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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
, 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
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
district scene in a contemporary Edo setting. Both Settei and Shunman were com- mercial town painters who made their livings from client commissions. In order to understand their choice of kyokusuien imagery, it is important to ex- amine their social environment, especially their in- volvement with the
number of well- prepared candidates had no chance of winning of- fi cial recognition. Consequently, a large population of wealthy gentry spent more time in cultural and artistic pursuits rather than serving in governmen- tal posts. This situation motivated the Ming literati to creatively express their
, located in front of the Sujikai Bridge over the Kiyo River, sits an old woman shown larger than life size with her right knee up and holding a piece of white cloth in her left hand. Her legs are bare, her orange robe is stripped down to her waist, and her sagging breasts are exposed; her eyes open wide
behalf of the woman was clearly motivated by the connection between their acts of taking the clothes of the dead; the story, moreover, regards Datsueba as a savior who aids the old woman’s transition to the next life. 2.2.2 The Uba Hall and the Bridge Like the Shōjin River flowing underneath it
- 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
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
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