DOI Heft:
No. 166 (May 1915)
DOI Artikel:Harada, Jirō: The modern development of oil painting in Japan
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21212#0283
Oil Painting in Japan
“NET DRYING, MORNING”
The most important exhibition of oil painting,
other than those held in Tokyo by the societies
above mentioned, is that of the Kwansai Bijutsu-
kai held in Kyoto. This society has nearly two
hundred and fifty members, about one-half of
whom are also members of the Kwansai Bijutsu-in,
the only important art institution outside of Tokyo
for the study of oil painting. The Kwansai
Bijutsu-in is an outgrowth of private ateliers.
Upon his return from abroad, Asai Chu, a pupil of
Fontanesi, opened an atelier in Kyoto for his monjin
and christened it the Yoga Kenkujo. Four years
later Kanokogi Takeshiro returned to Kyoto from
France, where he studied
under Laurens, and began
to make his influence felt
among the oil painters of
the western capitol of
Japan. Two years later
these two masters com-
bined their studios and
organised the above-men-
tioned Kwansai Bijutsu-in
with Dr. Nakazawa, who
is now the director of the
Kyoto College of Industrial
Art, as the counsellor.
When Kanokogi Takeshiro
went abroad for the second
time in 1907, the institute
was left under the sole
management of Asai Chu,
but on the latter’s death
two years later Kanokogi
returned to take charge of “takahara in snow’
it, and it is still the centre
of influence in Kyoto and
Osaka.
Oil painting has, with-
out doubt, gained con-
siderable popularity of
late. There are a large
number of studios filled
with students and the
number of applicants in
the department of Euro-
pean painting at the
Tokyo School of Fine
Arts has, during the last
few years, been far in
excess of the available
accommodation, while the
department of Japanese
painting has had difficulty
in finding enough students. This fact alone is
quite sufficient to show how popular the European
style of painting has lately become in Japan.
However short the work of our oil painters may
fall of the standard we insist on, it cannot be denied
that those Japanese artists who have adopted the
European method of expression have done much
for the advancement of art in general. If in nought
else, at least by their boldness and freedom of
expression they have pointed out new possibilities
and given a fresh stimulus to those of our artists
who have shown more or less inclination towards
conventionality. The approximation of artists who
BY KATO SEIJI
BY HASHIMOTO KUNISUKE
277
“NET DRYING, MORNING”
The most important exhibition of oil painting,
other than those held in Tokyo by the societies
above mentioned, is that of the Kwansai Bijutsu-
kai held in Kyoto. This society has nearly two
hundred and fifty members, about one-half of
whom are also members of the Kwansai Bijutsu-in,
the only important art institution outside of Tokyo
for the study of oil painting. The Kwansai
Bijutsu-in is an outgrowth of private ateliers.
Upon his return from abroad, Asai Chu, a pupil of
Fontanesi, opened an atelier in Kyoto for his monjin
and christened it the Yoga Kenkujo. Four years
later Kanokogi Takeshiro returned to Kyoto from
France, where he studied
under Laurens, and began
to make his influence felt
among the oil painters of
the western capitol of
Japan. Two years later
these two masters com-
bined their studios and
organised the above-men-
tioned Kwansai Bijutsu-in
with Dr. Nakazawa, who
is now the director of the
Kyoto College of Industrial
Art, as the counsellor.
When Kanokogi Takeshiro
went abroad for the second
time in 1907, the institute
was left under the sole
management of Asai Chu,
but on the latter’s death
two years later Kanokogi
returned to take charge of “takahara in snow’
it, and it is still the centre
of influence in Kyoto and
Osaka.
Oil painting has, with-
out doubt, gained con-
siderable popularity of
late. There are a large
number of studios filled
with students and the
number of applicants in
the department of Euro-
pean painting at the
Tokyo School of Fine
Arts has, during the last
few years, been far in
excess of the available
accommodation, while the
department of Japanese
painting has had difficulty
in finding enough students. This fact alone is
quite sufficient to show how popular the European
style of painting has lately become in Japan.
However short the work of our oil painters may
fall of the standard we insist on, it cannot be denied
that those Japanese artists who have adopted the
European method of expression have done much
for the advancement of art in general. If in nought
else, at least by their boldness and freedom of
expression they have pointed out new possibilities
and given a fresh stimulus to those of our artists
who have shown more or less inclination towards
conventionality. The approximation of artists who
BY KATO SEIJI
BY HASHIMOTO KUNISUKE
277