著者

三輪 英夫

雑誌

美術研究 = The bijutsu kenkyu : the journal of art studies

巻号頁・発行日

no.342, pp.16-24, 1988-03-31

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The datable works by Kaneyuki HYAKUTAKE (1842-1884) all belong to the short period from 1975 to 1882, during which he mostly resided in Europe. He studied first under Thomas Miles RICHARDSON Jr. (1813-1890) in London, then under Léon BONNAT (1833-1922) in Paris and finally under Cesare MACCARI (1840-1911) in Rome. Accordingly, he gradually changed his style reflecting the styles of the teachers. However, the change was of positive nature as is seen in “Bonchurch, Isle of Wight” from 1879 and “Pietro Micca” from 1882. The former is a landscape with impressionistic colouring, brushwork and composition, much freer and moderner than those with RICHARDSON's influence. On the other hand, the latter is a history painting whose subject is an Italian hero in the War of the Spanish Succession and its composition is close to “Hercules Overcoming the Nemean Lion” by Peter Paul RUBENS, whose copy by HYAKUTAKE remains. These two works illustrate his shift from impressionistic landscape to the traditional European theme of history painting, which might be taken as a stylistic shift toward the past. The intrinsic reason for it existed in his ideal concerning the assimilation of Western painting. He considered that the assimilation of firm academicism, not of Impressionism, was the first necessity, and “Pietro Micca” was painted uner this conviction. Such an attitude of HYAKUTAKE as a student abroad represents one of the typical views conceived by the Western-method painters in the early Meiji Era.

著者

三輪 英夫

雑誌

美術研究 = The bijutsu kenkiu : the journal of art studies

巻号頁・発行日

no.321, pp.25-32, 1982-09-30

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Shinkurō KUNISAWA (1847–77) was the first Japanese artist who studied western painting in Europe. He visited England in 1870 as a student dispatched by the Kōchi Han for the purpose of learning law but shifted to painting around 1872 and studied under John-Edgar WILLIAMS. He came back to Japan in 1874 and opened a painting school called Shōgidō in Tokyo. Ninety-one students studied there in his lifetime. His activity is well represented by the novel content of the instruction at the Shōgidō. All the teaching materials and reference books used there were those KUNISAWA brought back from England. And he followed the European academism in his pedagogy. In that sense, Shōgidō was the earliest art school in Japan. Thus his study in Europe is an important factor in his career, a characteristic difference from other earlier painters like Yuichi TAKAHASHI who studied the western method of painting in Japan. Remaining works by him are few. “Western Woman” and three other works, all executed while in Europe, are the only works known today. Two of them seem to have been painted based on photographs after the people portrayed were dead. As far as these pieces indicate, his style was of moderate realism.