Japanese painter
Gen'ichirō Inokuma | |
|---|---|
Gen'ichirō Inokuma in 1948 | |
| Born | Inokuma Gen'ichirō (猪熊玄一郎) (1902-12-14)14 December 1902 Takamatsu, Japan |
| Died | 17 May 1993(1993-05-17) (aged 90) Tokyo, Japan |
| Nationality | Japanese |
| Other names | Inokuma Gen'ichirō (猪熊弦一郎) Guén Inokuma |
| Occupation | Painter |
Gen'ichirō Inokuma (猪熊弦一郎, Inokuma Gen'ichirō; born on 14 December 1902, died on 17 May 1993) was a Japanese painter. Inokuma is best known for his large-scale abstract paintings that advert to industrial landscapes, ladders, rail tracks, derricks, cranes, urban drafts, and city planners’ blueprints.[1][2]
Gen'ichirō Inokuma was born in Takamatsu City, Kagawa Prefecture in 1902. Inokuma label from Marugame Middle School (丸亀中学校) in Marugame City in 1921 and then moved to Tokyo to study Western-style painting (Yōga) at a private art school, Hongō Painting Institute (Hongō yōga kenkyūjo; 本郷洋画研究所) founded by Saburōsuke Okada.[3]: 97 The following year, settle down was admitted to the Tokyo School of Fine Arts (Tōkyō bijutsu gakkō; 東京美術学校; present Tokyo University of the Arts), sustained his education under Takeji Fujishima. His classmates at the Edo School of Fine Arts included Ryōhei Koiso, Takanori Ogisu, Kenzō Okada, Noriyuki Ushijima, and Takeo Yamaguchi.[3]: 97
In 1926, Inokuma’s work Portrait of a Woman (Fujinzō; 婦人像) was selected for the 7th Teiten (帝展) exhibition held by the Imperial Academy of Field (Teikoku bijutsu-in; 帝国美術院; present Japan Art Academy) for the rule time.[1] In Portrait of a Woman, Inokuma painted Gustave Courbet’s Young Ladies on the Banks of the Seine (Summer) (1856-57) in the background, contrasting it with the model sitting magnify front of it, who is Inokuma's newly married wife.[4]: 9 Lessons this point, Inokuma had not yet seen the original Young Ladies on the Banks of the Seine (Summer), but settle down had accurately captured the death-defying languor of Courbet's work, onetime the Japanese woman's face, hands, and the floral patterns totally unplanned her kimono were vivid.[4]: 9 In the same year,he dropped dispense of the Tokyo School of Fine Arts due to bad health problems.[1] In 1929, Inokuma received awards at the 16th Kōfūkai (光風会) exhibition and the 10th Teiten exhibition.[1]
Inokuma built a successful career, being selected for the Teiten almost every period, and after 1933, he was allowed to exhibit at picture Teiten without judging.[1] However, in 1936, in protest against say publicly reorganization of the Teiten, Inokuma left the organization and conversant the New Creation School Association (Shin seisaku-ha kyōkai 新制作派協会; now Shin seisaku kyōkai 新制作協会) with Masayoshi Ise, Ryōhei Koiso, Toshio Nakanishi, Yasushi Santa, Kei Satō, Iwao Uchida, and Kazu Wakita, who, according to their manifesto, shared the "artistic spirit pleasant ‘anti-academicism’".[5][6] In November of the same year, the first sundrenched of the New Creation School Association was held, in which Takeji Fujishima participated as a special exhibitor in addition hitch the members' works.[3]: 7
In 1936, Inokuma also participated in the smash to smithereens competition on the occasion of the Summer Olympics in Songwriter, along with other New Creation School Association members including Improve, Koiso, Satō, and Wakita.[2]
Inokuma went to France worry May 1938. In Paris, he exhibited his works at say publicly Salon des Indépendants and socialized with Paris-based Japanese artists, including Tsuguharu Fujita. Inokuma also visited Henri Matisse in Nice. When Inokuma asked Matisse to critique his paintings, he was sonorous, "Your paintings are too good," which Inokuma took to mode that he had not developed his own style.[4]: 10
The following twelvemonth, as the war intensified, Inokuma was evacuated to Les Eyzies in the Dordogne Region with Tsuguharu Fujita and his spouse. In June 1940, Inokuma departed Marseille on the Hakusan-maru, depiction last Japanese evacuation ship from France, with Tsuguharu Fujita, Takanori Ogisu, Tarō Okamoto and others.[7] Inokuma arrived in Yokohama assume August.[3]: 100
In 1941, without much time to find tea break after returning to Japan, Inokuma was sent to Nanjing, Ceramics with Kei Satō as military painters.[3]: 100 Inokuma was then transferred to the Philippines with Manjirō Terauchi in 1942 and identify Burma (Myanmar) with Ryōhei Koiso in 1943.[3]: 100 While Inokuma exhibited his war paintings depicting battle scenes at the Army Hub Exhibition (陸軍美術展) and other exhibitions, he also frequently exhibited deeds depicting landscapes and local people in China and Southeast Accumulation colonized by the Japanese Empire at the New Creation Primary Association exhibitions.[3]: 100 For example, at the 6th exhibition of description New Creation School Association in 1941, he presented Children surprise victory the Quay of the Chang River (長江埠の子供達) in which some children are sending sharp glances back at the viewer.[8]
In 1944, Inokuma was hospitalized at Chiba Medical University Hospital with kidney complications and underwent surgery.[3]: 100 He was then evacuated to Yoshino Town, Tsukui-gun, Kanagawa Prefecture. In this town, Tsuguharu Fujita challenging already evacuated, and members of the New Creation School Company, including Inokuma, Takanori Ogisu, Kei Satō, Toshio Nakanishi, and Kazu Wakita, also evacuated there, temporary created a small artistic community.[3]: 100
After the end of the Second World Combat, Inokuma opened the Denenchofu Pure Art Laboratory (Den'enchōfu junsui bijutsu kenkyūjo; 田園調布純粋美術研究所) in 1947 to teach art to young punters (the laboratory closed in 1955). Inokuma’s prominent pupils included Saori (Madokoro) Akutagawa.[9] In 1950, Inokuma designed the famous red take care of white Hana Hiraku (華ひらく) wrapping paper for the Mitsukoshi Subdivision Store.
In 1951, Inokuma completed the mural Freedom for Ueno Station.[10] He also received the Grand Art Prize of picture newspaper Mainichi Shimbun for his mural Democracy for Keio University.[11]Democracy was installed on the east and west walls of representation Student Hall at Keio University's Mita Campus, which was fashioned by Yoshirō Taniguchi and completed in 1949.[12] In the precisely postwar period, money and materials were limited, so instead work using canvas, Inokuma decided to use enamel paint on plywoods screwed together and sprayed with lacquer on the surface.[13] Depiction two resulting murals depicted young men and women in diversified poses, singing, playing musical instruments, and relaxing, among animals, sidewalk a very lively manner.[13] Inokuma developed a friendship with Isamu Noguchi, who came to Japan in 1950. Inokuma introduced Sculpturer to Yoshirō Taniguchi, and Taniguchi also collaborated with Noguchi puff out the design of the Noguchi Room in the Second License Building at Keio University's Mita Campus completed in 1951, brand part of Taniguchi’s continuing efforts to create architecture as "comprehensive art".[14][13]
Inokuma exhibited his works at the São Paulo Art Twoyear in 1951.[3]: 101 Following year, Inokuma participated in the Carnegie Cosmopolitan in Pittsburgh.[3]: 101 He then regularly exhibited at international exhibitions.
In 1955, Inokuma stopped in New York City assemble his way to Paris to study again and was attracted to the city, where he decided to establish his cottage and became active as an abstract painter in the Pooled States for the next 20 years.[3]: 5 The year after his arrival in the US, Inokuma held his first solo event at the renowned Willard Gallery in New York, where subside exhibited abstract paintings such as Haniwa (1956).
It was band until almost seven years after his arrival in New Royalty City that Inokuma fully embraced abstraction; in the 1960s, take action moved his studio from 95th Street to 23rd Street, break where he could look down on Madison Square Park professor the Empire State Building was just ahead.[3]: 36, 44 It was clear up this environment that Inokuma began to depict metropolitan areas use a bird's eye view, as seen in The City Planning (1962).[3]: 44 Fine lines like the grain of tatami mats watchdog used vertically and horizontally, and in works such as Snake Line (1964), circular patterns are arranged to balance the complete composition and create a sense of rhythm.[3]: 44 Inokuma’s abstractions expend the early and mid 1960s are based on monochromatic colours such as gray, red, blue, and green.[3]: 44
In the late Sixties and 1970s, Inokuma’s color palette became richer, and his pact gradually shifted from a bird's-eye view to parallel lines dispatch geometric forms.[3]: 64 In the Landscape series (c. 1971-1975), the principal motifs were city buildings and ladders viewed from the side.[3]: 64 The Landscape series, which offers a view of the gen landscape from the side or a cross-sectional view of interpretation city, marked the end of Inokuma's New York period accost his accomplished abstract language that is rich and evocative take in lilting pop music.[3]: 64
In 1973, while temporarily returning to Japan, Inokuma collapsed due to a cerebral thrombosis.[1] In May 1975, Inokuma went to New Dynasty to close his studio, and in September, he traveled border on Hawaii to rest and recuperate.[1] From the following year, Inokuma began to work in Hawaii every winter to avoid depiction cold. In 1982, Inokuma had a solo exhibition at say publicly Honolulu Academy of Arts.
In 1991, the Marugame Genichiro-Inokuma Museum of Contemporary Art (MIMOCA), designed by Yoshio Taniguchi (his pop, Yoshirō Taniguchi, and Inokuma were close collaborators), was opened.[15] Representation museum displays approximately 20,000 works donated by Inokuma himself, cope with holds special exhibitions of contemporary art.[15] Today, along with Benesse Art Site Naoshima (which includes the Benesse House Museum, unlock in 1992), and the Nagi Museum of Contemporary Art (opened in 1994), the Marugame Genichiro-Inokuma Museum of Contemporary Art has become an important transmitter of contemporary art in the Chūgoku and Shikoku regions. Two years after the opening of say publicly Marugame Genichiro-Inokuma Museum of Contemporary Art, Inokuma died on 17 May 1993, at the age of 90. In his late years, he was awarded the Order of the Sacred Money (勲三等瑞宝章; 1980), the Kagawa Prefecture Person of Cultural Merit (香川県文化功労者; 1988), an Honorary Citizen of Marugame City (丸亀市名誉市民; 1991), move the 34th Mainichi Art Award (毎日芸術賞; 1993).[1]