DOI Heft:
No. 322 (January 1920)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21359#0174
STUDIO-TALK
u MOUNTAIN RETREAT AMONG
PLUM BLOSSOMS.” SCREEN
PAINTING BY DAN-RANSHYU
this quality is more pronounced in some
of his other pictures, he has used the mist
to good advantage in the present picture.
Charmingly serene also was Kondo-Suisen’s
Hamlet among the Reeds, in which he has
cleverly suggested vastness and loneliness.
Two paintings of tigers stood prominent
in the exhibition. The artists of Nihon
have long been fond of painting this animal,
even long before they ever had a chance to
see a living specimen. One is by Takeda-
Raikyo, a pupil of Tanaka-Raisho, and the
other by Matsumoto-Tetsugan, who both
specialize in painting tigers, and both pic-
tures are extremely realistic in representa-
tion, as is the case with most modern
paintings of the tiger. Raikyo's Fierce
Tigers, a four-panelled screen, is consum-
mate in its composition and in the repre-
sentation of the wild beasts of a tropic
clime ; it may be considered one of the
best tiger pictures lately shown in Tokyo.
Tetsugan's Tiger in Snow was suggestive
of the power and courage of the animal,
reminding one very much of a work by
Ohashi Suiseki, of Gifu, who has long been
acknowledged as the greatest tiger painter
of the present Nihon. 000
The chief feature of the Bijutsu Kyokads
exhibitions has always been the retrospec-
tive section, and such was the case again.
168
His Majesty the Emperor has graciously
helped the Association by loaning art works
from his collection, and also by visiting
the exhibition with the Empress. At the
last exhibition His Majesty showed from
his collection three kakemono by Kano
Tanshin, regarded as his masterpieces. The
Imperial Museum lent two paintings, and
a large number of excellent examples came
from private collections, but only a few can
be even briefly referred to here. Bokkei's
Bamboo and Sparrow, owned by Viscount
Tsuchiya, was interesting on account of its
extreme simplicity of composition and
treatment. There is a strong tendency
nowadays to forget the value of the blank
space, so admirably exemplified in Bokkei’s
works. Two superb landscapes by or at-
tributed to Shubun were among the loans.
One was a kakemono owned by Viscount
Suematsu, and the other a six-panelled
screen owned by Count Sakai. Seldom
has an artist been so successful, as in the
latter work, in the composition of a screen
painting, which is much more complicated
than that of a kakemono. Each panel is a
complete picture in itself and could be
mounted as a kakemono, while together
they constitute a vast and finished land-
scape. Not only each panel taken sepa-
rately, but any two, three, four, or five
u MOUNTAIN RETREAT AMONG
PLUM BLOSSOMS.” SCREEN
PAINTING BY DAN-RANSHYU
this quality is more pronounced in some
of his other pictures, he has used the mist
to good advantage in the present picture.
Charmingly serene also was Kondo-Suisen’s
Hamlet among the Reeds, in which he has
cleverly suggested vastness and loneliness.
Two paintings of tigers stood prominent
in the exhibition. The artists of Nihon
have long been fond of painting this animal,
even long before they ever had a chance to
see a living specimen. One is by Takeda-
Raikyo, a pupil of Tanaka-Raisho, and the
other by Matsumoto-Tetsugan, who both
specialize in painting tigers, and both pic-
tures are extremely realistic in representa-
tion, as is the case with most modern
paintings of the tiger. Raikyo's Fierce
Tigers, a four-panelled screen, is consum-
mate in its composition and in the repre-
sentation of the wild beasts of a tropic
clime ; it may be considered one of the
best tiger pictures lately shown in Tokyo.
Tetsugan's Tiger in Snow was suggestive
of the power and courage of the animal,
reminding one very much of a work by
Ohashi Suiseki, of Gifu, who has long been
acknowledged as the greatest tiger painter
of the present Nihon. 000
The chief feature of the Bijutsu Kyokads
exhibitions has always been the retrospec-
tive section, and such was the case again.
168
His Majesty the Emperor has graciously
helped the Association by loaning art works
from his collection, and also by visiting
the exhibition with the Empress. At the
last exhibition His Majesty showed from
his collection three kakemono by Kano
Tanshin, regarded as his masterpieces. The
Imperial Museum lent two paintings, and
a large number of excellent examples came
from private collections, but only a few can
be even briefly referred to here. Bokkei's
Bamboo and Sparrow, owned by Viscount
Tsuchiya, was interesting on account of its
extreme simplicity of composition and
treatment. There is a strong tendency
nowadays to forget the value of the blank
space, so admirably exemplified in Bokkei’s
works. Two superb landscapes by or at-
tributed to Shubun were among the loans.
One was a kakemono owned by Viscount
Suematsu, and the other a six-panelled
screen owned by Count Sakai. Seldom
has an artist been so successful, as in the
latter work, in the composition of a screen
painting, which is much more complicated
than that of a kakemono. Each panel is a
complete picture in itself and could be
mounted as a kakemono, while together
they constitute a vast and finished land-
scape. Not only each panel taken sepa-
rately, but any two, three, four, or five