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SEIGENSHA Art Publishing
| Address | 9-1 Umetadacho Kyotoshinakagyokukarasumahigashiiru Kyoto, JAPAN ZIP:604-8136 |
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| Representative Name | MAKOTO KATAYAMA |
| Annual Revenue | closed |
| No. of Employees | 24 |
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SD item code:5202455
| Detail | Price & Quantity | ||
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| S1 |
Taikan Yokoyama
 Original text before translation
横山大観
(396)
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(396)
Wholesale Price: Members Only
1 pc /set
In Stock
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| Dimensions |
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A6 size/32 leaves Postcard book
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| Specifications |
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Country of manufacture: Japan
Material / component: Paper
Product tag: None
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Description
| For Taikan, patriotism meant nothing less than honoring the emperor and loving nature. What he could do as a painter was to paint works that represented the nation more than they represented the individual. In the Showa period (1926-1989), he began to paint many subjects that were dubbed auspicious in Japanese imagery, such as Fuji, sunrise, the sea, cherry blossoms, cranes, and pine trees. Fuji, sunrise, sea, cherry blossoms, cranes, and pine trees. The important thing, however, lies beyond that. While repeatedly depicting themes that could be called clichéd, but which everyone else depicts, Taikan's work is not just about the artist. The reason why we can sense Taikan's uniqueness in each of his works is that he was able to demonstrate his figurative individuality. The seriousness of Taikan's work differs from that of the Taisho period, perhaps due to his sense of duty to the nation through his painting, but it also reflects his joy for nature and life. His works, which express his joy for nature and life, always show a relaxed Taikan style. Ryo Furuta (Associate Professor, The University Art Museum, Tokyo University of the Arts) - Excerpt from the Preface |
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| Shipping Method | Estimated Arrival |
|---|---|
| Sea Mail | From May.31st to Aug.5th |
| Air Mail | From May.15th to May.17th |
| EMS | From May.14th to May.17th |
| Pantos Express | From May.16th to May.21st |
| DHL | From May.14th to May.16th |
| UPS | From May.14th to May.16th |
| FedEx | From May.14th to May.16th |
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What he could do as a painter was to paint works that represented the nation more than they represented the individual.
In the Showa period (1926-1989), he began to paint many subjects that were dubbed auspicious in Japanese imagery, such as Fuji, sunrise, the sea, cherry blossoms, cranes, and pine trees.
Fuji, sunrise, sea, cherry blossoms, cranes, and pine trees. The important thing, however, lies beyond that.
While repeatedly depicting themes that could be called clichéd, but which everyone else depicts, Taikan's work is not just about the artist.
The reason why we can sense Taikan's uniqueness in each of his works is that he was able to demonstrate his figurative individuality.
The seriousness of Taikan's work differs from that of the Taisho period, perhaps due to his sense of duty to the nation through his painting, but it also reflects his joy for nature and life.
His works, which express his joy for nature and life, always show a relaxed Taikan style.
Ryo Furuta (Associate Professor, The University Art Museum, Tokyo University of the Arts) - Excerpt from the Preface
画家としてできることは、「個」を表すこと以上に「国」を表すような作品を描くことだった。
昭和期に入って、富士、日の出、海、桜、鶴、松など日本的イメージに吉祥性をダブらせる画題を
多く描くようになるのはそのためである。 ただし、重要なことはその先にある。
誰しもが描く陳腐とも言えるテーマを繰り返し描きながらも、
誰でもない大観らしさがどの作品からも感じ取れるのは、大観がその造形的個性を発揮していたからである。
大正期とは異なる真面目さは、「彩管報国」（絵筆を執って国に報いる）という使命感からくるものだろうが、
自然と人生に対する歓びを表す作品は、つねにゆったりとした大観スタイルを見せている。
古田亮（東京藝術大学大学美術館准教授）−序文より抜粋−