DOI issue:
Nr. 199 (September, 1913)
DOI article:Studio-Talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.43453#0292
Studio-Talk
“a group of deer”
BY MOCHIZUKI SEIHO
formed the basis of our painting,
and partly to the strong inclina-
tion towards idealism in the growth
of our art. That our artists are
now acquiring skill in drawing the
human figure was shown by several
works in the exhibition contributed
by Otake Chikuha, Kitagami
Shunzan, Harada Seiko, Tamanoya
Shunki, Hashimoto Kwansetsu,
and Ikeda Shoen. The realistic
tendency also extended to plants
and trees, resulting in a highly
decorative effect. This emphasis
on decorative quality was marked
in the second section, and par-
ticularly in works by Yamaguchi
Shosai, Yamashita Bazan, Sakaki-
bara Taizan, Sakakibara Shiko,
Tsuchida Bakusen, Kikuchi
Keigetsu, Yuki Somei, and Taka-
hashi Shukwa. An effort to express
deep feeling was also traceable in
some of the pictures, such as
and good drawing could be appreciated in works by
Yuki Somei, Matsubayashi Keigetsu, Satake
Eiryd, Komura Suiun, and Hanada Yoshikata.
Yasuda Yukihiko’s picture of Prince Shotoku in the
Dream Palace surrounded by Buddhist priests
(p. 248), one of the best works in the exhibition.
In the second section the pictures
closer attention were relatively
more numerous than in the first.
Many of the artists are experiment-
ing with colours, being deeply con-
scious of the sad limitation in the
range of colours hitherto employed
by Japanese artists. Works by
Hirata Shodo, Murakami Hoko,
and Imamura Shiko showed an
effort to harmonise gay colours,
while a number of others used soft
impure shades to suggest the inner
and deeper feelings of the subject.
Some progress was also observable
in the painting of the human figure
with more or less anatomical cor-
rectness. This has been a weak
point with our painters. They have
mastered the art of drawing birds
and small animals with marvellous
dexterity, but in painting larger
animals, and especially the human
figure, they have not shown an equal
degree of skill. This is due partly
to the fact that landscape originally
246
worthy of
Perhaps no work has shown a greater success
“a cold blast”
BY KATO KUMl'O
“a group of deer”
BY MOCHIZUKI SEIHO
formed the basis of our painting,
and partly to the strong inclina-
tion towards idealism in the growth
of our art. That our artists are
now acquiring skill in drawing the
human figure was shown by several
works in the exhibition contributed
by Otake Chikuha, Kitagami
Shunzan, Harada Seiko, Tamanoya
Shunki, Hashimoto Kwansetsu,
and Ikeda Shoen. The realistic
tendency also extended to plants
and trees, resulting in a highly
decorative effect. This emphasis
on decorative quality was marked
in the second section, and par-
ticularly in works by Yamaguchi
Shosai, Yamashita Bazan, Sakaki-
bara Taizan, Sakakibara Shiko,
Tsuchida Bakusen, Kikuchi
Keigetsu, Yuki Somei, and Taka-
hashi Shukwa. An effort to express
deep feeling was also traceable in
some of the pictures, such as
and good drawing could be appreciated in works by
Yuki Somei, Matsubayashi Keigetsu, Satake
Eiryd, Komura Suiun, and Hanada Yoshikata.
Yasuda Yukihiko’s picture of Prince Shotoku in the
Dream Palace surrounded by Buddhist priests
(p. 248), one of the best works in the exhibition.
In the second section the pictures
closer attention were relatively
more numerous than in the first.
Many of the artists are experiment-
ing with colours, being deeply con-
scious of the sad limitation in the
range of colours hitherto employed
by Japanese artists. Works by
Hirata Shodo, Murakami Hoko,
and Imamura Shiko showed an
effort to harmonise gay colours,
while a number of others used soft
impure shades to suggest the inner
and deeper feelings of the subject.
Some progress was also observable
in the painting of the human figure
with more or less anatomical cor-
rectness. This has been a weak
point with our painters. They have
mastered the art of drawing birds
and small animals with marvellous
dexterity, but in painting larger
animals, and especially the human
figure, they have not shown an equal
degree of skill. This is due partly
to the fact that landscape originally
246
worthy of
Perhaps no work has shown a greater success
“a cold blast”
BY KATO KUMl'O