DOI issue:
No. 282 (September 1916)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21262#0265
Studio- Talk
Among all sorts of events which took place
at the time of the great celebration two exhibitions
stood pre-eminent, judged from the art standpoint:
one a special exhibition of retrospective arts held
in Kyoto in commemoration of the Imperial Ac-
cession ; the other the 9th Annual Art Exhibition
held in Uyeno Park, Tokyo, under the auspices
of the Department of Education (Mombusho).
Interest in this exhibition has grown in intensity
from year to year—not only among the artists but
also among the people at large, until it has now
come to be regarded as the greatest event in the
art calendar of Japan. Of course, like the Royal
Academy in London and the Paris Salon, it is
viewed from different angles and often serves as
a target for severe criticisms. However, with slight
changes in the hanging committee and modifica-
tions in the classification of the exhibits, the
exhibition has grown in size and popularity. At
the last exhibition there were presented before
the judges 2158 paintings in the Japanese style,
of which 204 were accepted for exhibition; 1346
paintings in the European style, of which 147
were hung; and 192 pieces of sculpture, of which
only 60 were exhibited. In the course of a month
nearly 185,000 people visited the exhibition.
Works by members of the judging committee
attracted considerable attention. In the section
of Japanese paintings mention may be made of
Terazaki-Kogyo's Mountains of Shinano (scrolls)
and A Singer, a pair of screens reproduced on
Among all sorts of events which took place
at the time of the great celebration two exhibitions
stood pre-eminent, judged from the art standpoint:
one a special exhibition of retrospective arts held
in Kyoto in commemoration of the Imperial Ac-
cession ; the other the 9th Annual Art Exhibition
held in Uyeno Park, Tokyo, under the auspices
of the Department of Education (Mombusho).
Interest in this exhibition has grown in intensity
from year to year—not only among the artists but
also among the people at large, until it has now
come to be regarded as the greatest event in the
art calendar of Japan. Of course, like the Royal
Academy in London and the Paris Salon, it is
viewed from different angles and often serves as
a target for severe criticisms. However, with slight
changes in the hanging committee and modifica-
tions in the classification of the exhibits, the
exhibition has grown in size and popularity. At
the last exhibition there were presented before
the judges 2158 paintings in the Japanese style,
of which 204 were accepted for exhibition; 1346
paintings in the European style, of which 147
were hung; and 192 pieces of sculpture, of which
only 60 were exhibited. In the course of a month
nearly 185,000 people visited the exhibition.
Works by members of the judging committee
attracted considerable attention. In the section
of Japanese paintings mention may be made of
Terazaki-Kogyo's Mountains of Shinano (scrolls)
and A Singer, a pair of screens reproduced on