DOI Heft:
No. 303 (June 1925)
DOI Artikel:[Studio-talk]
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21402#0361
TOKYO—BRIGHTON (AUSTRALIA)
"PLEASURE." BY
HASEGAWA-EISAKU
(Imperial Art Insti-
tute, Tokyo)
TOKYO—The Fifth Annual Exhibi-
tion of the Imperial Art Institute was
held towards the close of 1924, having
skipped the previous year on account of
the great fire and earthquake. The
sculpture section of the exhibition con-
tained 106 pieces, most of which were
human figures in life-size. About one-
fourth of them were in wood, showing a
growing tendency among the exhibitors
towards choosing wood for the medium of
expression in glyptic art. However, in
subjects, size, as well as in treatment,
there was a wide deviation in the works
shown from the customary okimono, or
ornaments, to grace the tokonoma, a recess
in the guest room of a Nippon home.
In many instances the effect of the plaster
or marble was attained in wood instead of
bringing out the characteristic beauty of
the wood, in the art of which our masters
have long been famous. 000
Yet there were many commendable
works in wood sculpture. Technical
triumphs were attained in Mr. Toyama,
by Yamazaki-Choun ; Changkualao, by
Matsuo - Chosun ; Drifting Cloud, by
Yoshida-Homei. Interesting with pic-
torial effect was a relief by Ikeda-Yuhachi,
entitled Under the Willow Trees ; another
relief, Goma, by Sagaki-Kason; and a
statue of a girl, Horror, by Nakatani-
Kanko. Full of feeling was a group
entitled Thanksgiving, by Tajima-Kame-
hiko; pleasing was Pleasure, by Hase-
gawa-Eisaku; grotesque was My Inner
Self, by Sasaki-Taiju ; and Mongaku, a
sturdy priest, by Sekino-Seiun; and
striking in pose was A Dance, by Hinago-
Jitsuzo. At the exhibition the following
four sculptors of Tokyo were honoured by
being recommended to have their works
passed hereafter without examination for
the annual exhibitions : Horiye-Shoshi,
Yoshida - Hisatsugu, Sasaki - Taiju, and
Goto-Ryo. Jiro Harada.
BRIGHTON (Victoria, Australia).—
Not once or twice, but at every im-
portant exhibition during the last few
months I have been confronted with
work that, by the nature of its subject,
the beauty of its conception, and the quiet
achievement of its technical ability com-
pelled attention and respect. It also
"MOTHERHOOD." BY
YOSHIDA-HISATSUGU
(Imperial Art Insti-
tute, Tokyo)
355
"PLEASURE." BY
HASEGAWA-EISAKU
(Imperial Art Insti-
tute, Tokyo)
TOKYO—The Fifth Annual Exhibi-
tion of the Imperial Art Institute was
held towards the close of 1924, having
skipped the previous year on account of
the great fire and earthquake. The
sculpture section of the exhibition con-
tained 106 pieces, most of which were
human figures in life-size. About one-
fourth of them were in wood, showing a
growing tendency among the exhibitors
towards choosing wood for the medium of
expression in glyptic art. However, in
subjects, size, as well as in treatment,
there was a wide deviation in the works
shown from the customary okimono, or
ornaments, to grace the tokonoma, a recess
in the guest room of a Nippon home.
In many instances the effect of the plaster
or marble was attained in wood instead of
bringing out the characteristic beauty of
the wood, in the art of which our masters
have long been famous. 000
Yet there were many commendable
works in wood sculpture. Technical
triumphs were attained in Mr. Toyama,
by Yamazaki-Choun ; Changkualao, by
Matsuo - Chosun ; Drifting Cloud, by
Yoshida-Homei. Interesting with pic-
torial effect was a relief by Ikeda-Yuhachi,
entitled Under the Willow Trees ; another
relief, Goma, by Sagaki-Kason; and a
statue of a girl, Horror, by Nakatani-
Kanko. Full of feeling was a group
entitled Thanksgiving, by Tajima-Kame-
hiko; pleasing was Pleasure, by Hase-
gawa-Eisaku; grotesque was My Inner
Self, by Sasaki-Taiju ; and Mongaku, a
sturdy priest, by Sekino-Seiun; and
striking in pose was A Dance, by Hinago-
Jitsuzo. At the exhibition the following
four sculptors of Tokyo were honoured by
being recommended to have their works
passed hereafter without examination for
the annual exhibitions : Horiye-Shoshi,
Yoshida - Hisatsugu, Sasaki - Taiju, and
Goto-Ryo. Jiro Harada.
BRIGHTON (Victoria, Australia).—
Not once or twice, but at every im-
portant exhibition during the last few
months I have been confronted with
work that, by the nature of its subject,
the beauty of its conception, and the quiet
achievement of its technical ability com-
pelled attention and respect. It also
"MOTHERHOOD." BY
YOSHIDA-HISATSUGU
(Imperial Art Insti-
tute, Tokyo)
355