Studio: international art (52.1911)

The Present Condition of Art in Japan

which is best in others to-
correct and strengthen
weak points in their own
work. However, before
attempting to adapt the
best qualities from Euro-
pean methods of painting,
there are two absolutely
essential needs ; the artist
should first thoroughly
study and understand that
art before he proceeds to
take anything from it, and

"the heavy load" (screen painting) by otake chikuba secondly he should study

still closer the masterpieces
of Japanese artists before
he puts aside anything in
his own style, as there are
certain excellent qualities
in our painting which must
be preserved at whatever
cost.

It must be acknowledged
that there is a strong move-
ment towards something
new. Still it must not be
forgotten that certain diffi-
culties confront the ambi-

"a boatman" by hashimoto sekisetsu ^% q{ tq.day wh(>

are anxious to work out

expected that the future will have something new the salvation of Japanese painting: (i) the colours
in store, and it seems probable that the new used in Japanese painting are not capable of
element will in some way be derived from the the breadth and depth which characterise Euro-
influence of European art. It is maintained by pean painting; (2) since the development of
many specialists that what has made Sesshyu, Japanese painting has given such great significance
Sesson, Tannyu, Kwazan and others masters of to the decorative side of art, there is a difficulty in
Japanese painting is their success in adopting that an intelligent realistic representation; (3) as it is

' negotiation

3OO

by kobayashi uko