Universitätsbibliothek HeidelbergUniversitätsbibliothek Heidelberg
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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#0181

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Studio- Talk

pleasing harmony of bright colours in painting
a large variety of flowers pictorially grouped.

The existence of a strong realistic school of
painters cannot be overlooked. Indeed, on the
whole, there is a marked tendency to realism,
and this was plainly visible in the exhibition,
a notable example being Kawamura-Manshu's
triptych Chikubu-shima, and especiaUy the two
side panels—one depicting an early morning
scene and the other that of a moonlight night,
which were wonder fully realistic.

Another point to note is the general advance-
ment of technique shown. It is the result of a
universal effort to try all sorts of new means of
expression while not neglecting the methods used
by our old masters. In this connexion, Tsuji-
Kwako's Clay Figures (a pair of screens)
attracted considerable attention, mainly because
it stood in strong contrast to the pictures that
surrounded it. The contrast came from an ap-
parently simple, unpretentious treatment, devoid
of gay colouring. A closer observation revealed
very interesting marks of baked clay, a peculiar

effect of sumi (ink) on paper, which added much
to the quality of this painting, though similar
marks, apparently accidental, were visible in
Emori-Tenju's Fuji-mame, which escaped
people's attention.

Noticeable also was the evidence of an ap-
proximation in our painting to the style of oil
painting of the West, alike in composition, in
quality of colours, and in the mannner of treat-
ment. Among several striking examples of
this character may be named Ono-Chikkyo's
Early Spring and Wintry Hillside, and Yuda-
Gyokusui's Summer on the Coast of Hitachi and
Iwaki. Simultaneously there was a marked
decrease of paintings in the pure nanga style,
of which only a few examples were shown.
The best was Mizuta-Chikuho's Early Summer
in black monochrome. With perfect ease,
Chikuho has given the expanse and freshness of
life in landscape, with an excellent gradation of
colour values and poetic suggestion.

The work at the exhibition showed a general
advance in handling figure subjects. There were
 
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