DOI issue:
No. 166 (May 1915)
DOI article:Harada, Jirō: The modern development of oil painting in Japan
DOI Page / Citation link:https://doi.org/10.11588/diglit.21212#0278
Oil Painting in Japan
‘PINE TREES AT MAIKO
the studio was conducted by his son Genkichi.
Wirgman also had two promising young pupils
named Goseda Hosho and Yamamoto Hosui.
The former was considered a genius, and was sent
abroad to study, but the results fell far short of the
expectations of his younger days.
Marked progress was made in the new art when
Kunizawa Shinkuro returned in 1875 after two
years’ study of painting in England. He welcomed
pupils to his studio at Hirakawa-cho, Tokyo, which
he called Eigido. After his death three years
later, Honda Kinjiro took
his place at the studio,
but his ability was not
equal to that of his
master. Kawakami Togai,
Takahashi Yuichi and
Kunizawa Shinkuro con-
stitute the three stars in
the history of European
painting in Japan in the
early part of the Meiji
era, which began with the
Restoration.
A bright prospect
dawned when Antonio
Fontanesi, a painter of
recognised ability and
standing in Italy, who
painted after the manner
of Corot, was officially
appointed to teach at the
Art School in Tokyo.
Hither the pupils of the
three Japanese artists just
named rushed with a zeal
that inspired the Italian
masterwith no small degree
of fervour in his endeavour
to turn the talents of
Japan to oil painting. His
ardour, however, was short-
lived. To his great dis-
appointment, and no less
so to that of his pupils, the
Government was not able
to carry out its original
plan to provide better
facilities for ait education,
for the civil war of 1878
necessitated the curtail-
ment of the school expen-
diture. He resigned his
post and returned to Italy.
It was, indeed, a blow much lamented in later
years. Brief as was his stay in Japan, for it lasted
not much over two years, the earnestness with
which he taught and the zealous enthusiasm with
which his instruction was received left a very deep
impression on the art of Japan. His influence
was furthered by certain of his mo?iji?i, such as
Koyama Shotaro, who was formerly a pupil of
Kawakami Togai, Asai Chu, who died a few years
ago, Matsuoka Hisashi, Nakamura Seijuro and
Ando Chutaro, who died not long ago.
BY KANOKOGI TAKESHIRO
“MORNING IN EARLY autumn”
BY YOSHIDA HIROSHI
‘PINE TREES AT MAIKO
the studio was conducted by his son Genkichi.
Wirgman also had two promising young pupils
named Goseda Hosho and Yamamoto Hosui.
The former was considered a genius, and was sent
abroad to study, but the results fell far short of the
expectations of his younger days.
Marked progress was made in the new art when
Kunizawa Shinkuro returned in 1875 after two
years’ study of painting in England. He welcomed
pupils to his studio at Hirakawa-cho, Tokyo, which
he called Eigido. After his death three years
later, Honda Kinjiro took
his place at the studio,
but his ability was not
equal to that of his
master. Kawakami Togai,
Takahashi Yuichi and
Kunizawa Shinkuro con-
stitute the three stars in
the history of European
painting in Japan in the
early part of the Meiji
era, which began with the
Restoration.
A bright prospect
dawned when Antonio
Fontanesi, a painter of
recognised ability and
standing in Italy, who
painted after the manner
of Corot, was officially
appointed to teach at the
Art School in Tokyo.
Hither the pupils of the
three Japanese artists just
named rushed with a zeal
that inspired the Italian
masterwith no small degree
of fervour in his endeavour
to turn the talents of
Japan to oil painting. His
ardour, however, was short-
lived. To his great dis-
appointment, and no less
so to that of his pupils, the
Government was not able
to carry out its original
plan to provide better
facilities for ait education,
for the civil war of 1878
necessitated the curtail-
ment of the school expen-
diture. He resigned his
post and returned to Italy.
It was, indeed, a blow much lamented in later
years. Brief as was his stay in Japan, for it lasted
not much over two years, the earnestness with
which he taught and the zealous enthusiasm with
which his instruction was received left a very deep
impression on the art of Japan. His influence
was furthered by certain of his mo?iji?i, such as
Koyama Shotaro, who was formerly a pupil of
Kawakami Togai, Asai Chu, who died a few years
ago, Matsuoka Hisashi, Nakamura Seijuro and
Ando Chutaro, who died not long ago.
BY KANOKOGI TAKESHIRO
“MORNING IN EARLY autumn”
BY YOSHIDA HIROSHI