DOI Heft:
No. 234 (September 1912)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21157#0357
Studio- 'Falk
“ MOONLIGHT ”
BY KAWABATA GYOKUSHO
“ ICOHARU ”
BY SHIMASAKI RYUU
“ MOUNTAIN STREAM ”
BY FUKUI KOTEI
recent years produced comparatively few works,
chiefly sketches such as the Moonlight and Land-
scape after Rain here reproduced, and has finally
resigned the head-professorship at the art school
which he has held for some time past. His eldest
son, Gyokusetsu, and his second son, Mosho, are
making themselves known in the art world, while
several of his monjin, such as Shisen, Fukui Kotei,
Yamada Keichu, Shimasaki Ryuu, Seisho, and
Tanaka Raisho, have already attained eminence.
It may be added that Fukui Kotei, who painted
over twelve hundred pictures in one day (see The
Studio, vol. 1. p. ioi), is a professor in the Tokyo
School of Fine Art. But none of the monjin seems
to be destined to take the place of the retired master.
Takenouchi Seiho, of Kyoto, who occupies a very
high position among young artists of to-day in the
public estimation, has been mentioned as a possible
successor, but the rumour has been denied.
Just now the Japanese are showing almost undue
enthusiasm for art. There is a spirit of rivalry
among different gwa-juku, or studios, and schools
of painting, especially in the preparation of their
exhibitions, which are well attended and patronised.
The numerous art sales are crowded with enthusiasts,
and the works of nearly every artist more or less
well known fetch enormous prices. The boom is
not only in the old masters, but contemporary artists
also are sharing in it. Their studios are packed
with stretched silk waiting for the master’s brush.
The hyososhi, who mount the pictures into kake-
mono, or hanging pictures, are burning their mid-
night oil. The whole art world here is astir, and a
reticent observer shakes his doubtful head, question-
ing the sanity of it all and wondering at its possible
outcome.
To be sure, even now our artists are not without
some trials and disappointments, due mainly to the
erroneous judgment and erratic demands of the
public, but they also have many encouragements.
The greatest among them is the Imperial patronage,
and it has a special significance at this transitional
period in our art, when the opinions of our critics
are so divergent and the view's of our artists so
undecided. No artist can conceive a higher honour
than that of having his work bought by the members
335
“ MOONLIGHT ”
BY KAWABATA GYOKUSHO
“ ICOHARU ”
BY SHIMASAKI RYUU
“ MOUNTAIN STREAM ”
BY FUKUI KOTEI
recent years produced comparatively few works,
chiefly sketches such as the Moonlight and Land-
scape after Rain here reproduced, and has finally
resigned the head-professorship at the art school
which he has held for some time past. His eldest
son, Gyokusetsu, and his second son, Mosho, are
making themselves known in the art world, while
several of his monjin, such as Shisen, Fukui Kotei,
Yamada Keichu, Shimasaki Ryuu, Seisho, and
Tanaka Raisho, have already attained eminence.
It may be added that Fukui Kotei, who painted
over twelve hundred pictures in one day (see The
Studio, vol. 1. p. ioi), is a professor in the Tokyo
School of Fine Art. But none of the monjin seems
to be destined to take the place of the retired master.
Takenouchi Seiho, of Kyoto, who occupies a very
high position among young artists of to-day in the
public estimation, has been mentioned as a possible
successor, but the rumour has been denied.
Just now the Japanese are showing almost undue
enthusiasm for art. There is a spirit of rivalry
among different gwa-juku, or studios, and schools
of painting, especially in the preparation of their
exhibitions, which are well attended and patronised.
The numerous art sales are crowded with enthusiasts,
and the works of nearly every artist more or less
well known fetch enormous prices. The boom is
not only in the old masters, but contemporary artists
also are sharing in it. Their studios are packed
with stretched silk waiting for the master’s brush.
The hyososhi, who mount the pictures into kake-
mono, or hanging pictures, are burning their mid-
night oil. The whole art world here is astir, and a
reticent observer shakes his doubtful head, question-
ing the sanity of it all and wondering at its possible
outcome.
To be sure, even now our artists are not without
some trials and disappointments, due mainly to the
erroneous judgment and erratic demands of the
public, but they also have many encouragements.
The greatest among them is the Imperial patronage,
and it has a special significance at this transitional
period in our art, when the opinions of our critics
are so divergent and the view's of our artists so
undecided. No artist can conceive a higher honour
than that of having his work bought by the members
335