

“Cretaceous-Montana” is a monumental work that fixed the image of the rivalry between the stars of the dinosaur world, “Tyrannosaurus vs. Triceratops,” and has become widely known as a work that symbolizes dinosaur painting itself. The tense composition has been imitated and adapted by many subsequent artists, and it often appears in the entertainment world such as movies and comics, so many people should have seen it at least once. I was deeply moved that this was the original.

 

On the other hand, Zdenek Brian (1905-1981), a painter from Czechoslovakia (now the Czech Republic), gained popularity in a generation slightly after Knight.

Although Knight’s work was a departure from the unrealistic paleo art of the previous era, Briand was also an excellent painter. His works, based on the tradition of realism in European art, were so persuasive that you might believe it if you were told that he had actually seen the real thing and painted it.

Looking at the paleontological creatures that Brian draws, they naturally have a body temperature, and you can tell that they are living creatures.

Briand’s works gained popularity around the world with books such as the masterpiece “Breaks of the Last Century” (1956), and were reproduced and copied in large numbers in children’s encyclopedias and children’s books here in Japan in the 1960s and 1970s. , is said to have played a decisive role in establishing the image of dinosaurs of an era. For this reason, people of the generation who were obsessed with dinosaur encyclopedias during this period may find a lot of works that make them feel like they’ve seen this somewhere before.

In the past, it was not possible to determine the color of dinosaurs from fossils, so artists used their own guesses to color them. The contrast of te … is strongly impressed. The Stegosaurus in Antrodemus Valens and Stegosaurus Stenopus (1950) is probably one of the sources of that image. I was able to realize the magnitude of Brian’s influence.

This exhibition brings together 18 precious Briand works. It is the biggest attraction.

Also, in the same chapter, we can admire the majestic figure of the past of Hypsilophodon, which was popular as a “tree-climbing dinosaur” but later discovered that the restoration itself, which was the basis of research in the first place, was wrong.

Chapter 3 “History of Reception of Dinosaurs in Japan”

The image of dinosaurs that was established in Europe and the United States entered Japan at the end of the 19th century. Chapter 3, “History of Reception of Dinosaurs in Japan,” changes direction and introduces dinosaurs that were rooted in Japanese cultural history from the Meiji to Showa eras. In addition to science magazines, children’s comics, and classic science fiction translations such as Conan Doyle’s The Lost World (1912), toys such as soft vinyl dolls and plaster figurines imitating dinosaurs are also on display. .

In addition, he also explains the symbolism of dinosaurs in the realm of general art, so-called fine art, whose purpose is not to realistically reproduce dinosaurs. (Some works from Heisei to Reiwa are also included)

Ichiro Fukuzawa, who brought surrealism to Japan and produced many works that included social satire and criticism of civilization , Ichiro Fukuzawa’s Reptiles Infested and Reptiles Perish (1974) are interesting in their bold composition of dinosaur limbs. The contrast between the intense colors of the blue sky and the setting sun, the ephemeral appearance of the giant beings that once boasted prosperity, and the appearance of small mammals flocking to take their place are said to satirize Japan’s factional politics.

Ai Shinohara 《From the Cradle to the Graveyard》 (2010-2011), which reminds us of the traditional image of “death and maiden” in Western painting, where no matter how beautiful a girl is, cannot escape old age and death; Hiroshi Fuji, Jurassic Plastic (2023) , reminds us that petroleum, the raw material of plastic, was originally the fossil of dinosaurs and other creatures, and at the same time, considers the problem of mass production and mass consumption. ), etc., were all large-scale and worth seeing.

Chapter 4 “Reconstruction of image based on scientific knowledge”

In Chapter 4, “Reconstruction of images based on scientific knowledge,” the topic returns to the changes in images of dinosaurs. Dinosaur research from the 1960s to the 1970s saw a revolution called the “Dinosaur Renaissance,” in which the view that dinosaurs were “active warm-blooded animals” rather than slow poikilotherms as previously thought was presented. Dinosaur statues have been greatly redesigned. One after another, works that expressed the appearance of new dinosaurs were born.

In the exhibition, illustrator William Stout , who boasts a cult-like popularity even in the field of fantasy art, and Michael Tursic , who worked on the three-dimensional model of the movie “Jurassic Park”, and an accurate and powerful touch of dinosaurs based on art anatomy. A wide variety of works by talented paleo artists who have appeared since 1960, such as Takashi Oda , the leading artist of paleo-creature restoration paintings in modern Japan, will be competing.

Contemporary artists are making dinosaurs move with agility. John Bindon’s “The Front of the Storm” (1996), in which a tyrannosaurus runs at a tremendous speed while raising water splashes, and Gregory Paul ‘s “Shichipachi and Sauro,” which seems to capture the moment when dinosaurs start moving all at once, whether they are friends or foes. Lunithoides (1989) and others have a different sense of dynamism compared to the dinosaurs seen in Chapter 2.

I have the impression that the individuality of the works is also strong. Douglas Henderson ‘s works, which are breathtakingly beautiful and lyrical pastels, precisely expressing the light and air of the ancient world, are like looking at a high-quality photo book.

While many painters focus on the dinosaurs themselves, Henderson has a strong tendency to depict dinosaurs together with the environment in which they lived at the time. situation. I draw so that it blends into the scenery without focusing.

I was completely drawn into the clever composition, which overlapped with common memories such as when I was trying to shoot a sunset and a bird was accidentally captured, or when I was walking in the forest and found a squirrel in the depths of the trees.

As academic knowledge increases, the special exhibition “Dinosaur Encyclopedia-Imagination/Creation of the Lost World” will be held until Saturday, July 22, 2023. . Of course, the contents will stir up the romance of the ancient world, and it is a rare opportunity to see paleo art that straddles the ages, so please check it out.

Overview of the special exhibition “Dinosaur Encyclopedia – Imagination/Creation of the Lost World”

exhibition period	Wednesday, May 31, 2023 to Saturday, July 22, 2023 * Open every day during the exhibition period
venue	Ueno Royal Museum
Opening hours	10:00 – 17:00 (9:30 – 17:00 on weekends and holidays) *Admission until 30 minutes before closing
Viewing fee (tax included)	General 2,300 yen, university/vocational school students 1,600 yen, high/junior high school/elementary school students 1,000 yen * Free for preschoolers (must be accompanied by a high school student or older) * Free for those with a disability certificate and one helper * Group discounts available. *Although it is not a reservation system, the number of people may be limited when it is crowded. For other ticket details, please check the official page .
organizer	Sankei Shimbun, Fuji Television Network, The Ueno Royal Museum
inquiry	Hello dial 050-5541-8600 (all day/9:00-20:00)
Official site	https://kyoryu-zukan.jp/

※※The content of the article is as of the interview date (May 30, 2023). Please check the official website for the latest information.

Article provided by: kokosil Ueno

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The University Art Museum, Tokyo University of the Arts

Taito Ward and Tokyo University of the Arts have deepened exchanges and cooperation over many years, starting with the “Taito Ward Mayor Award” established in 1981. Many artists have made their way into the world through the Taito Ward Mayor’s Award, and it can be said that the award has made a great contribution to the development of young artists.

In this exhibition, 40 of the Taito Ward Mayor Award-winning works created by the students will be exhibited.

 

Exhibited at the “Taito City Collection Exhibition – Artists who have left Ueno, a city of culture and art -” is the “ Taito City Collection”, which honors outstanding students of Tokyo University of the Arts and whose graduation works are collected by Taito City. A collection of works that won the Mayor’s Award . In other words, they are all student works.

The Taito Ward Mayor’s Award system, which began in 1981, is awarded to one person each from Japanese paintings and oil paintings / prints of the painting department of the Faculty of Fine Arts. joined). Many of the awardees later went on to be active on the front lines of the industry, and we can see that they played a role as a gateway to success for young artists.

Tracing the “changes” of expressions in Showa, Heisei, and Reiwa

The themes of this exhibition are “transition” and “diversity.”
In this exhibition, 40 works from the Taito Ward Mayor Award, which has been awarded for more than 40 years over the three eras of Showa, Heisei, and Reiwa, will be displayed. Since then, artists who have been active on the front lines and recent winners who are expected to make great strides in the future will gather together in one place the works that they have created as a culmination of their student days.
Of course, each piece is attractive, but we also pay attention to the changes in trends over time and the diversity of ideas that are not bound by the framework of “Japanese painting” or “oil painting”.

This exhibition consists of two parts, and the first half introduces award-winning Japanese paintings, oil paintings, and prints that have been collected in Taito Ward since the previous exhibition (2016). Originally, the 6th “Taito Collection Exhibition” was scheduled to be held in conjunction with the Tokyo 2020 Games, but it was postponed due to the new coronavirus infection and was held for the first time in seven years.
In the first half, the works of young artists created over the past seven years are exhibited at once.

On the other hand, in the second half, works carefully selected from the successive works of the Taito Ward Mayor’s Award are exhibited. Starting with the work of Yuji Tezuka (Professor Emeritus, Tokyo University of the Arts), who won the first award, there will be a line-up of gems that have won the same award over the past 42 years.

What you can feel at the venue is the energy of the “fetal movement” of the young artists who are about to take off. In novels, it is often said that “the maiden work contains all of the writer’s work,” but it may be possible to find themes and styles that underlie their subsequent works in these works. .
It can be said that this exhibition will provide vivid discoveries and impressions for both fans who are already familiar with their activities and those who will come into contact with their work for the first time.

Introduction of exhibited works

Here are some of the works on display.

“Labyrinth” Yuji Tezuka 1981

Is this what a real “meeting” is like? A mysterious space where animals talk

A meeting where everyone expresses their own opinions. The labyrinth spreads endlessly behind the woman who is the chairman. It is a work that expresses a chaotic and mysterious world by comparing the people around you to animals. (From the creator)

<Yuji Tezuka>
Born in Kanagawa Prefecture in 1953. Member of the Japan Art Institute, executive director, professor emeritus at Tokyo University of the Arts, and special director of the Fukui Fine Arts Museum. As a Japanese painter who leads the contemporary Japanese painting world, he continues to work vigorously.

 

“Dancing in the fields with pillows” Masafumi Kikuchi 1992

A work that reconstructs the stage he directed as a “landscape painting”

1992, Minami-Azabu Sannohashi. Released every Saturday and Sunday for about two months Weekly one-shot play “Is the Great Detective Really There?” Many people who have seen the whole story have not seen this picture. (From the creator)

<Masafumi Kikuchi>
Born in Kobe in 1968. Graduated from Tokyo University of the Arts, Department of Painting, Oil Painting. Engaged in painting, theater production, and music production, he has held numerous solo and group exhibitions both in Japan and overseas. “Nobe ni Makura de Odori Makure” was produced in 1992 with the aim of experiencing the stage play “Wet Feathers Can’t Grab the Sky” through landscape paintings.

 

“Encounter with Trees” Yasuto Ide 1989

The mystery of Yakushima where light and darkness intersect

When I entered graduate school, I went on a trip to Yakushima alone. It is an island with banyan trees on the coastline, virgin forests in the forest, and heavy snowfall at the summit. I sketched while staying at a mountain hut and created an impression of walking around in the forest. The world where moss-covered branches stretch in all directions, and darkness and light intersect is a mysterious and solemn space. (From the creator)

<Yasuhito Ide>
Born in 1962 in Fukuoka Prefecture. Completed graduate school at Tokyo University of the Arts. Currently, the Japan Art Institute special treatment. Professor of the Faculty of Arts, Kurashiki University of Science and the Arts. It is characterized by a gentle and fantastical style that women and flowers create.

Overview of the event

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Tokyo Metropolitan Art Museum

Henri Matisse (1869-1954), a leading French painter of the 20th century, is known as a central figure in the Fauvism movement, whose vivid colors had a major impact on art history. A large-scale retrospective “Matisse Exhibition” is now being held at the Tokyo Metropolitan Art Museum. The exhibition period is until August 20, 2023.

This is a report on the situation at the venue, as I covered the exhibition, which was a hot topic for the first public exhibition in Japan of one of his early masterpieces, "Luxury, Silence, Eccentricity."

Explore Matisse's journey through about 150 masterpieces

Henri Matisse is known as the "Magician of Color". His pictorial expression, which freely released colors from the visible reality, revolutionized art history and left an unforgettable mark on the history of modern art.

The "Matisse Exhibition" currently being held is the first large-scale retrospective exhibition in Japan in about 20 years. About 150 masterpieces were gathered from the Center Pompidou in Paris, which boasts the world's largest Matisse collection. Focusing on paintings, sculptures, drawings, paper cutouts, and materials related to the Rosary Chapel in Vence, southern France, which is the greatest masterpiece of his later years . It provides an overview of the life of 84 years dedicated to the exploration of vivid colors and light that appeals directly to the senses.

The exhibition consists of 8 chapters.
・Chapter 1 Fauvism 1895-1909
・Chapter 2 The age of radical inquiry 1914-1918
・Chapter 3 Parallel Exploration – Sculpture and Painting 1913-1930
・Chapter 4 People and Interiors 1918-1929
・Chapter 5 Spread and Experiment 1930-1937
・Chapter 6 From Nice to Vence 1938-1948
・Chapter 7 Paper-cutting paintings and works of the last years 1931-1954
・Chapter 8 Vance Rosary Chapel 1948-1951

Neo-Impressionism, Fauvism, Cubism…Matisse's Experimentation in a Variety of Painting Expressions

If you look at the works arranged in chronological order, you will notice that Matisse changed his painting style one after another in a short period of time. Here are some examples.

Born in 1869 into a wealthy family in northern France, Matisse set his sights on becoming a painter after he turned 20, and moved to Paris in 1891. One of the earliest works in which he was trying to establish his identity as a painter was Woman Reading (1895), which he made while studying under the symbolist painter Gustave Moreau, who was teaching at the Paris National School of Fine Arts. can be appreciated.

Influenced by Camille Corot's figure paintings, his realistic and restrained style makes one wonder, "Is this Matisse?" It was the first commercial success after it was purchased by the state, but it seems that such traditional painting methods were quickly abandoned.

Gradually, he created blazing, vivid color schemes such as Pont Saint-Michel (c1900) and Still Life with Hot Chocolate Pot (1900-1902) that foreshadowed the arrival of Fauvism a few years later. will be

In 1904, after spending a summer in Saint-Tropez at the invitation of Paul Signac, a central figure in Neo-Impressionism, he created an early masterpiece , Luxury, Silence, Elegance (1904) , using the technique of "split strokes" that he had learned from him. ) was completed.

This work, which will be shown for the first time in Japan, depicts a scene filled with light that can be called a utopia, using pure colors instead of the original colors of the subject. In general, he follows the guidelines of Neo-Impressionist painting faithfully, but if you look closely, you can see traces of experiments that are not in the guidelines, such as the abstract figures being surrounded by outlines to preserve their forms. Although Matisse's lifelong problem of the "collision of color and line drawing" remained unresolved, this work marked an important step in Matisse's painting career.

As early as the following year, he threw away this division of brush strokes and tackled head-on the problem of the clash between color and line drawing in Collioure in the south of France. Therefore, he created Fauvism with free and bold color expression and rough brush strokes, which emphasized the senses rather than the colors that were visible to the eye.

However, while Matisse caused a scandal in the art world as a leading figure in Fauvism, when we look at Luxury I (1907), which was produced three years after Luxury, Silence, Eccentricity, we can see that the colors are harmonious and the brushwork is harmonious. It is flat. Some people may have a strong image of Matisse as a Fauvist painter, but in reality, Matisse's Fauvist tendencies did not last for several years, and by 1907, the work had already begun to explore painting space. indicates that you have progressed to the stage of

The first world war that occurred in 1914 changed the life of Matisse, who had continued to create steadily. Isolated by the mobilization of his two sons and friends, Matisse immersed himself in creation as if to resist the situation, and proceeded with innovative plastic experiments.

The most eye-catching work from this period is French Window at Collioure (1914), which was produced immediately after the outbreak of World War II. . For Matisse, who repeatedly experimented in his atelier (indoors) throughout his life, the "window" is an important motif, and in Matisse's work, the "window" does not separate the inside and outside, but makes it clear that the inside and outside spaces are the same unity. It seems that it was something to do.

Windows are also used as visual metaphors in the Western tradition. In the same work, balconies were originally drawn on the windows, but it is suggestive that they were all painted in black in the end. Is this window closed or open? Would you have recognized this as a window if it hadn't been indicated in the title in the first place? The work, which is believed to have come to an end after much deliberation while remaining unfinished, is one of Matisse's creations, showing the extreme composition of “how many elements must be removed to make the image impossible to hold?'' It is a work that marks a critical point.

While working on French Windows at Collioure, Matisse also worked on portraits. During his stay in Collioure, he had a series of dialogues with the cubist painter Juan Gris (Juan Gris), after which he produced White and Rose Head (1914) modeled after his own daughter Marguerite. Among Matisse's works, it is considered to be one of the most influenced by Cubism.

Flat and simplified screen composition, geometric human body. It shows the results of a radical experiment similar to that of the French Window at Collioure, which explores how to remove details to the utmost limit while still preserving the essence of the model.

The works introduced so far convey Matisse's voracious quest for new forms of expression through repeated experimentation and contemplation. However, the content of the exhibition is still in the middle of the second chapter, and Matisse's career has not even passed halfway through. When I watched up to Chapter 8, I forgot that this was a retrospective show about a single painter because of the variety of styles. However, no matter how his painting style changes, I feel that his high awareness of colors and shapes, and his attitude of emphasizing emotion over visible things, remain consistent.

From the perspective of the breadth of his painting style, I was particularly interested in Dreams (1935) and Sitting Rose-Colored Nude (1935-36), which can be seen in Chapter 5, "Expansion and Experiments 1930-1937."

After moving his base to Nice in the south of France, Matisse traveled to America and Oceania in the 1930s, encountering new light and space, and his works became more open and expansive. It was also a time when the means of expression, which had returned to the traditional view of painting in the 1920s, began to be simplified again. "Dream" and "Rose Nude Seated", both of which were produced around that time, were started in the same year, depicting nudes of Lydia Delektorskaya, Matisse's favorite model until his death, his secretary. Although there are many things in common, such as the blue background, the impression received from the works is very different.

"Dream", in which the upper body of a woman lying down with her eyes closed is placed across the screen, is filled with a comfortable sense of openness and expresses psychological and sculptural fulfillment. Colored Nude reveals traces of repeated manipulations of erasure and simplification, transforming an elegantly posed woman into a ghostly schematic image. Please pay close attention to these two works, which clearly express the state of contemplation during this period in which I pursued the method of inserting the form of a person into the background, accompanied by countless variations.

Matisse's quest for harmony between color and line drawing, and the last oil painting in his life, "Large Red Room"

Chapter 6, "From Nice to Vence, 1938-1948," displays several masterpieces from his later years.

It is said that Matisse's numerous experiments, which turned the world upside down, were all carried out in his colorful atelier. For this reason, the atelier itself became an important motif throughout Matisse's life. In 1939, when World War II broke out, Matisse, who was nearly 70 years old, carefully arranged the items he had collected, such as vases, fabrics, and furniture, in his atelier. I will do the work of letting the "essence" permeate my body.

Still Life with Magnolia (1941), a representative work with a beautiful red color that is synonymous with Matisse, and which emphasizes flatness and decorativeness, was completed after dozens of preparatory drawings. works. By extracting only the essence from the motif, I have come to express that multiple things surround the star-shaped magnolia as if they were floating. This is one of the painter's favorite works, which Matisse said he did "all his might".

In 1943, Matisse moved from Nice to Vence in the suburbs to escape the threat of an air raid, and it was here that he produced his last series of oil paintings, the "Interiors of Vence" series. In the same exhibition, the first work in the series , Yellow and Blue Interior (1946), and the 13th and last canvas painting by the artist , Large Red Interior (1948) are on display. increase.

In particular, "Large Interior in Red" is positioned as a masterpiece that condenses Matisse's work on color, and in a flat space, the important themes of Matisse's paintings such as red, atelier, and painting in the painting are cleverly composed. is synthesized in The two paintings hanging on the wall are both quotes from existing works by Matisse. The brush-drawn black and white drawing on the left not only spreads out into the space like a window, but it is also displayed on an equal footing with the colorful oil painting on the right, continuing to challenge the challenge of the conflict between color and line drawing. I felt that I was showing the work of Matisse to those who saw it again.

Tomoko Yabumae, a curator at the Tokyo Metropolitan Art Museum, commented on the appeal of her work, saying, "For Matisse, the world is full of harmony. So, various elements that bind together different worlds exist in harmony in a single painting (I aimed for a work).

The black outline dances lightly against the lively red background. Lines and colors not only harmonize, but also open each other up, creating an endless sense of happiness. It is a work that symbolizes that Matisse did not stop until his last years at the age of 79.

A beautiful special video of Matisse's masterpiece "Vence Rosario Chapel" full of color and light will also be screened.

So far, we have picked up paintings from the exhibition and introduced them, but in Chapter 3, we have taken up the major sculptures, in Chapter 7, the paper-cutting works, and in Chapter 8, Vence's work on the Rosary Chapel. rice field.

In Chapter 3, "Parallel Investigation: Sculpture and Painting, 1913-1930," a series of <back> works , a motif that was explored over the course of 20 years, were lined up on the wall and were very impressive. Matisse is a painter who has a strong image of two-dimensional expression, but he says that the reason why he worked on sculpture is “to organize my thoughts as a supplementary excellent work''. However, its importance was not small, and it helped me to explore the relationship between two and three dimensions, and clay sculpture was my favorite medium as it gave shape to ideas that could not yet be expressed in painting.

Gradually complicating the expression of the portrait, he tried to prove that even if the structure of the body is depicted incorrectly, the essential truth hidden in the person is not hidden, but rather revealed . The Rillette series (1925-29) is full of Matisse-like works that did not emphasize the reproduction of the visible.

The <Back> series (1909-30), which consists of four life-size female figures, seems to express the process of gradually simplifying the rear view of women from I to IV, but in fact it was a series from the beginning. Instead, it was conceived as a single ever-changing clay sculpture. It has been pointed out that the production period for this series overlapped with the production period for monumental paintings such as Dance. This shows that Matisse tried to solve the formative problems of the time by linking painting and sculpture. Sculpture, for Matisse, was what gave rhythm to his entire artistic practice.

In Chapter 7, "Kirigami Paintings and His Late Works 1931-1954," Matisse began to concentrate on his work after the 1940s, when he was confined to a bed and a wheelchair due to illness. Drawing with scissors.

Between 1943 and 1946, Matisse produced 20 paper cutouts, based on which he published the groundbreaking art collection Jazz . The title emphasizes the improvisational nature of paper cutouts. The famous cutout work "Icarus" is also included in the same book. The paper-cutting pictures, vividly colored with gouache, give the impression of dancing on the black walls of the venue.

Kirigami-e, which has the advantage of being able to easily experiment with screen composition and focus on color without worrying about outlines, was also an inseparable expression from Matisse's series of paintings. Drawing, painting, and sculpture are integrated in the single action of cutting out, and it is used as a means of unifying the two formative elements of color and line drawing.

In the climactic chapter 8, "Vence's Rosary Chapel 1948-1951" , a wealth of materials related to Matisse's work at Vence's Rosary Chapel , which Matisse worked on as a culmination of his work from 1948 to 1951, is exhibited.

Matisse, who conceived the chapel as a single comprehensive work of art, used all the techniques he had explored, such as design, sculpture, and paper-cutting, to design buildings, murals, decorations, vestments, and liturgical items. I worked on everything up to that point. You will be surprised by the vitality that cannot be imagined from the image of the word "last years".

In this chapter, a special video of the Vence Rosary Chapel, which was filmed for the exhibition, was shown. A beautiful 4K video introduces the changing light inside the chapel on a sunny day from morning to night. At the end of the tour, please enjoy the space where colors, lines, and light come together, which perfectly embodies Matisse's belief that this chapel should be a space that “lightens the hearts of those who visit''. I want you to

The “Matisse Exhibition” will be held until August 20, 2023 (Sun).

Outline of “Matisse Exhibition”

exhibition period	Thursday, April 27, 2023 to Sunday, August 20, 2023
venue	Tokyo Metropolitan Art Museum special exhibition room
Opening hours	9:30-17:30, until 20:00 on Fridays *Last admission 30 minutes before closing
Closed day	Monday, July 18 (Tue) *However, the room will be open on July 17 (Monday/holiday) and August 14 (Monday).
viewing fee	Adults 2,200 yen, university/vocational school students 1,300 yen, over 65 years old 1,500 yen *This exhibition requires a reservation for a specified date and time . *Please check the official page for details on viewing fees and tickets.
organizer	Tokyo Metropolitan Foundation for History and Culture, Tokyo Metropolitan Art Museum, Center Pompidou, Asahi Shimbun, NHK, NHK Promotions
inquiry	050-5541-8600 (Hello Dial)
Exhibition official website	https://matisse2023.exhibit.jp/

*The content of the article is as of the interview date (April 26, 2023). Please check the official website for the latest information.

Article provided by: kokosil Ueno

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National Museum of Western Art

From the late 19th century to the 20th century, painters from around the world visited the Brittany region in northwestern France to work on their works. The exhibition “Brittany, the land of admiration – A foreign land seen by Monet, Gauguin, Seiki Kuroda, etc.” will be held at the National Museum of Western Art in Ueno, Tokyo. It’s inside.
The exhibition will be held from Saturday, March 18, 2023 to Sunday, June 11, 2023.

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

*The content of the article is as of the interview date (March 17, 2023). Please check the official website for the latest information.

What is “Brittany”, the inner country of France that artists around the world admired?

The varied and majestic nature, ancient megalithic remains, medieval and early-modern Christian monuments, and the simple and religious lifestyle of the people who speak the Celtic language of Breton. The Brittany region, which is located in the northwest of France and has a peninsula protruding into the Atlantic Ocean, was independent as the Kingdom of Brittany until the 16th century.

A “foreign country” within France that has preserved its unique landscape and culture even after being annexed by France. With the advent of Romanticism in the 19th century, many artists seeking new themes set their sights on Brittany.

In this exhibition, “Brittany, the Land of Admiration – Seen by Monet, Gauguin, Seiki Kuroda, and Others”, we focus on the period from the late 19th century to the early 20th century that fascinated painters, including paintings, drawings, prints, About 160 items such as posters will be exhibited. We are exploring what each painter sought and found in this foreign land. The works on display were collected from more than 30 collections in Japan and two overseas museums.

Chapter 1 “Brittany Found: A Journey to a Foreign Country”

The exhibition consists of four chapters.

Chapter 1, “Brittany Discovered: A Journey to a Foreign Country,” explores what images of Brittany have been popularized by Romantic painters since they “discovered” Brittany in the early 19th century. It introduces works born out of the trend of “picturesque tours” (travels to find picturesque landscapes in rural areas), including the watercolor paintings of British landscape painter William Turner.

While the idealization and stylization of the exotic image of Brittany, represented by female figures wearing koif (headdress) and wearing ethnic costumes, were overflowing with posters for the masses, Eugène Boudin and Claude Monet From the works of the traveling Impressionist generation, we can see that they faced the unvarnished nature of Brittany with a sincere attitude.

Of particular note are Monet’s Cave of Paul-Domois (1886) and Beryl of the Storm (1886).

In the fall of 1886, Monet spent two and a half months on Berrill Island, known for its wild scenery off the southern coast of the Brittany Peninsula. This is two of them.

It depicts a symmetrical landscape of calm sea and stormy sea. Grotto of Paul-Domois has a gentle touch and is relatively rhythmic, but in Beryl the Storm, the brush is applied wildly, as if one’s own physical senses were possessed in a storm. It’s as if Monet’s experience is engraved in the painting, such as being there.

From the 1890s, Monet began presenting a series of paintings in an attempt to capture moments in the ever-changing light and atmosphere on canvas. It is thought that it may have been an opportunity to deepen the

Chapter 2 “Sensitivity nurtured by the climate: Gauguin, the Pont-Aven school and the spirit of the land”

Chapter 2, “Sensitivity Nurtured by the Climate: Gauguin, the School of Pont-Aven, and the Spirit of the Land,” exhibits the works of Paul Gauguin and other painters who stayed in the small village of Pont-Aven in the southwest of Brittany.

Gauguin repeatedly stayed in Brittany from 1886 to 1894 to escape the hardships of life in Paris. It seems that he deepened his thoughts on the “wild things, primitive things” he wanted.

There are 12 works by Gauguin (10 paintings and 2 prints), which are one of the highlights of this exhibition. From Bois d’Amour’s Watermill Bathers (1886), which is arranged chronologically and retains the Impressionist style of Camille Pissarro, he uses simplified forms and colors to depict the real world and inner images. I was able to trace the transition of his style, such as Brittany Girls Standing by the Sea (1889), which shows the maturity of the synthesisist style integrated above.

“Brittany Girls Standing on the Seashore” depicts two girls holding hands and staring at the painter. The “wild and primitive things” that Gauguin himself was trying to find in this land are reflected in the figures of peasant children who endure labor and poverty, such as their strong, big legs and simple clothes. It is represented symbolically in a hypothetical form.

Chapter 3 “Taking Roots in the Land: Painters Who Continued to Stare at Brittany”

In Chapter 3, “Putting Roots in the Land: Painters Who Continued to Observe Brittany,” Brittany became a tourist destination and a resort area from the end of the 19th century to the beginning of the 20th century. Pay attention to the painter who made it his hometown.

Inspired by ukiyo-e woodblock prints, Henri Riviere, who was a driving force behind fin-de-siècle Japonisme, taught himself to produce multicolored woodblock prints. Did Rivière project an image of another “foreign country”, Japan, into the idyllic scene of Brittany? It is interesting that he translated Brittany into Japanese and drew it as if it were in Japan.

A comprehensive series of 40 woodblock prints, Landscapes of Brittany , produced between 1890 and 1894, is not only eye-catching with its delicate color gradation, but also has a composition reminiscent of Hokusai. It felt familiar somehow.

Maurice Denis, who founded the Nabis school, was a painter who focused on the promotion of religious art, and because he was a devout Christian, he is said to have resonated with the spiritual climate of Brittany, which was deeply rooted in faith. In the exhibition, works such as Young Mother (1919), which depict a family living in Brittany in accordance with Christian iconographic traditions, caught my attention.

Also, from the image of paradise on earth where reality and fiction overlap, such as Bathing (1920), which projected the sea of ancient Greece on the coast of Brittany, the influence of classicism, which he fell in love with after his repeated trips to Italy after 1895. You can feel

In contrast to Denis’s bright and blissful scenery, the next exhibition presents a heavy use of black by the band noir (black group), a group that depicts the nature and customs of Brittany in the lineage of realism. Color works follow.

Among them, Charles Cottet’s 3.5-meter-wide large work Lamentation, Victim of the Sea (1908-09) was a masterpiece. A representative work of Kotte, who has worked on many works on the theme of the tragedy of the sea and people who endure the harshness of nature. At the wharf of the Isle of Sainte in Brittany, where maritime accidents have never ceased, the islanders’ mourning for a drowned fisherman is depicted superimposed on the traditional painting of the mourning of Christ.

Another of Cotte’s works that left an impression on me was The Flame of St. John (c.1900), which depicts a scene of prayers offered to the dead. The expression of light and shade, reminiscent of baroque paintings, is beautiful, and the expressions of the people illuminated by the bonfire have a solemn yet slightly chilling atmosphere.

Chapter 4 “From Japan to Brittany via Paris: The Eyes of Japanese Artists”

In the final section, Chapter 4, “From Japan to Brittany via Paris: The Perspectives of Artists from Japan,” he studied abroad in Paris, an advanced city of art, from the end of the 19th century to the beginning of the 20th century (from the late Meiji period to the Taisho period). , and focused on Japanese painters who also traveled to Brittany, a “foreign country within a foreign country”.

Seiki Kuroda, a leading figure in the modern Western-style painting world in Japan, was one of the first Japanese painters to visit Brittany.In 1891, he traveled to Brea Island with Keiichiro Kume before becoming a professor at the Tokyo School of Fine Arts. Kuroda’s Girl from Brecha (1891) is depicted with her hair down, which is unusual for a Brittany girl. The bright and dark contrasts in Rembrandt-style interiors and vivid color contrasts are eye-catching.

Kanae Yamamoto, who contributed to the popularization of creative prints, was one of the people who visited Brittany. “Bretonne” (1920), well-known as an image of a Japanese painter’s research in Brittany, is a woodblock print completed after returning to Japan based on sketches during his stay. The screen composition that emphasizes the horizon with a simple background that matches the sketch, and the calm blue and black color tone create the tranquil atmosphere of the iconic Brittany woman.

Related materials such as guidebooks and trunks were also exhibited at the venue, and it was a fun point that I felt like traveling to Brittany through those materials and works.

Various artists from both the West and the East are working on one big theme, Brittany, but what they saw in this foreign land and what kind of approach they took were completely different. A painter who stared at the beauty of the scenery of Brittany and envisioned paradise, and a painter who sublimated the harsh realities of poverty and maritime accidents into his works. It was an ambitious exhibition that once again shed light on the individuality of each artist.

The event will be held until June 11, 2023 (Sun).

Overview of “Brittany, the Land of Admiration: A Country Seen by Monet, Gauguin, Seiki Kuroda, and Others”

 

Article provided by: kokosil Ueno

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The University Art Museum, Tokyo University of the Arts

The “Purchased Exhibition -Geidai Collection Exhibition 2023-“, which introduces carefully selected excellent works purchased by Tokyo University of the Arts from among the graduation and completion works, is being held at the University Art Museum, Tokyo University of the Arts from March 31, 2023. . (Exhibition period is until May 7)

*All works introduced here are owned by Tokyo University of the Arts.

Tokyo University of the Arts (hereafter referred to as Geidai) has been collecting a wide variety of art works and materials since its predecessor Tokyo Fine Arts School opened in 1889 (Meiji 22). As an opportunity to widely display the vast collection, the university art museum holds the “Geidai Collection Exhibition” every year with a theme.

The 2023 “Geidai Collection Exhibition” began in 1953 after the war. Purchasing system”.

It seems that there was a tradition of purchasing graduation works from Tokyo Fine Arts School and collecting them to use as educational materials, and currently the number of “student works” in the collection of Tokyo University of the Arts exceeds 10,000.

This exhibition, “Kaijoten” , collects about 100 of these works, an unprecedented number, and looks back on the history of the University of the Arts and the birthplace of modern and contemporary art history in Japan. This is a unique exhibition that connects Japanese paintings by major stars in the Meiji era to mixed media installations by up-and-coming artists in the Reiwa era.

The exhibition consists of two parts.

Part 1, “Student Works of Masters,” focuses on graduation works from the Tokyo School of Fine Arts from the Meiji period to the early Showa period. Selected artists who have played leading roles in various fields of the art world after graduating, will exhibit their graduation work, which can be called their debut work, as well as “self-portraits” that were customarily worked on at the same time as their graduation work. I’m here.

As soon as we entered the venue, we were immediately greeted by Taikan Yokoyama, a first-year student of the Tokyo School of Fine Arts, with his Muradō Kanen-o (1893) and Kanzan Shimomura’s Cherry Blossom Viewing at Kumano Gozen (1894). Hazan Itaya’s “Genroku Bijin” (1984) welcomes us with an impressive line-up.

Hazan Itaya achieved great success as a pottery artist, but it wasn’t until his mid-20s that he started working on pottery in earnest. While in school, he learned sculptural techniques from Koun Takamura, who advocated realism in modern sculpture. The kosode floral arabesque pattern is expressed in relief, which is similar to Hayama’s later pottery works. In a sense, it can be said to be one of the origins of the potter Hayama.

What caught my attention was Widow and Orphan (1895) by Shunso Hishida , a genius painter who produced many masterpieces but died at the young age of 36. The expression of a woman who lost her husband in battle is full of tragedy, giving us a premonition of the fate that awaits us in the future.

When the Tokyo School of Fine Arts was established, it seems that historical paintings with historical events and the stories that depict them as the theme were positioned as issues in exploring new Japanese paintings. This work is said to have been drawn based on the military chronicle Taiheiki, but the fact that the theme was chosen to depict the tragedy of those caught up in the war, rather than the heroic picture scrolls of war, dates back to the Sino-Japanese War. The production background at that time was not irrelevant.

In fact, this work was severely criticized by a professor for being a “monster picture”, but it was purchased by Tenshin Okakura, who was the principal of the school. This episode provides a glimpse into the educational policy and philosophy of Tokyo Fine Arts School, which emphasizes what meaning is in painting that work now, and what meaning should be given to it.

The custom of “taking a self-portrait at school upon graduation” was born under the guidance of Seiki Kuroda, who was a professor at the Western painting department established in 1896. I was able to confirm the learning achievements of masters such as Tetsugoro Yorozu, Shigeru Aoki, and Tsuguharu Fujita, whose graduation projects were unexpectedly unsuccessful, and whose talents blossomed after graduation.

When I think that this tradition of excavating the past, which is almost unparalleled in the world, has now formed a large collection that is extremely useful for comprehending the history of modern and contemporary Japanese art, Kuroda I can’t help but feel the magnitude of Seiki’s achievements.

This year marks the 70th anniversary of the Tokyo University of the Arts’ purchase system.

In Part 2, “Purchased works selected by each department” , all 12 departments with a purchase system (Japanese painting, oil painting, sculpture, crafts, design, architecture, advanced art expression, art education, cultural property conservation studies, global art practice, A total of 52 purchased works are introduced along with their selection intentions. It highlights the tendency of the works that each department has recognized as particularly excellent.

Looking at the exhibits in each department, the “Japanese painting major” picks up works that particularly express the atmosphere and characteristics of that era, while the “sculpture department” selects female artists selected for purchase works from the era. was taking the drastic selection method of selecting five people in order of the oldest. The selection and commentary of the works are done by the professors of each department from their own perspective, so it’s interesting to see their individuality.

The exhibition of the newest major at Tokyo University of the Arts, the Global Art Practice Major (GAP), which was established in 2016, was particularly interesting. GAP, which explores cross-disciplinary contemporary art practices that transcend existing cultural frameworks, attracts students from around the world with different languages, cultures, and gender backgrounds. There are also students from fields other than the arts.

From the works purchased by GAP, I was able to sense the diversification of research areas and methods of expression at Tokyo University of the Arts in recent years. For example, Sixte Parc Kakinda’s “Intimate Moments/Monologue” (2019) is an installation work of drawings and video.

Confronting the historical fact that uranium mined in a mine in the Democratic Republic of the Congo, where the artist has roots, was brought to the United States and used in the atomic bombs dropped on Hiroshima and Nagasaki, he conducted careful research on the victims of the atomic bombing of Hiroshima. . It is finished as a work that encourages consideration of the social and economic reasons surrounding the mining of mineral resources and the impact of their use on mankind and nature.

In his comments, the artist expressed his disappointment that, although he considered himself to be a bridge connecting Japan and Congo, his drawing performance in Hiroshima went unnoticed by the Japanese people, saying, “I was an invisible bridge.” rice field. The fact that this work exists as a result of GAP’s education and that it has been purchased seems to have a great significance in that it is an awareness of the racially closed nature of the Japanese people.

Of the works exhibited in Part 2, the one that left the strongest impression on me was Tomomi Maruyama’s One Thousand and One Nights (1992) from the Kogei Department.

In the “Crafts Department,” which consists of seven fields: engraving, hammering, casting, lacquer art, pottery, dyeing, and material modeling (wood and glass), students learn advanced traditional techniques through materials and acquire the ability to further develop them. is intended to be attached.

“Thousand and One Nights” is a work that uses excellent metal hammering techniques to depict the wind that blows through mountains and forests as a god of wind and expresses the human body as a motif. I was fascinated by the dynamism of the body, which seemed to be swimming in the water, and the sense of presence that had a story behind it. According to research, the artist Tomomi Maruyama is currently a professor of metal hammering at the Department of Crafts at Tokyo University of the Arts. I am producing.

According to the commentary, this work seems to have been highly evaluated for the fact that it “expanded the possibilities of expression as a metal work by fusing metal hammering techniques and welding.” As an artist and an educator, he continues to expand the possibilities of expression in his metal-forged works.

The hands-on installation of Tomomi Oka, 1-8-19 Yanagi-cho, Okayama City (2017), a member of the Intermedia Art Department, was also memorable.

Established in 1999, the Intermedia Art Department pursues creative expression using a variety of methods that transcend the framework of specific media. While aiming for activities that respond to changing information and environments, we are exploring the possibilities of art in society.

Tomomi Oka, who was recognized as the top graduate of the Intermedia Art Department, is an up-and-coming artist who uses video and spatial design to create installation works with themes such as personal memories and obsolete customs. 《1-8-19 Yanagi-cho, Okayama City》 is a room-type installation with the theme of my late grandmother’s house, which actually exists in Okayama, and the memories associated with it.

In a dark room filled with objects such as real furniture and small items, the image of the artist’s memory of his grandmother is layered between virtual and real images by combining video projections, reflections, lighting, and several acrylic plates. is launching. There existed a time-axis space that was neither past nor present. The video is about 7 minutes long, but it gives you the satisfaction of watching a movie. The eerily flickering lights and the eerily floating picture of my grandmother have a bit of a Japanese-style horror feel to them, and if you stare at it, you’ll feel as if your consciousness has been sucked into another world.

It is a work that you should definitely see when you visit this exhibition.

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At the venue, there are wonderful works of various eras and various methods of expression, but when you think about it, the fact that most of the artists were in their 20s at the time they were created is pretty amazing. It feels like
Some may have been called masters later on, while others may have left creation after graduating. Nevertheless, it is clear that all the works are a culmination and a mass of passion that the students who were nothing at that time poured everything they learned at the top art university.

There must be many works that do not know how many years it will be before the next time they come out. We hope that you will take this rare opportunity to look back on the history of education at Tokyo University of the Arts and feel the power of works that have not lost their brilliance over the years.

 

“Purchased Exhibition -Geidai Collection Exhibition 2023-” Overview

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