This article focuses on two of the most prominent figures in the Japanese art world, who could be considered the third generation of artists who modernized Japanese painting using Yamato-e as their starting point.
奥村土牛はその人柄がそのまま絵に伝わっている作品に優しさが満ち溢れている。
土牛は17才で梶田半古に入門し、塾頭の小林古径に画の手ほどきを受けその後も師事し、先輩には前田青邨、知己として速水御舟、さらに日本美術院同人に推挙されてからは横山大観をはじめ偉大な画家たちから大きな教えを受けた。
その中、土牛は自己への挑戦に一歩一歩精進を重ねた画業人生であったと中公文庫「牛の歩み」にはある。
Okumura Togyu's works are filled with kindness, and his personality is reflected directly in his paintings.
Togyu became a pupil of Kajita Hanko at the age of 17 and received instruction in painting from the school's head, Kobayashi Kokei.
He continued studying under him, and among his seniors were Maeda Seison and, as an acquaintance, Hayami Gyoshu.
After being recommended as a member of the Japan Art Institute, he received great teachings from great painters including Yokoyama Taikan.
Meanwhile, as described in Chuokoron Bunko's book Ushi no Ayumi, Togyu's life as an artist was one of constant self-challenges, steadily improving step by step.
国立近代美術館所蔵作品展展示より
前田青邨 「土牛君の像」1973年
From the exhibition of works from the collection of the National Museum of Modern Art Maeda Seison, "Portrait of Dogyu-kun", 1973
前田青邨は梶田半古塾で土牛の先輩であり、その後再興日本美術院では安田靫彦、小林古径とともに三羽烏と呼ばれた。
「囚われたる重衡」など歴史画をはじめ、「Y氏像」など現存人物の肖像画も人間を題材にした秀作を数多く描いた。
Maeda Seison was a senior of Togyu at the Kajita Hanko School.
Later, at the Reconstructed Japan Art Institute, he was known as one of the "Three Great Ravens" along with Yasuda Yukihiko and Kobayashi Kokei.
He produced many excellent works with human subjects, including historical paintings such as Imprisoned Shigehira and portraits of living people such as Portrait of Mr. Y.
御舟は14才で松本楓湖に入門し、先輩である今村紫紅に師事し、彼の自由闊達の画風を学びながら、さらに写実的描写を踏まえたものを追求していった。
わずか40歳という短い画業人生であったが、残された作品は多彩であり多くの素晴らしい作品を残した。
At the age of 14, Gyoshu became a pupil of Matsumoto Fuko and studied under his senior, Imamura Shiko.
While learning Matsumoto's free and open style, he continued to pursue a style based on realistic depiction.
Although his career as an artist was short, lasting only 40 years, he left behind a diverse and numerous body of magnificent works.
速水御舟 「女二題」「福島県立美術館作品選」図録より
渡欧から帰った翌年の作品で弥夫人をモデルに写実と日本画特有の線描が映える。
Hayami Gyoshu, "Two Subjects of Women" From the catalogue Selected Works of the Fukushima Prefectural Museum of Art.
This work was created the year after he returned from Europe and features Lady Ya as a model.
The work displays realism together with the linework characteristic of Japanese painting.
やまと絵を出発点にしながら日本画の近代化をはかった、その第3世代というべき日本画壇最高峰の二人をクローズアップする。
This article focuses on two of the most prominent figures in the Japanese art world, who could be considered the third generation of artists who modernized Japanese painting using Yamato-e as their starting point.
安田靫彦 「今村紫紅像」
有隣新書「今村紫紅」カバー写真より
Yasuda Yukihiko, "Portrait of Imamura Shiko" Cover photo from Yurin Shinsho's Imamura Shiko