DOI issue:
No. 296 (November 1917)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21264#0098
Studio- Talk
TOKYO.—The fifty-sixth art exhibition
of Nihon Bijutsu Kyokai (Fine Arts
Association of Japan), which was
recently held in its buildings in
Uyeno Park, did not prove very popular, for
the public at this moment is enthusiastic over
new movements in art, and the Fine Arts
Association of Japan still, stands for the old
principles as it has during the thirty-eight years
of its existence. The exhibition did not draw
a big crowd as it deserved, yet it held its own
as an important factor in the art activities in
Japan. There one found a struggle of the old
spirit against new environment. There one
found something substantial, some tangible
form of an ideal, something that suggested the
greatness of our old art, something of the
atmosphere of the real Japan.
82
The exhibition consisted of paintings alone :
about one hundred and fifty by contemporary
artists, and about a hundred by old masters.
There were a number of works by artists whose
names have long been associated with the art
activities of Japan. Gejo-Keikoku, one of the
most influential members of the association and
a member of the House of Peers, exhibited two
paintings—one a bird on a dead tree and the
other called Kogo-no-Tsubone, a favourite sub-
ject with our artists, depicting the scene of the
arrival of Nakakuni, the Imperial messenger,
at the humble hut where Kogo-no-Tsubone was
playing koto (a thirteen-stringed musical in-
strument) to the autumnal moon. The painting
teemed with romanticism, and was well executed
with the bold brush-strokes characteristic of
this artist’s work.
“SPRING IN THE VALLEY :t
“THE VOICE OF THE AUTUMN ”
BY SATAKE-EIRYO
BY TADA-BUNKI
TOKYO.—The fifty-sixth art exhibition
of Nihon Bijutsu Kyokai (Fine Arts
Association of Japan), which was
recently held in its buildings in
Uyeno Park, did not prove very popular, for
the public at this moment is enthusiastic over
new movements in art, and the Fine Arts
Association of Japan still, stands for the old
principles as it has during the thirty-eight years
of its existence. The exhibition did not draw
a big crowd as it deserved, yet it held its own
as an important factor in the art activities in
Japan. There one found a struggle of the old
spirit against new environment. There one
found something substantial, some tangible
form of an ideal, something that suggested the
greatness of our old art, something of the
atmosphere of the real Japan.
82
The exhibition consisted of paintings alone :
about one hundred and fifty by contemporary
artists, and about a hundred by old masters.
There were a number of works by artists whose
names have long been associated with the art
activities of Japan. Gejo-Keikoku, one of the
most influential members of the association and
a member of the House of Peers, exhibited two
paintings—one a bird on a dead tree and the
other called Kogo-no-Tsubone, a favourite sub-
ject with our artists, depicting the scene of the
arrival of Nakakuni, the Imperial messenger,
at the humble hut where Kogo-no-Tsubone was
playing koto (a thirteen-stringed musical in-
strument) to the autumnal moon. The painting
teemed with romanticism, and was well executed
with the bold brush-strokes characteristic of
this artist’s work.
“SPRING IN THE VALLEY :t
“THE VOICE OF THE AUTUMN ”
BY SATAKE-EIRYO
BY TADA-BUNKI