Universitätsbibliothek HeidelbergUniversitätsbibliothek Heidelberg
Metadaten

Studio: international art — 71.1917

DOI Heft:
No. 294 (September 1917)
DOI Artikel:
Studio-talk
DOI Seite / Zitierlink: 
https://doi.org/10.11588/diglit.21263#0180

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certain phases of life's problem. No painting on
exhibition appealed to me more profoundly than
Kawai-Gyokudo's Departing Spring. The artist
has painted cherry blossoms being scattered from
the branches by the wind, some petals falling on
the stream below to be whirled away on their
eternal journey—" The flower that has once
blown for ever dies." In the endless routine of
life revolve the wheels of the floating mills
secured by ropes over a current swiftly flowing
through a gorge. Here a phase of this fleeting
and transient life is vividly portrayed. Cease-
less time flows on even as the water in the
stream—so the seasons pass and years roll by.

I turn now to another phase of this exhibition.
164

The work of contemporary artists, on the whole,
has grown very decorative—decorative in two
ways—on the one hand, quiet tones and
graceful lines, and, on the other, glaring colours
and bold composition. As the best example of
the former, A Flowery Meadow (a pair of screens)
by Kikuchi-Keigetsu may be cited. The
graceful lines of susuki in lapis lazuli, strewn
with purple blossoms of kikyo with a stream of
silver on one screen, and a bent form of an
aged woman leaning on a staff on the other,
were very delicately yet decoratively treated.
As examples of the bolder style, Kawasaki-
Kotora's Flower Contest and Hirata-Shodo's
Rival Flowers may be mentioned, the decorative
quality of the latter being derived from a
 
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