Shirakaba and Japanese Modernism examines the most significant Japanese art and literary magazine of the early twentieth century,
Shirakaba (White Birch, 1910–1923) and its founder, the Shirakaba-ha (White Birch Society). In this volume Erin Schoneveld explores the fluid relationship that existed between different types of modern visual media, exhibition formats, and artistic practices embraced by the Shirakaba-ha (White Birch Society). Schoneveld provides a new comparative framework for understanding how the avant-garde pursuit of individuality during Japan’s Taishō period stood in opposition to state-sponsored modernism and how this played out in the emerging media of art magazines. This book analyzes key moments in modern Japanese art and intellectual history by focusing on the artists most closely affiliated with
Shirakaba, including Takamura Kōtarō, Umehara Ryūzaburō, and Kishida Ryūsei, who selectively engaged with and transformed modernist idioms of individualism and self-expression to create a new artistic style that gave visual form to their own subjective reality. Drawing upon archival research that includes numerous articles, images, and exhibitions reviews from
Shirakaba, as well as a complete translation of Yanagi Sōetsu’s seminal essay, “The Revolutionary Artist” (
Kakumei no gaka), Schoneveld demonstrates that, contrary to the received narrative that posits Japanese modernism as merely derivative, the debate around modernism among Japan’s early avant-garde was lively, contested, and self-reflexive.
Erin Schoneveld, Ph.D. (2012), University of Pennsylvania, is Assistant Professor of East Asian Languages & Cultures and Visual Studies at Haverford College.
All interested in the relationship between Japanese modern art, literature, and visual culture, Japan-European cultural exchange of the early 20th century, and Japan’s seminal role in the global development of modernism.