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著者: Maki Kaneko

away from a life of idiocy as my destiny and responsibility as a living [human], or for the sake of fulfi lling my days. 61 Murai draws our attention to the fact that, while declaring his sanity explicitly, Matsumoto gives symbolic meaning to a line. In another essay writ- ten at about the same

in Mirroring the Japanese Empire
著者: Maki Kaneko

, motivated me to work on the topic of war, representation, and the male fi gure. A number of museums allowed me access to their collections and materials. Reita Hirase of Himeji City Museum of Art, Ikuma Hirota of Kōbe City Museum, Yoshiya Hashimoto of Setagaya Art Museum, and Tsutomu Mizusawa of the

in Mirroring the Japanese Empire

sexual freedom of a longed- for original condition” incorporated both chrono- logically and geographically remote sources in the hope of fi nding alternative modes of living, com- municating, and practicing creativity—a phenome- non usually referred to in art as primitivism.2 However, attempting to

in Bokujinkai: Japanese Calligraphy and the Postwar Avant-Garde
著者: Erin Schoneveld

- ulation of personality as the artist’s “life force” (seimeikan), claiming that “the stroke of the artist’s brush is like an extension of his nervous system . . . every stroke represents the artist . . . [for Cézanne] it is a matter of rhythm when creating art.”19 Yamawaki felt that “personality” was

in Shirakaba and Japanese Modernism
著者: Erin Schoneveld

a legacy.1 This re- positioning was likewise refl ected in the content of the Shirakaba magazine, which, while continuing to concentrate on the status and the life of the artist, began to place more emphasis on “educating” the Japanese public about Western art. The magazine’s shifting focus was

in Shirakaba and Japanese Modernism
著者: Erin Schoneveld

will be open to the public and anyone who donated more than 1 yen will be considered a life-long member of the museum.61 By motivating the Japanese public to buy into the “exclusive” group of art patrons, the Shirakaba group hoped to galvanize popular support that went beyond their own artistic

in Shirakaba and Japanese Modernism
著者: Erin Schoneveld

Japanese public. At its height of popularity it was estimated that one in every ten people living in the Tokyo metropolitan area had visited a Bunten exhibition.11 This positive public response was re- fl ected in many newspaper and magazine articles, as in one reviewer’s remarks in Bijutsu shinpō (Art

in Shirakaba and Japanese Modernism
著者: Sven Saaler

occasioned by the arrival of the mission of the Austro-Hungari- an Empire to Japan in 1868. According to the diary of Austria’s First Delegate, Karl Ritter von Scherzer (1821–1903), one of the mission’s gifts for the tennō was a marble life-size sculpture of Emperor Franz Joseph I.23 The statue is said

in Men in Metal
著者: Erin Schoneveld

through living life to the fullest extent despite per- sonal hardship and adversity.68 His impression of Van Gogh, at least theoretically, was as an artist who, “only painted what was concrete and true to the Self.”69 For Kishida this represented a purely subjective and profoundly personal expression

in Shirakaba and Japanese Modernism
著者: Sven Saaler

living fi gures that have fulfi lled dif- ferent ever-evolving functions as part of a cult of personality or cult of the individual. Impressive works such as the 96 m statue of Peter the Great erected in Moscow in 1997, the 40 m high eques- trian statue of Genghis (Chinggis) Khan built in Mongolia in

in Men in Metal