Infinite Space: the New Japan

I N F I N I T E S PA C E T H E N E W J A PA N

g r e g g b a k e r asian art

g r e g g b a k e r asian art

Throughout what has now become a rather long career as an art dealer I have always done my best to stay open-minded and willing to learn. With so many possibilities and genres to study I felt it best to focus on the areas and pieces which truly interested me or which I felt strongly drawn towards. This concept has led me to concentrate on the Japanese folding screen and then later the complex and fascinating subject of Buddhist art and sculpture. However, never satisfied, I also found myself drawn to the powerful art produced in post-war Japan and some years ago I bought and sold my first piece by Morita Shiryū. I was completely unaware of his importance as an artist or his connections with many famous artists of the mid 20th century such as Franze Kilne, Inoue Yuichi, Suda Kokuta, and Jiro Yoshihara. I simply believed in the piece.

This initial success led me to look further and over the years I have been taking a keen interest in the exceptional art produced in post-war Japan. My belief in this area has since been confirmed by numerous institutions which have also renewed their focus with retrospective exhibitions regarding this period and the artists therein. One of the most influential of all being Gutai, Splendid Playground, a show which focused on the ground breaking Gutai movement and was shown at the Guggenheim NY in 2013.

In conducting my research on the Avant-garde artists presented here I have been surprised at how many similarities exist between ancient Japanese art and the art created in mid-20th

Century Japan. At the time of execution their work was often ground-breaking and not fully understood, yet it carried a thread from the past within it. Buddhism and its teachings appear to be almost impossible to ignore and constantly surface through the artwork, whilst ‘line’ and ‘form’ from classic Japanese paintings and sculpture seem equally difficult to shake off.

Despite making a concentrated effort to break with tradition these artists are somehow eventually drawn back to something deeper and more powerful which resonates within them. An energy amplified by millennia of repetition and reinvention.

This exhibition has meant many hours of work and research and would not have been possible without the help of all those involved. I would like to offer a special thank you to Olympia Toptsidou, my Gallery Manager, who has given her all to be sure the exhibition is everything we hope it to be and whose art background and language skills have been invaluable. Also to Annika MacFarlane my Senior Administrative Coordinator who keeps everything running smoothly as well as dealing with all my ‘artistic’ moments tirelessly, and lastly to Virginie Gourin who has been a constant source of knowledge, inspiration and encouragement throughout this project.

I am very proud to have such a great team behind me and I would now like to invite you, the viewer, to look with fresh eyes and an open heart, welcoming Infinite Space, The New Japan.

Gregg Baker

3

I N F I N I T E S PA C E T H E N E W J A PA N

Gregg Baker Asian Art is proud to pres-

philosophical and artistic trends in the

Jackson Pollock, Franz Kline and Mark

ent for the first time an exhibition de-

years between the wars, these Japan-

Tobey, or of European artists working

voted to seven prominent Japanese

ese artists learned to deconstruct forms

in the Paris based group Art Informel,

artists and the work they created in the

by studying the Cubists, plunged into

would allow Japanese artists to recre-

post World War II art scene. At the end

the subconscious with the Surrealists

ate strong links between Eastern and

of the hostilities, Japan was under great

and explored texture and gesture via

Western modernity and their respec-

pressure to modernize and its artists’

the American Expressionists. Precur-

tive traditions. Just as Japanese artists

also needed to reinvent themselves and

sors of a personal and subjective art,

of the early twentieth century had nur-

their art. This wish led them to explore

they give precedence to the expression

tured their sensibilities on western cul-

new visual forms while carefully preserv-

of their inner selves. For some this

ture and tradition, so now, Japanese

ing their ancestral cultural heritage.

Suda Kokuta, Takeo Yamaguchi,

would be the result of a long introspec-

artists would engorge themselves with

tive search, and for others it comes

not only European influences but also

Morita ShiryĹŤ, YĹŤichi Inoue, Hisao Do-

from meditative concentration that can

anything American. These new cultural

moto, Ochi Kenzo and Tagashige Mori

be traced directly to a Zen Buddhist

freedoms would play a central role in

are among those artists for whom art is

practice. Their work is at once sponta-

promoting Japanese engagement in a

a mystical experience, and its creation

neous and poetic, timelessly expressed

global artistic dialogue.

a vital daily practice. The lives and work

through a universal language of ab-

From the late nineteenth century,

of these men reflect a tireless search for

straction and non-geometric composi-

Japanese artists systematically gath-

an art of purity, sincerity and transcen-

tion. Reacting to the tragedy of their

ered in ephemeral groups to challenge

dence, deeply infused with influences

time, they are quick to respond, seizing

and improve their aesthetic positions.

of a culture obsessed with nature, form

the opportunity to explore new free-

In a society where individualism is mis-

and texture, along with an underlying

doms and so transform this challenging

understood and where artistic conven-

aesthetic gained by the constant expo-

period into a golden age of Japanese

tions are so deeply inscribed, these

sure to Buddhism and its teachings.

creativity. Discovery of Abstract Expres-

groups were crucial to enable change.

sionism and the work of artists such as

One such group of eleven young artists

Having keenly observed Western

5

known as Gutai would come to deeply

pushing the limits of art beyond its tra-

If none of the artists presented in

challenge and upset these rules of art.

ditional scope. Gutai, which can be

this exhibition wished to join this rev-

This group coalesced in the Kansai re-

translated as «concrete» is composed

olutionary movement, it is because

gion in 1954 with established artist Jiro

of the characters «gu» meaning instru-

they rejected the idea that any picto-

Yoshihara at its centre. A recognized in-

ment and «tai» meaning body or sub-

rial representation should be devoid

tellectual and businessman, Yoshihara

stance. This choice of characters clearly

of personal involvement. However,

would found, fund and theorize the

indicates that the notion of Gutai is op-

many of them were at one point or an-

movement with only one direction to

posed to abstract and cerebral art, and

other in close contact with Gutai, the

go: «Do not imitate! Do what has never

rejects idealism. So this is action art but

movement’s founder or its members.

been done before». Thus, Jiro Yoshi-

it is also, and above all, a destruction of

Preferring engagement of the body

hara opened the way for his disciples to

art, an anti-art with an insatiable desire

and mind to rebellion and destruction,

move toward new and unexplored

to break away from convention, to trash

each in his own way contributed to a

forms of expression, introducing a no-

the established rules, symbolically

revival of the painterly aesthetic, ad-

tion of space and time until then ig-

killing off the traditions. Individuality is

vocating the idea that modernization

nored. In the atmosphere of post-war

celebrated and all traces of the uncon-

was not simply the triumph of novelty

shortages, Yoshihara’s teachings pro-

scious rejected. Prime physical action

over a discredited past, but the prod-

moted the use of whatever materials

and originality are king. This may ex-

uct of deep questioning, of self-aware-

were available and any new idea was

plain why some Gutai artists didn’t de-

ness and of a rejuvenation of the

worth exploration. Expression achieved

vise a continuous aesthetic in a

culture of the past.

through physical effort was to be pre-

distinctive personal style. Most such

In 1952, three years before the cre-

ferred over an aesthetic result and new

projects were undertaken in the name

ation of Gutai, Kyoto-based Morita

disciplines were encouraged, such as

of the holiest of holies ‘novelty’ and

Shiryū and Yūichi Inoue founded Boku-

performance, complex installations,

from one exhibition to the next, gave

jin-kai (Human Ink Society), one of the

ephemeral works, video, light, sound,

birth to works that were not related to

most influential groups in avant-garde

electricity, water, smoke… in this way,

one another.

postwar calligraphy, and were soon

6

joined by Jiro Yoshihara. Their goal, be-

to create a piece as a meditation on an

ered with a yellow varnish. This simply

yond gaining international recognition

experience which is both millennial and

applied varnish produces a lacquer-like

for this traditional art, was to liberate its

new, the experience of awakening.

effect and ultimately troubles one’s vi-

form by removing character constraints

Morita Shiryū, an artist deeply famil-

and by replacing brush, ink and paper

iar with the international practices of

ject,

with new media such as oils, paints and

the postwar period, often recalls the in-

lacquering techniques which require

pigments applied by various means

teraction of traditional Japanese callig-

time, repeated applications and total

(cardboard, sticks…) on substrates as

raphy and Western abstract art, and

concentration, all factors that mitigate

diverse as canvas, wood or ceramics.

works with European and American ab-

the sought after effect of a sponta-

Strongly influenced by the deep spiri-

stract expressionists such as Mark

neous, intuitive gesture. Morita Shiryū

tuality of Zen Buddhism, which is pri-

Tobey, Franz Kline, Pierre Alechinsky

stresses that the characters thus de-

marily a school of humility, the art of

and Georges Mathieu. Inspired by the

formed (to the point where they be-

calligraphy uses the power of signs and

then current Action Painting phenom-

come illegible), remain an expression

meditative contemplation as a spiritual

enon, Morita develops a technique that

of the language.

sual understanding of the painted obdispensing

with

traditional

path to enlightenment. In order to re-

perfectly fuses tradition with modernity,

Shiryū’s friend and fellow calligraphic

lease his energy in a spontaneous ex-

image with text, mind with body and

artist, Yūichi Inoue, also sought to re-

pressive movement, the artist must

the calligraphic gesture with the

lease the calligraphy that abides in

practice and constantly repeat these

achievements of abstraction. His time-

one’s deepest self. The sole survivor of

actions so that the writing comes auto-

less works executed with speed and vig-

more than 1,000 people killed in a

matically as the perfected and quintes-

orous movement, elude the constraints

1945 bombing raid, Inoue perhaps

sential expression of the inner self, a

of reason and express with passion his

more than anyone was concerned with

gesture in time, of a present moment,

quest for the absolute. His kanji charac-

revealing the connection between cal-

a moment free of hesitation and doubt.

ters (Chinese ideograms adopted by the

ligraphy and the Zen world view, to

Alone with space and time, he plays

Japanese), are created using wide

push the boundaries of an introspec-

with the fullness of that which is empty

brushes and a silver metallic paint lay-

tive and meditative art form. His work

7

offers the possibility of violently ex-

ceramics and literature, Kokuta founds

human and the divine through Abstract

pressing his deepest emotions all the

the Genbi (modern art discussion

Art. It is in fact by developing a medi-

while preserving the notion of chance.

group) with Yoshihara Jiro and Morita

tative concentration of a transcenden-

His giant characters, often inspired by

Shiryū in 1949. A chance meeting in

tal order that Kokuta is able to produce

the vocabulary of Zen philosophy, re-

the same year with the renowned artist

his most intense, profound and per-

flect the importance of remaining in the

Saburo Hasegawa along with his dis-

sonal works, in which he reveals his

moment as in the expression ichi-go

covery of the great Japanese Zen Bud-

mystical experience. It is through the

ichi-e (lit. one time one meeting). Less

dhist thinkers and philosophers would

artist’s meditation in space and time

obsessed with the aesthetics of the

powerfully influence his life, while his

that he transposes to the canvas his

character itself than by the deep mood

deep study of the teachings of the

dream of infinity.

of the creative moment and of the

Buddhist Master Dōgen (1200-1253)

A forerunner in Japan of Lyrical Ab-

spontaneous movement of body and

would inspire his work and shape his

straction, Kokuta would inspire younger

brush, Inoue’s work erases the bound-

personality. The pieces by Kokuta se-

generations of Avant-garde artists, in-

aries between calligraphy, painting, ab-

lected for this exhibition were all cre-

cluding Motonaga Sadamassa who, be-

straction and performance.

ated between 1961 and 1968, by which

fore joining the Gutai group, confesses

time Kokuta had proven himself a mas-

he journeyed to Osaka for the sole pur-

ative powers over the years by con-

ter of abstract painting through a slow

pose of meeting Jiro Yoshihara and

stantly revising and radically changing

but revolutionary development of his

Suda Kokuta to seek their advice on his

his creative style, starting with Yōga

creative processes. His figurative incli-

carrier. Later, Yoshihara invites Suda

(Western style painting), then progress-

nations had by then been overshad-

Kokuta to join his Gutai group but

Suda Kokuta would reveal his cre-

ing on to abstract and finally develop-

owed

inner

Kokuta declines on the grounds that he

ing

personal

necessity» as Kandinsky had earlier de-

prefers to remain free to express him-

calligraphic language. An active partic-

fined in his 1911 essay, Concerning the

self lyrically rather than through anar-

ipant in various intellectual and artistic

Spiritual in Art, a necessity which con-

chic abstraction. The great freedom of

groups concerned with calligraphy,

stitutes an inherent spiritual dimension

expression that is shown by Kokuta in

modern European abstract painting,

in every artist allowing him to link the

his approach to mixed media, and his

an

innovative

and

by

a

«principle

of

9

great sensitivity, are deeply attractive.

Domoto was the nephew of the

tance of line and composition, legacies

Hand stitched rough jute canvases or

renowned Japanese artist, Inshō Do-

of his classical Nihonga training. The

fine Japanese paper adorned with

moto, with whom he studied traditional

dark palette, the rich texture, the vis-

sand and pebbles, pierced cardboard

techniques before leaving for Europe

cous paint applied with thickness using

reliefs on frames which must bear the

and the United States in the 1950’s to

dynamic brush strokes, allows the artist

weight of creativity... Kokuta attacks

discover the emerging artistic trends.

to express the strength of his own lan-

the canvas from all sides, cutting it,

In 1955, he settles permanently in Paris

guage with virtuosity and flair. Such

slicing it, sewing it, creating irregulari-

and quickly becomes one of the central

abstract and essential writing, inscribed

ties, all of this with a rapidity of execu-

figures of the emergent Art Informel

as it is in both negative and positive

tion and broad strokes that brush the

movement. First inspired by the work

spaces responds with a play of con-

rhythms of light to reveal in an ordered

of the Surrealists, Domoto soon frees

trast, recalling the elegant rhythms of

chaos the inner power of its author. In

himself of any figurative ambitions and

Japanese calligraphy and again, the in-

this tangle of more or less thick

proceeds to shatter the classic idea of

fluence of Zen philosophy.

colours, content and form are abol-

painting by applying paint in splashes,

Takeo Yamaguchi, born in Korea in

ished, media and texture are blended,

while still preserving studied and bal-

the early twentieth century, moved to

body and mind are surrender to a po-

anced compositions. From 1963, his

Tokyo at the age of 19 to study the Ni-

style is further reduced, reaching its cli-

honga tradition. However his training

max with his minimalist series Solution

would be brief, as the very next year he

etic and metaphysical alchemy.

Unlike the eruption of matter on the canvases from Kokuta, the paintings of

de Continuité, where sweeping dark

is offered an opportunity to enroll in a

Hisao Domoto and Takeo Yamaguchi

horizontal monochromatic bands are

school specializing in the Yōga style.

tend toward a reduction of form and

traversed freely by more or less regular

There he discovers the Cubist move-

chromatic scale which is evocative of

geometric shapes which appear to tear

ment which had made its appearance

minimalist and conceptual styles. Both

the surface. It is this precise arrange-

at the beginning of the century, upset-

artists studied Nihonga (Japanese style

ment of space that gradually leads the

ting figurative art by creating a pictorial

painting) in their youth before choosing

artist away from the theories of the In-

space which is no longer merely an im-

a path towards abstraction.

formel group and recalls the impor-

itation of reality, but an accumulation of

10

different points of view of a single sub-

emanating from the stunning auton-

terial thus acquires a reassuring pres-

ject in a two-dimensional space. After

omy of colour which is often the result

ence and an unexpected lightness.

graduating in 1927, Yamaguchi moves

of a slow accumulation of pigment lay-

The upward movement of metal rods

to Paris to pursue his study of the Eu-

ers (typically 7 or 8), offer the viewer a

punctuates space and creates an un-

ropean Avant-garde and stays there for

finished work that seems essential and

bridled imaginary in a context which

four years. Following the launch of his

a reflection of the inner self. The thick-

suggests that these natural forms are

international career, Yamaguchi contin-

ening of the layers and the simplified

in the making and will continue to

ues to develop his non-figurative

organic form, reveal the soul and

evolve. The innocent purity of these

painting style and eventually becomes

depth of nature. Simplicity, the key el-

abstract biomorphic sculptures sug-

the first to introduce a purely abstract

ement for Takeo, once again favours

gests a fusion of nature’s beauty and

style to Japan. His work, influenced by

transcendental meditation.

the artist’s temperament. Although he

three major European styles of the

Among our seven artists, Ochi

preserves a certain amount of balance

time, mixes Art Informel, Minimalism

Kenzo and Tagashige Mori preferred

in his compositions, Ochi Kenzo ad-

and Conceptual art. His transformation

to express themselves in volume,

mires asymmetry, professing that it

began when working with geometric

shaping metals with the dexterity of

carries momentum. He profoundly

shapes, gradually throwing off the

master sculptors.

transforms the material, plays with its

shackles of figurative canons. In his

Far from the traditional sculptural

relief and penetrates to its heart,

work, forms would progressively disap-

aesthetics of the forge, Ochi Kenzo’s

moulding the empty and the over-

pear, leaving only a hint of straight lines

forms rise toward the sky with ele-

flowing according to his desires and

passing through a monochromatic can-

gantly curved surfaces that echo the

creates oneiric forms which are recog-

vas. The thick and shiny textures result-

universe of the Surrealists. As a result

nizable at first glance, while leaving

ing from numerous applications using

of arduous application, delicately ap-

ample room for interpretation.

a spatula, with the depth of the aus-

plied force and the beat of a hammer

Tagashige Mori confronts surrealism

tere tones (his palette is usually

between bouts of polishing, the

and pure abstraction in a personal dia-

grounded in three colors, black, red

meticulously modeled metal appears

logue, as a means of symbolically ex-

and ochre), the chromatic vibration

in all its splendour. This cold, hard ma-

pressing his unconscious, using soft

11

and rounded lines, sometimes angular

fully engaged in reconstruction, they

and geometric, yet always powerful

attempted to capture their surround-

and sensitive. It is the inspiration of the

ings in an abstract expression of their

artist that is the prelude of all creativity

unconscious. Born of the innate mysti-

and in the case of Tagashige Mori, that

cal experience of each of our artists,

inspiration is nature. Was it not Guil-

the works shown here should not be

laume Apollinaire who said that we

perceived, but contemplated. Every-

must

thing is possible, artistic experimenta-

rebuild

the

world

with

metaphors? Mori takes Apollinaire at

tion becomes an indispensable link in

his word and frees his creations of all

the creation of a new and reinforced

traditional figurative representation, in

cultural identity as well as a reflection

order to offer them an autonomous ex-

of this unique civilization. By integrat-

istence and give free reign to fantasy.

ing multiple foreign influences into tra-

These essential sculptures of stylized

ditional aesthetic references, these

and polished form exalt the poetry of

men who demonstrated boldness and

the material. Appearing to play solids

originality, have at times unknowingly

and voids, they are suspended in space

opened the way to a new space for

presenting the viewer sculpture free of

freedom and creativity, which to quote

any pre-set interpretation.

the title given to Domoto’s painting, of-

All of the artists presented in this ex-

fers a ÂŤsolution of continuityÂť for a cul-

hibition share a common desire to ex-

tural heritage that is sometimes difficult

press their innermost feelings through

to shoulder, in an effort to move toward

modern and innovative design, and

a brighter future, a new space where

hence upset traditional aesthetic codes

everything remains to be invented.

while retaining their ancient spiritual essence. In a Japan ravaged by war yet

12

Virginie Gourin

MORITA SHIRYÅ« (1912-1999)

Morita Shiryū was born in Toyooka, Hyogo Prefecture and studied sho (calligraphy) under the influential and ground-breaking calligrapher Ueda Soukyū (1899-1968). Soukyū was a charismatic teacher introducing his talented pupils to avant-garde sho and its definition as the art of the line.

Having received numerous awards from important Japanese exhibitions such as the 1937 Inten (Japan Art Institute Exhibition) where he won the Tokusen silver award, Shiryū became more and more fascinated with the performance involved in the writing of sho and the similarities between the expressive calligraphic line and what was developing within the Abstract Expressionist art scene of the West. In 1948 he launched the magazine Shonobi (beauty of calligraphy) under the leadership of his master Ueda Sōkyū with the intention of promoting avant-garde sho.

The notion of abstraction had been part of the practice of East Asian calligraphy for many centuries, and Shiryū often wrote about the interplay be-

Morita Shiryū 21

tween traditional Japanese calligraphy

People). He joined forces with Inoue

and abstract art in the West. These ob-

Yūichi (1916-1985), Eguchi Sōgen

servations were catalogued in a second

(1919-), Sekiya Yoshimichi (b.1920)

journal entitled Bokubi which was first

and Nakamura Bokushi (dates un-

edited and published by Shiryū in 1951

known) and together they further ad-

and featured an image of a calligraphic

vocated the emancipation of the

painting by Franz Kline on its cover.

calligraphic line away from its tradi-

Distributed internationally, the journal

tional form and experimented using

became extremely influential within the

unorthodox materials. The beauty of

Western art world, causing a further in-

the line itself is held as a self-evident

terest in the Japanese aesthetic fol-

attribute and the execution of the writ-

lowed by an array of collaborations and

ing becomes the focus. Shiryū placed

international exhibitions with European

the performance of a piece at the cen-

artists of the Abstract Expressionist

tre of his definition of calligraphy. The

movement such as Pierre Alechinsky

kanji character is written in one defin-

(b.1927) and Georges Mathieu (1921-

ing moment with confident strokes.

1912), and American artists Mark Tobey

The calligrapher penetrates to a

(1890-1976) and Franz Kline (1910-

deeper level of understanding and the

1962). With the help of such innovative

character is understood in a different,

publications and the possibility of inter-

more profound way.

national exposure, modern Japanese

In terms of style and format, Morita

calligraphers such as Shiryū and fellow

Shiryū’s works are groundbreaking. He

like-minded artist Inoue Yūichi soon be-

preferred to use an oversized brush,

came an international sensation.

working quickly across the surface.

In 1952, five disciples of Ueda

Whilst works such as the example pre-

Shoukyū including Shiryū co-founded

sented here may appear to be exe-

the legendary Bokujinkai (Society of Ink

cuted using the rather slow process of

Japanese lacquer, in actuality the metallic silver paint is applied swiftly onto the surface and later covered with a coat of fast drying yellow varnish achieving a similar effect. Shiryū’s vigorous style often results in abstract forms which no longer appear to be recognisable characters yet they retain their original essence enhanced with a new vitality.

Works by the artist can be found in the collections of: Art Institute of Chicago, Kyoto Municipal Museum of Art, Cincinnati Art Museum, Saint Louis Art Museum, Missouri SELECTED SOLO EXHIBITIONS: 1963 Sho Modern Calligraphy, Mi Chou Gallery, New York 1964 Yamada Gallery, Kyoto 1965 Olaf Hudtwalcker Gallery, Frankfurt 1970 - 1990 Morita Shiryū, National Gallery of Canada, Ottawa (exhibition toured the world) 1986 Morita Shiryū , Kyoto Munincipal Museum of Art, Kyoto 1990 Ein Japanischer Schreibmeister, Klingspor-Museum, Offenbach am Main, Germany 1992 Shiryu Morita and Bokubi, Hyogo

Prefectural Museum of Modern Art, Kobe 2013 Modernist Sho Calligraphy – Paintings by Shiryū Morita, John Molloy Gallery, New York SELECTED GROUP EXHIBITIONS AND AWARDS: 1937 2nd Inten Exhibition, Tokyo – Tokusen silver Award 1938 Nichiman Calligraphy Exhibition, Tokyo - Ministry of Education Award 1953 Japanese Architecture and Calligraphy, Museum of Modern Art, New York 1954 Japanese and American abstraction, National Museum of Modern Art, Tokyo Abstract Japanese Calligraphy, Museum of Modern Art, New York 1958 Carnegie International Exhibitions, Pittsburgh Modern Abstract Japanese Calligraphy, The Museum of Modern Art, New York Abstract Painting Exhibition, National Museum of Modern Art, Tokyo 1959 São Paulo Art Biennial, São Paulo 1960 Japanese calligraphy, Freiburg, Germany 1961 São Paulo Art Biennial, São Paulo Carnegie International Exhibitions, Pittsburgh

1962 Contemporary Japanese Plastic Arts, Tokyo National Museum of Modern Art, Tokyo 1963 Tendency of Contemporary Japanese Painting, National Museum of Modern Art, Sydney Modern Trends, National Museum of Modern Art, Kyoto 1964 Contemporary Japanese Painting, Corcoran Gallery of Art, Washington, D.C. 1966 Japanese Art Today, Philadelphia Museum of Art, Philadelphia 1992 Calligraphy and Painting: The Passionate Age: 1945-1969, O Art Museum, Tokyo 1994 Japanese Art After 1945: Scream Against the Sky, Yokohama Museum of Art, Yokohama and Guggenheim SoHo, New York 2002 Writepainting: Marks in a Japanese Vein, Museum of Fine Arts, Gifu For a pair of panels by the artist treated in a similar manner see: The Collection-Kyoto Municipal Museum of Art 1993, p.266, no.30. For a large four-fold screen see: Beyond Golden Clouds Japanese screens from The Art Institute of Chicago and the Saint Louis Art Museum, pp. 196/197.

Morita Shiryū 23

MORITA SHIRYū (1912-1999)

EN (CIRCLE) aluminum flake pigment in polyvinyl acetate medium and yellow alkyd varnish on paper and wood panel signed, titled and dated 1967 with seal on a label affixed to the reverse H. 17¼" x W. 31½" (43.5 cm x 80 cm)

24

25

SUDA KOKUTA (1906-1990)

Suda Kokuta was born in Fukiage (pre-

suggested Kokuta should go to Amer-

sent day Kōnosu), Saitama Prefecture

ica where his work would be better ap-

originally given the name Katsus-

preciated. He didn’t follow this advice

aburo. In 1927, after finishing school

but instead continued participating in

at the Prefecture Koshigaya Middle

various state exhibitions winning a prize

School, he was encouraged by the

at Bunten (The Japan Fine Art Exhibi-

noted Western-style painter Terauchi

tion) of 1936 with his painting Break

Manjiro (1890-1964) to become an

Time, another special prize in 1939 at

artist and took entrance exams for the

the 3rd Shin-Bunten with Man Reading

Tokyo Bijiutsu Gakko (Tokyo School of

A Book and again at the 5th Shin-Bunten

Fine Arts) without success. Committed

in 1942 with Shinsho (Divine General).

to his path Kokuta then took drawing

By the mid 1940’s, now an artist in his

lessons at the Kawabata Drawing

own right, Kokuta was involved in co-

School for one year before leaving to

founding various artists groups such as

continue studying on his own. It was

Tenpyou-no Kai and Sin-ju Kai and in

at around this time that he changed

1948 he became a member of Han Bi-

his name to Kokuta.

jutsu-ka Kyōkai (Han Artists Associa-

In 1930 after having had some previous success exhibiting at the Govern-

tion) a group founded by Yoshihara Jiro (1905-1972).

ment sponsored exhibitions such as

In 1949 Kokuta was introduced to

Kanten, Kokuta tried once more with-

abstract painting by his new acquain-

out success to enter the Tokyo School

tance

the

influential

avant-garde

of Fine Arts. Despite this set-back he

painter Hasegawa Saburo (1906-1957)

was not discouraged and in fact had

a meeting which led to philosophical

considerable support from influential

discussions regarding art and its spiri-

artists such as Nagahara Kōtaro (1864-

tual connections. Subsequently, he

1930) who recognized his talent and

joined the newly-founded Kokugakai

Suda Kokuta 27

(National Painting Association) and

Kazuichi

Morita

Kansai region along with Yoshihara Jiro,

began to study works by famous

Shiryū (1912-1999), and Tanaka Kenzo

Yagi Kazuo (1918-1979) and Tsudaka

Japanese philosophers and deepen

(dates unknown)

Kazuichi (1911-1995).

(dates

unknown),

his interest in Zen Buddhism. He was

Later that year an article illustrating

particularly interested in the practice

Kokuta’s evolution from figurative to ab-

prolific Kokuta exhibited at numerous

of zazen (seated meditation), a disci-

stract painting was published in the

international shows as well as becom-

During the late 1950’s and 1960’s the

pline introduced to Japan in the 13th

Bokujin journal, a magazine produced

ing the head of Nishinomiya Art Asso-

century by the founder of the Soto

by the influential avant-garde calligra-

ciation of the Nishinomiya Art Museum

sect Dōgen (1200-1253). This was a

phy group Bokujinkai. Bokujin was ed-

an association which lasted until 1982.

major turning point in Kokuta’s paint-

ited by the unconventional calligrapher

He also went on to found the Kansai

ing transforming it from figurative to

Inoue Yuichi (1916-1985) and served to

Kokuga-kai (Kansai National Painting

abstract expressionism.

document the group’s activities and dis-

Group) in 1966 and in 1967 he became

The up-and-coming artists of the

cussions on calligraphy and modern art.

a teacher at the Koshi-en Gakkuin Col-

Kansai area were a closely knit group

A later development born of the ide-

lege in Nishinomiya as well as design-

who shared a common interest in

ologies formulated by the Genbi dis-

ing covers for the Chosenjin magazine.

breaking away from the antiquated art

cussion group was the founding of the

In the early 1970’s Kokuta was com-

associations and felt the need for free-

now famous Gutai group in 1954 by

missioned to illustrate the pages of

dom of expression and international

Yoshihara Jiro. He extended an invita-

Kaidō wo Yuku (On the Highways), a se-

recognition. With this quest in mind

tion to Kokuta to join their ranks. How-

ries of travel essays written by the

Kokuta co-founded Genbi (Modern Art

ever, already a well-established artist in

renowned and prize winning author

Discussion Group) in 1952 offering a

his own right Kokuta declined in favour

Ryōtarō Shiba (1923- 1996) and pub-

platform of exploration and discussion

of his own independent path.

lished in Shūkan Asahi magazine.

amongst its fellow members, Yoshihara

This decision was not a parting of the

They travelled together for almost a

Jiro (1905-1972), Ueki Shigeru (1913-

ways but simply two paths on the same

decade visiting areas of historical in-

1984), Yamazaki Takao, Nakamura

road. In fact the following year Kokuta

terest in Japan, China, Korea and

Makoto

co-founded the Modern Art Club of the

Mongolia as well as many parts of Eu-

(dates

28 Suda Kokuta

unknown),

Tsuda

rope. During these travels Kokuta’s

Art). The book is a retrospective com-

paintings were predominantly figura-

pilation of articles he had written and

tive, capturing the landscapes and the

published throughout his career re-

character of the countries visited.

garding various art forms both oriental

However, his style and brushstrokes

and occidental and the influences they

still retained the dynamism and confi-

had had on him and his work.

dence gained from over twenty years of abstract expression.

Some of the last works created by Kokuta are an amalgamation of callig-

Throughout his career Kokuta was a

raphy, painting and Buddhist symbol-

keen calligrapher and often corre-

ism using classic images such as the

sponded with the Bokujinkai member

ensō (circle) representing enlighten-

Yuichi Inoue in an on-going discussion

ment, the Universe and the void as well

regarding the connection between ink

as the ichi (one) which refers to the

and brush. This interest culminated in

term ichi-go ichi-e (lit. one time, one

the 1980’s when he devoted more of

meeting), a reference to the transience

his attention to creating strong and un-

of life and one’s inability to repeat any

conventional calligraphic works featur-

given moment.

ing Buddhist dictums. These pieces

Works by the artist can be found in

had a painterly quality bearing his in-

the collections of: Saitama Prefecture

stantly identifiable thick, powerful

Museum of Modern Art, Iida City Mu-

brushstrokes executed with an unmis-

seum of Art, Nagano Prefecture; Osaka

takeable directness.

City, Sōgetsu Museum of Art, Gangōji

In 1985, five years before his death,

Temple, Nara; Saitama Museum of

Kokuta published a philosophical vol-

Modern Art, Jakushū Itteki Library, Oi;

ume entitled Watakushi no zokei:

Kahitsukan Kyoto Museum of Modern

Gendai Bijutsu (My Shaping: Modern

Art, Kyoto; L.A. County Museum of Art.

SELECTED GROUP EXHIBITIONS: 1935 – 1949 Exhibited annually at Kofu-kai Art Association (often receiving awards), Tokyo Metropolitan Art Museum 1936 Break Time, Bunten (Ministry of Education Fine Arts Exhibition), Tokyo Metropolitan Art Museum 1939 Man reading a book, highest prize at 3rd Shin Bunten 1941 Young Man, 4th Shin Bunten 1942 Shinsho (Divine general. Buddhist term for twelve protectors of the faithful), highest prize at 5th Shin Bunten 1946 Front view of Tōdai-ji Temple, 2nd Nitten (Japan Fine Arts Exhibition), Tokyo Metropolitan Art Museum 1947 Pink Turban, highest prize at 3rd Nitten 1948 2nd Sin-ju Kai Exhibition, Nihonbashi, Mitsukoshi, Tokyo Myōkō-kai Exhibition, the Asahi Art Gallery, Kyoto Tenpyō-no Kai Exhibition and Tenseki -kai exhibition, the Kyoto Art Museum 1949 23rd Kokuten (National Exhibition) organized by Kokuga-kai (National Painting Association), Tokyo Metropolitan Art Museum. Exhibited annually at Kokuten between 19491982 1955 3rd Japan International Exhibition, Tokyo Metropolitan Art Museum 3rd Modern Art Meeting Group Exhibition - Modern Composition, exhibited at the Japan America

Abstract Art Exhibition 1957 4th São Paulo Art Biennial, São Paulo, representing Japan alongside Inoue Yūichi 1959 11th Premio Risone International Art Exhibition, Risone, Italy (alongside Shiraga Kazuo) The Houston Art Museum Exhibition, USA 1961 Metaphysical Reality, Carnegie International Modern Painting and Sculpture Exhibition, Carnegie Institute Pittsburgh 1963 Modern Art Movements – West and Japan, National Modern Art Museum, Kyoto 1965 9th Japan International Art Exhibition, Tokyo Metropolitan Art Museum 1966 7th Modern Japanese Art Exhibition, Tokyo Metropolitan Art Museum 1971 1st Hyogo Art Festival, Kobe, annually until 1975 Seven Artists Exhibition Hankyu, Osaka 1975 Four Abstract Artists alongside Shiraga Kazuo, Tsutaka Waichi, Motonaga Sadamasa, Hyogo Prefectural Museum of Art, Kobe 1983 Modern Art Exhibition,The Atelier, Nishinomiya; Shotten (Modern Artists Calligraphy Exhibition) Gallery White, Osaka; 5th Japan Shyusaku Art Exhibition, Takashimaya, Nihonbashi, Tokyo; Modern Art Exhibition by Award Receiving Artists, Ashiya; Japanese and European Art

Exhibition, Modern Art Museum, Wakayama 1989 Five Artists Exhibition, Sogetsu Art Museum, Tokyo; Two Artsists Suda Kokuta and Kumagai Morikazu Exhibition, Matsuyama Gallery, Maysuyama 1990 Five Artists Exhibition, Shinsai Bashi Univeristy Gallery, Osaka SELECTED SOLO EXHIBITIONS: 1948 Suda Kokuta European Art (first solo exhibition) the Asahi Garo (Asahi Art Gallery), Kyoto 1950 Nihonbashi Mitsukoshi Department Store, Tokyo 1960 Form Gallery, Osaka Nakabayashi Gallery, Bungei Shunju Gallery, Tokyo 1970 Hankyu Department Store, Osaka 1971 Gushō-ga (figurative painting) exhibition at the Hankyu Department Store, Osaka 1977-1979 Suda Kokuta Oil Painting at the Mitsukoshi Art Gallery, Tokyo 1982 Suda Kokuta – New Works Exhibition in the Gallery Ashiya, Ashiya City 1983 Hideyama-do Gallery, Tokyo Suda Kokuta Oil Painting Exhibition, Mitsukoshi, Nihonbashi, Tokyo 1984 Maruei Department Store, Nagoya Tokyo Hideyamado Gallery, Tokyo Suda Kokuta - My World exhibition Maruei Department Store, Nagoya Suda Kokuta - My World exhibition, Mistukoshi, Nihonbashi, Tokyo 1986 Maruei Department Store, Nagoya

1987

1988

1989

60th

1990

Mitsukoshi Matsuyama, Matsuyama City, Ehime Prefecture Suda Kokuta selected works, Hoshino Gallery, Kyoto Suda Kokuta 1987 Exhibition, Mitsukoshi, Tokyo Suda Kokuta calligraphy exhibition, Mitsukoshi, Matsuyama Hankyu Department Store Osaka Mitsukoshi, Matsuyama Department Store Mariei Department Store, Nagoya Kaibundo Gallery, Kobe Sumino Sekai-ten (The World of Ink Exhibition) Seibu Department Store, Osaka Anniversary Exhibition, Hankyu Department Store, Osaka Suda Kokuta 1970’s Retrospective, Nishinomiya Shoen Gallery Suda Kokuta Exhibition, Mitsukoshi, Tokyo Suda Kokuta Works, Saitama Prefecture Museum of Art Suda Kokuta Unknown World, Iida City Museum

AWARDS: 1962 Nishinomiya City Cultural Award 1971 Hyogo Prefecture Cultural Award 1976 Fukiage City Cultural Award 1977 Osaka City Cultural Award 1983 The Kodansha Publishing Illustration Award for Kaido wo yuku 1988 17th Fuji Sankei Group Advertising Creators’ Award 42nd Kobe Newspaper Peace Award

Suda Kokuta 31

SUDA KOKUTA (1906-1990)

SAKUHIN 1967 (Work) oil on canvas signed, inscribed on the reverse and dated 1965.2.20 with the artist’s name, address and telephone number also bearing an exhibition label with the title H. 76½” x W. 51½” (194cm x 130.5cm) Provenance: Private collection, Osaka, Japan

32

33

SUDA KOKUTA (1906-1990)

SAKUHIN 1967 (Work) oil on canvas signed, inscribed on the reverse and dated 1967.3.28 with the artist’s name and address also bearing an exhibition label with the title H. 75¾” x W. 51” (192cm x 129.5cm) Provenance: Private collection, Osaka, Japan

34

35

SUDA KOKUTA (1906-1990)

SAKKAKU NO SEKAI (The World of Dellusion) oil and mixed media on canvas signed on the reverse as a Kokugakai member, titled and listed as an artwork for the 30th Kokugakai Exhibition (1956) with the artist's address H. 51Âź" x W. 38Âź" (130cm x 97cm) Provenance: Private collection, Osaka, Japan

36

37

SUDA KOKUTA (1906-1990)

UNTITLED oil and mixed media on canvas signed and dated on the reverse 1960.9.1 with the artist’s address and telephone number, framed H. 45ž" x W. 32" (116cm x 81cm) Provenance: Private collection, Osaka, Japan

38

39

SUDA KOKUTA (1906-1990)

MUGEN KūKAN KIGō (Symbol of Infinite Space) oil and mixed media on canvas signed and dated on the reverse 1960-8-28 with the artist’s address and telephone number along with a label bearing the title H. 36¼” x W. 26” (91.5cm x 65.5cm) Provenance: Private collection, Osaka, Japan

40

41

SUDA KOKUTA (1906-1990)

UNTITLED oil and mixed media on canvas signed and dated on the reverse 1963.9.13 with the artist’s address, framed H. 18¼” x W. 15” (46cm x 38cm) Provenance: Private collection, Osaka, Japan

44

45

SUDA KOKUTA (1906-1990)

UNTITLED oil and mixed media on canvas signed H. 18¼” x W. 15” (46cm x 38cm) Provenance: Private collection, Osaka, Japan

46

47

SUDA KOKUTA (1906-1990)

UNTITLED oil and mixed media on canvas signed, inscribed on the reverse and dated 1962.12.1 with the artist’s name and address H. 18¼” x W. 15” (46cm x 38cm)

Provenance: Private collection, Osaka, Japan

48

49

SUDA KOKUTA (1906-1990)

UNTITLED gouache and mixed media on paper mounted on canvas signed H. 18¼” x W. 15” (46cm x 38cm) Provenance: Private collection, Osaka, Japan

52

53

SUDA KOKUTA (1906-1990)

UNTITLED oil and mixed media on canvas signed, inscribed on the reverse as a Kokugakai member and dated 1962.11.1 with the artist’s address and telephone number H. 46¼" x W.36¼" (117cm x 92cm) Provenance: Private collection, Osaka, Japan

54

55

SUDA KOKUTA (1906-1990)

SAKUHIN 1968 B (Work) washi (Japanese paper), corrugated cardboard and colour on board signed, inscribed on the reverse and dated 1968.7.20 along with the title, artist’s name and bearing an exhibition label of the 3rd Kansai Kokuten with title, artist’s name and address H. 72½" x W. 36¼" (184cm x 92cm) with the original protective board inscribed and signed by the artist Provenance: Private collection, Osaka, Japan

58

59

SUDA KOKUTA (1906-1990)

SAKUHIN 1968 D (Work) washi (Japanese paper), corrugated cardboard and colour on board signed, inscribed on the reverse and dated 1968.7.24 along with the title, artist’s name, address and bearing an exhibition label of the 3rd Kansai Kokuten with title, artist’s name and address, framed H. 72" x W. 36¼" (182.5cm x 92cm) with the original protective board inscribed and signed by the artist Provenance: Private collection, Osaka, Japan

60

61

SUDA KOKUTA (1906-1990)

UNTITLED mixed media on paper signed H. 32" x W. 24¼" (81cm x 61.5cm) Provenance: Private collection, Osaka, Japan

62

63

SUDA KOKUTA (1906-1990)

UNTITLED mixed media on paper signed H. 31" x W. 23¾" (78.5cm x 60.5cm) Provenance: Private collection, Osaka, Japan

64

65

SUDA KOKUTA (1906-1990)

UNTITLED oil and mixed media on canvas signed, dated 1963.07.10 on the reverse H. 51¼” x W. 38¼” (130cm x 97cm) Provenance: Private collection, Osaka, Japan

66

67

HISAO DōMOTO (1928-2013)

Hisao Dōmoto was born in Kyoto to a

formel (Art Without Form) a Paris

family of artists and connoisseurs. His

based influential art movement headed

father collected traditional Japanese

by the artist/critic/dealer Michel Tapie

ceramics, calligraphy and painting, and

(1909-1987). Informel is stylistically

his uncle Inshō Dōmoto (1991-1975)

characterised as a painterly abstraction

was a famous nihonga painter. Dōmoto

focusing on materiality, improvisation

studied nihonga (traditional Japanese

and gesture.

painting) at Kyoto Shiritsu Bijutsu Sen-

Domoto was an instant success in

mongakko (Kyoto City University of

Paris and became friends with other

Arts) from 1945-1949. In 1948, while

emerging painters such as Soulages

still at university, one of his works was

and Zao Wou-ki. His first solo exhibition

selected for the Nitten (Japan Fine Arts

at the Stadler Gallery, Paris 1957 was

Exhibition), an achievement that raised

highly successful and in the same year

high hopes for his future.

his work appeared in an exhibition or-

In 1952 Dōmoto travelled with his

ganized by Michel Tapie entitled L’art

uncle Inshō to Italy, France and Spain

Mondial Contemporain a Tokyo. In the

where he first encountered Western

same year Dōmoto introduced Tapie to

art, an experience which eventually

the Gutai journals published by his

motivated him to take a studio on the

friend Yoshihara Jirō (1905-1972) Yoshi-

Left Bank of Paris in 1955. Dōmoto

hara was the founder of the Gutai

found it increasingly difficult to con-

group, the first radical, post-war artistic

tinue using Japanese pigments and

movement in Japan. The French art

soon switched to oils, allowing his

critic was delighted to discover what he

painting to take on a more abstract and

perceived as a Japanese manifestation

expressive flair. At around the same

of his own revolutionary aesthetic and

time he became associated with Art In-

immediately drew connections be-

Hisao Dōmoto 69

tween the two, extending Informel’s

scraped back to reveal other previously

phy as perfected by the early 19th cen-

reach globally and curating various in-

applied colours beneath. The flat film

tury master Gibon Sengai (1750-1837).

ternational collaborative projects. An-

of colours which appear to pry open

Dōmoto’s intention to borrow from

formeru (as Informel was known in

the deliberate placements of paint in-

Sengai is exemplified by his use on

Japan) was the first truly contemporary

dicates Dōmoto’s anguished search for

large acrylic paintings of a circle-trian-

art movement to arrive in post war

a much clearer, more ordered vision

gle-square combination that Sengai

Japan and it dominated Japanese

than Informel. Feeling that he did not

made to encompass all possible forms,

painting well into the early sixties, over-

share the cultural heritage of his Euro-

to represent all existence. However,

shadowing the previous trends of Fau-

pean peers such as Jean Dubuffet and

Dōmoto’s innovation is to employ

vism, Surrealism, and Social Realism.

that Europe was no longer for him, Dō-

acrylics in bold colours in a highly fin-

In 1958 Dōmoto collaborated on a

moto finally decided to return to Japan

ished, complex manner that is, in the

special issue of the Gutai journal enti-

in 1966 where he believed his efforts to

end, worlds apart from Sengai - and

tled L’Aventure Informelle and visited

create a style of his own with the series

thus idiosyncratic, original and fresh.

New York in the same year for his first

Solutions de Continuite would be bet-

solo exhibition at the Martha Jackson

ter appreciated.

From 2000’s he began a more traditional water-based series entitled Between

In the 1970s he employed repeated

Unconsciousness and Consciousness.

Johns, whose White Flag made a last-

circles in his works and abandoned the

These monochromatic works with pig-

ing impression on him.

use of oil colours deeming them ‘un-

ments splattered on canvas often de-

Dōmoto departed from Tapie and In-

suitable for Japanese artists’. During

picting the lotus flower and pond,

formel in 1962 and started the Solu-

the 1980s his range expanded and in-

evoke a sense of a more familiar iconic Asian style.

gallery. There he met with Jasper

tions

of

cluded zigzag lines in a wide range of

Continuity) series in 1963 using heavy

de

Continuite

acrylic colours starting the series Chain

Works by the artist can be found in

impasto (thickly applied paint) in verti-

Reaction. At the same time Dōmoto

the collections of: Albright-Knox Art

cal and horizontal strips which are then

was drawn to traditional Zen iconogra-

Gallery, Buffalo, New York; Museum of

70 Hisao Dōmoto

(Solution

Modern Art, New York; Grey Art Gallery and Study Centre, New York University, New York; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, The Martha Jackson Memorial Collection, Washington D.C.; Museum of Fine Arts, Houston, Texas; Phoenix Art Museum, Phoenix, Arizona; Museum of the City of Kyoto; National Museum of Modern Art, Tokyo; Musée National

d’Art

Moderne,

Centre

Georges Pompidou, Paris; Musée d’Art Moderne de la Ville de Paris, Paris; Galleria Nazionale d’Arte Moderna, Rome; Galleria Civica d’Arte Moderna, Turin; Kunstverein,

Cologne;

Museo

de

Rufino Tamayo, Mexico D.F.; Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro.

SELECTED SOLO EXHIBITIONS: 1957 Galerie Stadler, Paris 1958 Galerie Schmela, Dusseldorf Galleria Notizie, Turin 1959 Galerie Nebelung, Dusseldorf

1960 1961 1962 1963 1964 1965

Martha Jackson Gallery, New York Galerie Stadler, Paris Galleria II Segno, Rome Minami Gallery, Tokyo Nitta Gallery, Tokyo Galerie Stadler, Paris Galerie Handschin, Basel Galleria Pogliani, Rome Rotterdamsche Kunstkring, Rotterdam Galerie Europe, Paris

SELECTED GROUP EXHIBITIONS AND AWARDS: 1951 7th Nitten (Japan Fine Arts Exhibition) - Tokusen Award 1956 Salon de Mai, Paris 1957 Salon de Mai, Paris 1958 Young Foreign Artists, Musee National d’Art Moderne, Paris - First prize The International Art of a New Era: Informel and Gutai, Takashimaya department store, Osaka 1959 XI and XII Premio Lissone, Lisssone, Italy - First prize 1960 Carnegie International Exhibition, Pittsburgh 1961 XI and XII Premio Lissone, Lisssone, Italy

Carnegie International Exhibition, Pittsburgh Guggenheim International Award Exhibition, New York VI Bienal, Sao Paulo 1962 Salon de Mai, Paris Strutture e Stile, Museo Civico d’Arte Moderna, Milan 1964 Carnegie International Exhibition, Pittsburgh AWARDS: 1960 4th Mainichi Contemporary Japanese Art Exhibition Award 1963 San Marco Biennale, Venice 1964 XXXII Venice Biennale, Venice 1994 Shiju Hōshō (The Medal of Honour with Purple Ribbon), awarded by the Government of Japan to individuals who have contributed to academic and artistic developments, improvements and accomplishments 2001 Ordre des Arts et des Lettres awarded by the French government in recognition of significant contributions to the arts.

2007 Title of Bunka Kōrōsha (Person of Cultural Merit) awarded annually to people who have made outstanding cultural contributions.

Hisao Dōmoto 71

HISAO DōMOTO (1928-2013)

SOLUTION DE CONTINUITE (Solution of Continuity) oil on canvas signed, titled and dated 1963-64 Paris on the reverse H. 9¼” x W. 20¼” (23cm x 51cm) Provenance: Dorothy C. Miller Art Collection, New York

72

73

YAMAGUCHI TAKEO (1902-1983)

Yamaguchi Takeo was born in Seoul

landscape backgrounds had morphed

Korea. He moved to Tokyo in 1921 at

into coloured blocks. This metamor-

the age of 19 and began studying

phosis however, kept his art outside the

painting under Okada Saburosuke

two main categorisations used in Japan

(1869-1939). The following year he was

during the pre-war period, which

accepted into the increasingly popular

strictly divided painting into either the

department of Western painting at the

Western figurative style of oil painting

Tokyo Art Academy. His course of study

or the nihonga Japanese style. This an-

surveyed all the major European avant-

tiquated system led Yamaguchi along

garde movements of the previous two

with other likeminded artists such as

decades. Yamaguchi was particularly

Yoshihara Jiro (1905-1972) and Ya-

impressed by Cubism for its reduction

mamoto Keisuke (1911-1960) to form

of form and colour to a flattened and

the Nika-kai group also known as

two dimensional painted surface. After

KyĹŤshitsu-kai (Society of the Ninth

graduating in 1927, Yamaguchi moved

Space) in 1933. The group, which op-

to Paris and continued his studies of

posed the dual categorization of paint-

avant-garde European painting where

ing, appealed to Yamaguchi who on his

he worked at the studio of the sculptor

return to Japan sought a more permis-

Ossip Zadkine (1890-1967) and be-

sive environment in which to continue

came friends with painter Ogisu

experimenting with avant-garde mod-

Takanori (1901-1986).

ernism and abstraction.

In 1931 Yamaguchi returned to Tokyo

During the years of the Second

by which time his painting had evolved

World War Yamaguchi had been qui-

and reached a certain degree of ab-

etly and steadfastly creating severe

straction where his figures had dis-

non-figurative forms until his ascension

solved into thick black lines and the

to critical acclaim in 1954 when he was

Yamaguchi Takeo 75

awarded a prize at the Contemporary

sienna. The texture and depth of tone

Japanese Art Exhibition, Tokyo. Thus

achieved from the multiple layering of

in the mid-1950’s it was almost with-

pigments gives Yamaguchi’s work an

out warning that Yamaguchi found

earth like quality and is considered to

himself a sudden pioneer of a revolu-

be an homage to the soil of his birth-

tionary trend: pushed to the very

place the Korean peninsula. Yamaguchi

front ranks of Japanese abstract

strived to interact with the innermost

artists with his work exhibited in im-

framework and structure of a subject,

portant international exhibitions in-

merging figure and ground, seeking to

cluding the inaugural exhibition of

awake in his forms the soul and depth

the Guggenheim, New York in 1959.

of nature.

He was involved in the Society of

Works by the artist can be found in

Avant-garde Japanese Artists and in

the collections of: Guggenheim Mu-

1953 founded the Japanese Abstract

seum, New York; Metropolitan Mu-

Art Club. In 1954 he became profes-

seum of Modern Art, New York;

sor at the Mushashino Art Academy

Brooklyn Museum, New York; Menard

and later that same year published a

Art Museum, Nagoya; Shizuoka Prefec-

book entitled From Primitiveness to

tural Museum of Art, Shimane Art Mu-

Modern Design.

His work from that period onwards

seum, Museo de Arte Moderna, Sao Paulo; National Museum of Modern

was exclusively painted in multiple

Art,

thick impasto layers using only three

Kagoshima; Museum of Modern Art,

colours; black, ochre and deep burnt

Kamakura.

76 Yamaguchi Takeo

Tokyo;

Municipal

Museum,

SELECTED SOLO EXHIBITIONS: 1939 Ginza Seijusha Gallery, Tokyo 1968 Masashino Art Academy, Tokyo Minami Gallery, Tokyo 1969 Nihonbashi Gallery, New York 1970 Yamagata-ya, Kagoshima 1976 Ashiya Gallery, Ashiya Merry Exhibition (Ceramic Pictures), Osaka 1978 Suzukawa Gallery 1979 Morioka Dainichi Gallery, Morioka 1980 Municipal Art Museum, Kitakyūshu SELECTED GROUP EXHIBITIONS: 1931 Nika-ten, Tokyo; regular participation until 1963 1939 Kyushitsu-kai 1947 Bijutsudantai rengo ten (Union of Art Associations Exhibition); regular participation until 1951 1953 Abstraction and Fantasy, national Museum of Modern Art, Tokyo 1954 18th Exhibition of American Abstract Art, New York 1955 3rd São Paulo Art Biennial, São Paulo 1956 Japan Pavillion, Venice Biennale 1958 Contemporary Japanese Painting (Exhibition touring eleven European cities)

1963 7th São Paulo Art Biennial, São Paulo 1965 The New Japanese Painting and Sculpture, San Fransisco Museum of Modern Art; MOMA New York 1970 Aso Saburo, Osawa Shoshuke, Yamaguchi Takeo, Saison Gallery, Tokyo 1974 Traditional and Modern Japan, Staedtisches Kunstmuseum, Dusseldorf Japan in Louisiana, The Louisiana Museum of Modern Art, Denmark (Travelling exhibition) 1980 Yamaguchi Takeo and Horiuchi Masakazu, National Museum of Modern Art, Tokyo 1986 Arishima Ikuma, Togo Seiji, Yamaguchi Takeo, Municipal Art Museum, Kagoshima AWARDS: 1962 Japanese Ministry of Culture Award

YAMAGUCHI TAKEO (1902-1983)

NOBORU (Ascend) Oil on board signed, titled and dated 1982 in Japanese on a label affixed to the reverse H. 19½” x W. 16¼” (49cm x 41cm) Provenance: Private collection, Tokyo, Japan

78

79

OCHI KENZō (1929–1981)

Ochi Kenzō was born in Ehime prefec-

Whilst dedicated to teaching Ochi

Works by the artist can be found in

ture and went on to study metalwork at

remained active as an artist exhibiting

the collections of the National Museum

Tokyo University of Fine Arts, graduat-

regularly and winning many prizes

of Modern Art, Tokyo; National Mu-

ing in 1953. Ochi chose to sculpt his

which included The Yomiuri Newspa-

seum of Modern Art, Kyoto; Tokyo Uni-

pieces in iron using the uchidashi (ham-

per award in 1964 for his exhibit at the

versity of Fine Arts.

mered metal) technique and soon

annual Japan Modern Crafts Exhibi-

gained recognition from the Japanese

tion and the Award of the Minister of

art world with his iconic creations. The

Foreign Affairs in 1965. In the follow-

following year he exhibited at the 10

th

ing years, as he matured as an artist,

Nitten (Japan Fine Arts Exhibition). This

he was invited to become a judge for

affiliation continued for many years and

both the Nitten and Japan Associa-

Ochi received numerous prizes for his

tion of Modern Craft Artists Exhibi-

exhibits throughout his short yet illus-

tions respectively.

trious career.

The iron sculptures of Ochi Kenzō are

Ochi was also keen to share his skills

fine and light, their rounded organic

and in 1956 he returned to the Tokyo

forms, jutting spires and tubular sec-

University of Fine Arts first as a part-

tions appear to defy gravity irrespective

time teaching assistant and from 1959

of their material. Ochi was one of the

gained a full-time position. His teach-

most influential metalwork artists of his

ing career continued to develop and in

time who due to his relatively short life

1965 he joined Tokyo Gakugei Univer-

and the extremely labour-intensive

sity as a full-time lecturer and was then

process of uchidashi only produced a

promoted to Assistant Professor in

small body of work, much of which is

1969 before finally becoming Professor

now held in the collections of major

of metalwork in 1976.

Japanese museums and institutions.

SELECTED EXHIBITIONS AND AWARDS: 1954 Nitten (Japan Fine Arts Exhibition) , Tokyo. Received his first award 1964 Nihon Gendai Kōgei Bijitsuka-ten (Japan Association of Modern Craft Artists Exhibition) - Yomiuri Newspaper Award 1965 Nitten, Tokyo - Tokusen Award and Hokuto Award Nihon Gendai Kōgei Bijitsuka-ten Minister of Foreign Affairs Award 1966 Nihon Gendai Kōgei Bijitsuka-ten Members’ award and Foreign Minister Award 1967 Nitten, Tokyo 1969 Nitten, Tokyo, Kikka Award 1972 Nitten, Tokyo. Continues to exhibit annually.

For a similar example from 1970 entitled Tree Thoughts in the collection the National Museum of Modern Art, Tokyo see: Ochi Kenzo 1929 – 1981, pl.16, p17

Ochi Kenzō 81

OCHI KENZō (1929-1981)

UNTITLED FLOWER VESSEL uchidashi (hammered) iron seal: Ken H.14" x W. 18¾" (35.5cm x 47.5cm) Tomobako signed: Kenzō saku

82

TAGASHIGE MORI (b.1922)

Tagashige Mori was born in the village

back to Tokyo to resume his own career

of Kaneda in Ehime Prefecture, where

and establish a studio in Bunkyo-ku, an

he grew up surrounded by nature, and

area famous for its artistic inhabitants

at the age of 13, soon after entering

and the Akagi Plaster Sculpting studio.

high school, he took up oil painting

In 1952 he joined the influential Jiyū

classes. Mori was first captivated by

Bijutsuka Association an art group orig-

sculpture after seeing works by Rodin

inally co-founded in 1937 by Hasegawa

in an art book held at the school library

Saburo (1906-1957), Hamaguchi Yōzō

and subsequently entered the

(1909-2000) and Yamaguchi Kaoru

sculpture

of

(1907-1968) with the intention of ac-

Tokyo University of Arts in

department

tively promoting Japanese avant-garde

1940. His professors were

and abstract art. The next year Mori at-

the renowned sculp-

tended and was greatly influenced by

tors Fumio Asakura

the Italian Modern Art Exhibition held

(1883-1964)

in Tokyo and this inspiration solidified

Kenhata

and

Daiyume

his direction towards Abstract Expres-

(1880-1942) and he

sionism. In 1955 he also joined the

was soon shortlisted

Tokyo Art Club broadening his connec-

for the 6th Shin Bunten

tions and enabling him to participate in

Exhibition (Fine Arts Ex-

exhibitions throughout Japan along

hibition of the Ministry of

with other prominent Japanese mod-

Culture) before graduating

ern painters and sculptors such as

in 1944. The following year

Masao Tsuruoka (1907-1979), Minami

Mori returned to Ehime

Tada (1924-2014), Shū Eguchi (b.1932).

where he taught art at

Subsequently Mori’s works regularly

the local high-school for

adorned the covers of leading Japan-

four years before moving

ese art magazines such as the National

Museum of Modern Art Newsletter and the Bijutsu Techo.

2005) and they participated in a series of group shows. This collaboration led

After more than a decade of contin-

to one of their most ambitious projects,

uous creativity, Tagashige Mori decided

the 1st Ehime Open-air Art Exhibition in

to travel and in 1963 he left for Los An-

Matsushima held in 1969 to promote

geles with fellow abstract artists Yoshi-

modern art to the local public. The im-

hige

and

portance of this exhibition was marked

Furukawa

(1921-2008)

Shigeaki Hayakawa (b.1924). His travels

by the participation of the renowned

took him as far afield as Mexico before

art critic and curator of the Kanagawa

moving on to New York where he at-

Prefectural Museum of Art, Seiichi

tended the World Artists Meeting and

Sasaki (1923-1997). This initial meeting

visited locally based influential artists

between Sasaki and Mori led to a cre-

such as Genichiro Inokuma (1902-

ative long-term friendship punctuated

1993), Teiji Takai (1911-1986) and Sey-

by meetings with artists and discus-

mour Lipton (1903-1986). Next was

sions around art, culminating in a trip

Europe, considered by Mori as the

to France in 1976. Whilst in Paris, Mori

birthplace of modern sculpture. He

wrote a series of essays entitled From

traveled extensively visiting almost all

Montmartre’s Hill which he illustrated

the major cultural centres finishing in

with collages and drawings.

Cairo where he became fascinated by

Tagashige Mori was active into old age

the clean shapes of Egyptian art, the

with his work of the 1990’s being pre-

pyramids and the desert landscape.

dominantly inspired by the concept of

This fascination led Mori to create a

living in harmony with the blowing wind.

piece entitled Memories of the Sand

True to his original inspiration, he contin-

No.1 in 1965 and in 1968 he held a

ued throughout his life to honour his

solo show of sand inspired work at the

connection with nature, creating sculp-

Nihonbashi Akiyama Gallery, Tokyo.

ture which was expressed in the strong

On returning to Japan Mori settled in

and clear language of abstract form.

Matsuyama in Ehime Prefecture yet

Works by the artist can be found in

continued to maintain his connections

the collection of: the Museum of Mod-

with the Tokyo art circles and was

ern Art, Kamakura & Hayama; Kuma

greatly supported by influential Mod-

Museum of Art, Ehime Prefecture

ern art critics such as Fujio Yagyuu (1925-2005) and Itsuki Kubo (dates unknown). At around this time he met the Gutai artist Teruyuki Tsubouchi (1927-

SELECTED SOLO EXHIBITIONS: 1959 Sato Galley, Ginza Tokyo 1961 Tagashige Mori Exhibition, Gendai Gallery, Ginza Tokyo

1968 Nihonbashi Akiyama Gallery, Tokyo Gendai Gallery, Matsuyama 1970 Local Artist Exhibition, The Museum of Art, Ehime 2007 The path of sculpting thought – Seventy years of sculpture by Mori Takashige, Kuma Museum of Art, Ehime SELECTED GROUP EXHIBITIONS: 1957 15 Avant-garde Artists Exhibition, Tokyo National Museum of Modern Art, Tokyo The Hibiya Park Open-air Sculpture Exhibition, Tokyo 1958 Group 58 Open-air Sculpture Exhibition, Kanagawa Museum of Modern Art, Kanagawa 1959 Rising Artists Exhibition, Hakuho Gallery, Osaka 1962 Ube City Open-air Exhibition, Ube 10th Anniversary Memorial Exhibition: Modern Japanese Sculpture Exhibition, Kanagawa Museum of Modern Art, Kanagawa 5 Sculptors Exhibition, Surugadai Gallery, Kanda 1984 Matsushima Citizen Art Exhibition, Matsuyama City Shiki Memorial Museum, Matsuyama, Ehime 1987 Invitation to the New MouldingSato Collection Exhibition, Kure Municipal Museum of Art, Kure, Hisroshima 1988 Seto Ohashi Bridge Memorial Openair Sculpture Exhibition – City Environment and Sculpture, Takamatsu City Central Park, Takamatsu For a larger version bearing the same title see: Zōkei shikō no kisekii – Mori Takashige chyōkoku no 70 nen (The path of sculpting thought – Seventy years of sculpture by Mori Takashige), Kuma Museum of Art, 2007, p.29, pl.4.

Tagashige Mori 85

TAGASHIGE MORI (b.1922)

KIZASHI (Omen) bronze signed and dated 1956 H.11¼" x W.9" x D.6½" (28.5cm x 22.5cm x 16.5cm)

86

INOUE YūICHI (1916-1985) Inoue Yūichi was born in Tokyo the son of a bric-a-brac dealer. In 1935 he graduated from Tokyo Prefectural Aoyama Normal School (present-day Tokyo Gakugei University) and almost immediately began working as an elementary school teacher at Yokogawa National School, Tokyo. Although he always aspired to become a painter, Yūichi was lacking the means to attend Art College. He therefore took evening painting classes and later turned to sho (calligraphy) due to its inexpensive materials and less formal instruction. In 1941 Yūichi began to study calligraphy under the renowned modernist calligrapher Ueda Sōkyū (1899-1968) and joined his master’s avant-garde calligraphy group Keiseikai.

Ueda himself came from a modernist tradition of avant-garde calligraphers advocating the study of kanji (Chinese characters) by old Chinese masters, while at the same time being aware of contemporary international art movements. The emphasis of Ueda Sōkyū and the Keiseikai group was on the

emotional expression of the self at the

ited by Morita Shiryū, under the lead-

to present it within a global perspective

moment of writing. According to Ueda

ership of Ueda Sōkyū. He also became

and to establish it as a contemporary

it is more embarrassing for a calligra-

fascinated by modern western art and

artistic medium. The main emphasis was

pher to lack heart than technique.

was regularly informed about action

on individual study and unrestricted ex-

In March 1945 Yūichi was on night

painting, abstract expressionism and

pression and so the group members re-

duty at the Yokokawa National School

the work of ground-breaking artists

fused to participate in large exhibitions or organisations in Japan.

where 1,000 people were taking shel-

such as Franz Kline (1910-1962), Mark

ter from a bombing raid by the Ameri-

Tobey (1890-1976) and Jackson Pollock

Yūichi along with the rest of the

can air force. The school was engulfed

(1912-1956) by the pages of the

Bokujinkai calligraphers abandoned

by flames and Yūichi was left as the sole

Bokubi journal first published in 1951

traditional sho materials. This experi-

survivor. This tragic near-death experi-

by Morita Shiryū. Yūichi also be-

mentation meant substituting the tra-

ence left him deeply scarred and he

friended cultural emissaries such as

ditional fude (brush) with cardboard,

later described his ordeal in the calli-

Isamu Noguchi (1904-1988), the inter-

sticks, hemp-palm and broom sized

graphic piece entitled Ah! Yokokawa

national avant-garde artist Hasegawa

brushes. Sumi (ink) was also replaced

National School, now in the collection

Saburō (1906-1957) as well as various

with mineral pigments, oil paint,

of Unac Tokyo Inc.

artists from the Gutai group.

enamel and lacquer while canvas,

‘The town plunged into darkness is

In 1952 Yūichi along with four other

wood, ceramic and even glass were

transformed into an incandescent sea…

disciples of Ueda Sōkyū; Morita Shiryū

used in place of washi (paper). Al-

All Kōto-ku is hell fire’ he begins. ‘A thou-

(1912-1999), Eguchi Sōgen (1919-)

though their methods were totally in-

sand refugees have no shelter and there

Sekiya Yoshimichi (b.1920) and Naka-

novative, the group pursued a rigorous

is no exit.’ Buried all night in a heap of

mura Bokushi (dates unknown) left Kei-

re-evaluation of the fundamentals of

corpses, Inoue concludes, ‘At dawn, the

seikai

ancient calligraphy and the timeless

to

found

the

avant-garde The

qualities of the calligraphic line from a

The horrors of war led Yūichi to ded-

group’s activities were documented in

contemporary, universal point of view.

fire is out. Silence is all. No cries’.

calligraphy

group

Bokujinkai.

icate his existence to the study of

its journal Bokujin edited by Yūichi until

avant-garde sho and its promotion

its 50th issue. The group’s goals were to

were not overly concerned that their

through journals such as Shonobi ed-

liberate sho from orthodox conventions,

renderings of kanji characters were leg-

These

avant-garde

calligraphers

Inoue Yūichi 91

ible or whether they had used a charac-

I will bore my way through, I will cut my

ing within a centuries-old discipline

ter at all. For the calligrapher the

way open. The break is total.’

combining two visual languages, sho

process of producing work is an exis-

Unagami Masanomi, The Act of Writ-

tential involvement. The form gradually

ing:Tradition and Yū-Ichi Today, ōkina

and abstract expressionism to convey deeply felt inner conflict and anguish.

becomes ‘his’ during the writing and re-

Inoue Yū-Ichi ten/ Yū-Ichi Works 1955-

When I write a particular character, I

writing of the drafts when the initial or

85, Kyoto National Museum of Modern

am often asked about the meaning of

generally accepted meaning of the

Art, 1989

that character. At that point I usually say

character may be forgotten. In Zen

However, after losing himself in this

something that amounts to what you

terms, the form becomes the calligra-

exhilarating cosmos of experimenta-

would find in the dictionary. And yet

pher’s koan (Zen dictum). The execution

tion, of discarding the meaning and

that is a mere entrance-way and no

of a piece demands total absorption,

forms of kanji, Yuichi finally came to un-

more. To give an explanation that goes

both physical and mental, a complete

derstand how marvellous they really

as far as I have worked out with great

giving of the self to the writing. Implicit

were and from around 1957, free from

efforts is impossible.

in the piece is the whole experience the

the tradition of sho he devoted himself

Inoue Yūichi, September 1977, [SHO]

calligrapher goes through from initial

to action painting while adhering to the

by YU-ICHI ’49-’79, edited by Unagami

spark, through confused wrestling with

original characters so that he was to

Masaomi, UNAC TOKYO Co. Ltd, 1980.

the line and form, to the absolute com-

some extend restricted. Yuichi came to

Works by the artist can be found in

mitment of execution.

terms with the beauty in the form of the

the collections of: The National Mu-

kanji, admitting worshiping the fatal no-

seum of Modern Art, Tokyo; The Na-

bleness of the Chinese characters.

tional Museum of Art, Osaka; The

Writing in his journal Inoue proclaimed ‘Turn your body and soul into a brush… No to everything! The hell

Despite avant-garde calligraphy’s su-

National Museum of Modern Art,

with it! Paint with all your strength –

perficial resemblance to abstract art the

Kyoto; The Muuseum of Modern Art,

anything, anyhow! Spread your enamel

abstract within the calligraphic tradition

Gunma; Chiba City Museum of Art,

and let it gush out! Splash it in the faces

is fundamentally different. An artist,

Chiba; Carnegie Institution of Science,

of the respectable teachers of calligra-

should he choose, can reject or ignore

Whasington D.C.; Langen Foundation,

phy. Sweep away all those phonies who

the history of art. The avant-garde cal-

Neuss; Museum Rietberg, Zurich

defer to calligraphy with a capital C…

ligrapher however, cannot. He is work-

92 Inoue Yūichi

SELECTED SOLO EXHIBITIONS: 1965 Galerie Rudolf Zwirner, Cologne 1986 Yūichi: Zeppitsu (Yūichi, Psyché Calligraphy-Parting Thoughts), NEWZ and UNAC SALON Tokyo; Nishinomiya Citizen’s Gallery, Hyogo 1989 Yūichi Works 1955-85, The National Museum of Modern Art, Kyoto; Fukuoka Prefectural Museum of Art, Fukuoka; Niigata City Art Museum, Niigata; The yamaguchi Prefectural Museum of Art, yamaguchi; The Ehime Prefectural Museum of Art, Ehime; Koriyama City Museum of Art, Fukushima 1995 Yūichi:1916-1985, Kunsthalle Basel Yūichi: Exhibition in Commemoration of the publication of Yūichi Sho-ho, Tianjin People’s Art Publishing House Gallery, Tianjin 1999 Inoue Yūichi – Calligraphy is for everyone, Seoul Art Centre, Seoul 2000 Yūichi Vivant, Chigasaki City Museum of Art, Kanagawa Yūichi Ali, d’Ac galleria Comunale d’Arte Contemporanea di Ciampino, Italy 2005 Inoue Yūichi, Hangzhou International Calligraphy Festival, China Academy of Art, Hangzou 2008 Kanji Art of Inoue Yūichi, Shi Fang Art Museum, Zhengzhou, China 2010 Yūichi, Tokushima Kenritsu Bungaky Shodokan

2012 Yūichi, Works on Paper, Japan Art, Galerie Friedrich M ller, Frankfurt Yūichi, Ningbo Museum of Art, China 2016 Inoue Yūichi, 21st Century Museum of Contemporary Art, Kanazawa SELECTED GROUP EXHIBITIONS: 1950 6th Nitten (Japan Fine Arts) Exhibition, Tokyo 1954 Contemporary Japanese Calligraphy, The Museum of Modern Art, New York First Exhibition of Bokujin, Tokyo 1955 Bokujin, Galerie Colette Allendy, Paris; Gallerie Apollo, Brussels Abstract Paintings – Japan and the U.S., The National Museum of Modern Art, Tokyo First Public Exhibition of Bokujin, Kyoto Munincipal Museum of Art, Kyoto; Ueno Matsuzakaya Gallery, Tokyo 1957 4th São Paulo Art Biennial, São Paulo 1958 Fifty years of Modern Art, Universal & International Fair, Brussels 1959 Documenta II, Kassel 1961 6th Sao Paulo Biennal The 1961 Pittsburgh International Exhibition of Contemporary Painting and Sculpture, Carnegie Institute, Pittsburgh 1969 Contemporary Art Dialogue Between the East and the West, The

1994

2004 2005

2011

2013

2015

National Museum of Modern Art, Tokyo Japanese Art After 1945: Scream Against the Sky, Yokohama Museum of Art, Kanagawa; Guggenheim Museum SoHo, New York; San Francisco Museum of Modern Art, San Francisco Art and War, The Museum of Modern Art, Gunma, Japan Zeichen setzen, Gunther Uecker and Inoue Yuichi, Langen Foundation, Neuss, Germany Inoue Yuichi Sho, University City Art Museum of GAFA, Guangzhou, China Portrait of a Destroyed City, The Museum of Modern Art, United Arab Emirates Calligraphic Abstraction, Seattle Art Museum, Asian Art Museum, Seattle The End of Modernity in Calligraphy: From Yuichi Inoue, Lee Ufan to Zhang Yu, Kuandu Museum of Fine Arts, Taipei

Inoue Yūichi 93

INOUE YūICHI (1916-1985)

SHOKU (Belonging) ink on paper seal: Yūichi dated 76/3/10 H. 47¼” x W. 87¼” (120cm x 221.5cm) Provenance: Acquired by the previous owner from Japan Art, Frankfurt, Germany Published: YU-ICHI, Catalogue Raisonné, vol.2, UNAC Tokyo, no.76015

94

95

Asian Art in London, 2016 Texts: Olympia Toptsidou Photography: Matt Pia Catalogue Design: Françoise Barrier Printing : Cassochrome, Waregem Š Gregg Baker, 2016

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