The collection exhibition from May 24 to August 7, 2016

       Welcome to the MOMAT Collection! Here are a few things to keep an eye out for in this edition. First of all, in the “Highlights” section (Room 1, 4th floor), be sure and see Tsuchida Bakusen’s Serving Girl at a Spa (Important Cultural Property) and Kaburaki Kiyokata’s Boating Excursion on the Sumida River, two works that are perfectly suited to the summer. And don’t miss the various other works that eloquently express a wide range of emotions related to the season. For example, when you take a close look at the various devices painters used to depict light (Room 2, 4th floor), and rain and atmosphere (Room 10, 3rd floor), you are sure to feel an even deeper attraction to these works.

       Last year the museum acquired 11 works by the oil painter Matsumoto Shunsuke, who was active during and after World War II. These new acquisitions are on view along with a number of Matsumoto’s paintings that were already part of the collection in Room 6 (3rd floor) and Gallery 4 (2nd floor).

       In Gallery 4, we also present a small exhibit called Modern Landscapes – For the Pleasure of People and Scenery: Nara Yoshimoto Curates the MOMAT Collection. When seen through the eyes of noted artist Nara Yoshitomo, the works in this display promise to take on a new allure.

       Finally, in conjunction with The Voice Between: The Art and Poetry of Yoshimasu Gozo exhibition, which will be held from June 7 to August 7 on the first floor, we present a selection of works by Wakabayashi Isamu, a close friend of Gozo’s, in Room 12 (2nd floor). This edition of the collection exhibit is once again filled with a great diversity of works. Please enjoy looking at them.

List of Exhibits

• Please note that the exhibits and the exhibition schedule are subject to change without previous notice. For up-to-date information, please kindly check our website.

展示場所(Shown on/at；Room No.)	重文(Important Cultural Property)	音声ガイド(Audio Guide)	作家名	題名	制作年 (Year of Production; c.=～年頃)	技法・支持体	収蔵経緯、寄贈、寄託（Mode of acquisition;　Long term loan)	Name of the Artist	Title (in English)	Material (technique, support)
4F (Fourth floor)
1室		0062	靉光	眼のある風景	1938	油彩・キャンバス	購入	AI-MITSU	Landscape with an Eye	oil on canvas
1室		0019	鏑木清方	墨田河舟遊	1914	絹本彩色	文部省管理換	KABURAKI, Kiyokata	Boating-Excursion on the Sumida River	color on silk
1室	◎	0020	岸田劉生	道路と土手と塀(切通之写生)	1915	油彩・キャンバス	文化庁管理換	KISHIDA, Ryusei	Road Cut through a Hill	oil on canvas
1室		0023	岸田劉生	麗子肖像(麗子五歳之像)	1918	油彩・キャンバス	購入	KISHIDA, Ryusei	Reiko, Five Years Old	oil on canvas
1室			草間彌生	残骸のアキュミレイション(離人カーテンの囚人)	1950	油彩、エナメル・麻布(種袋)	購入	KUSAMA, Yayoi	Accumulation of the Corpses (Prisoner Surrounded by the Curtain of Depersonalization)	oil and enamel on seed sack
1室		39	佐伯祐三	ガス灯と広告	1927	油彩・キャンバス	文化庁管理換	SAEKI, Yuzo	Gas Lamp and Advertisements	oil on canvas
1室			辰野登恵子	Work 84-P-1	1984	油彩・キャンバス	購入	TATSUNO, Toeko	Work 84-P-1	oil on canvas
1室			田中敦子	作品 66 – SA	1966	ビニール樹脂・キャンバス	購入	TANAKA, Atsuko	Work 66 – SA	vinyl resins on canvas
1室	◎	26	土田麦僊	湯女(ゆな)	1918	絹本彩色	文化庁管理換	TSUCHIDA, Bakusen	Serving Girl in a Spa	color on silk
1室			奈良美智	Harmless Kitty	1994	アクリリック・綿布	購入	NARA, Yoshitomo	Harmless Kitty	acrylic on cotton
1室	◎	17	萬鉄五郎	裸体美人	1912	油彩・キャンバス	八木正治氏寄贈	YOROZU, Tetsugoro	Nude Beauty	oil on canvas
1室			ジョルジュ・ブラック	女のトルソ	1910-11	油彩・キャンバス	購入	Georges Braque	Female Torso	oil on canvas
1室			ポール・セザンヌ	大きな花束	c.1892-95	油彩・キャンバス	購入	Paul Cézanne	Grand Bouquet of Flowers	oil on canvas
2室			赤城泰舒	白い砂	1912	水彩、鉛筆・紙	赤城輝子氏寄贈	AKAGI, Yasunobu	White Sand	watercolor and pencil on paper
2室			大久保作次郎	三月の日	1917	油彩・キャンバス	大久保婦久子氏寄贈	OKUBO, Sakujiro	A Day in March	oil on canvas
2室			太田喜二郎	田植	1916	油彩・キャンバス	太田菊枝氏寄贈	OTA, Kijiro	Rice-Planting	oil on canvas
2室			川端龍子	慈悲光礼讃(朝・夕)	1918	絹本彩色	文化庁管理換	KAWABATA, Ryushi	Divine Light of Love: Morning, Evening	color on silk
2室		34	徳岡神泉	蓮	1925	絹本彩色	徳岡房子氏寄贈	TOKUOKA, Shinsen	Lotus	color on silk
2室			戸張孤雁	水面を眺める女	1914	ブロンズ	購入	TOBARI, Kogan	Woman Gazing at the Surface of the Water	bronze
2室			戸張孤雁	伊豆山の海	大正時代	紙本彩色	山本孝氏寄贈	TOBARI, Kogan	Sea of Izusan	color on paper
2室			中沢弘光	夏	1907	油彩・キャンバス	文部省管理換	NAKAZAWA, Hiromitsu	Summer	oil on canvas
2室			中沢弘光	まひる	1910	油彩・キャンバス	文部省管理換	NAKAZAWA, Hiromitsu	Midday	oil on canvas
3室			荻原守衛	文覚	1908	ブロンズ	購入	OGIWARA, Morie	Priest Mongaku	bronze
3室		12	荻原守衛	女	1910	ブロンズ	文部省管理換	OGIWARA, Morie	Woman	bronze
3室			中原悌二郎	若きカフカス人	1919	ブロンズ	購入	NAKAHARA, Teijiro	Young Caucasian	bronze
3室			中村彝	自画像	c.1912	油彩・キャンバス	寄託	NAKAMURA, Tsune	Self-Portrait	oil on canvas
3室			中村彝	田中館博士の肖像	1916	油彩・キャンバス	田中館美稲氏寄贈	NAKAMURA, Tsune	Portrait of Dr.Tanakadate	oil on canvas
3室			中村彝	静物	1917	油彩・キャンバス	寄託	NAKAMURA, Tsune	Still Life	oil on canvas
3室	◎	29	中村彝	エロシェンコ氏の像	1920	油彩・キャンバス	大里一太郎氏寄贈	NAKAMURA, Tsune	Portrait of Vasilii Yaroshenko	oil on canvas
3室			柳敬助	白シャツの男	1914	油彩・キャンバス	購入	YANAGI, Keisuke	Man in a White Shirt	oil on canvas
4室			荻原守衛	坑夫	1907	ブロンズ	購入	OGIWARA, Morie	Miner	bronze
4室			荻原守衛	女の胴	1907	ブロンズ	購入	OGIWARA, Morie	Torso of a Woman	bronze
4室		25	高村光太郎	手	c.1918	ブロンズ	購入	TAKAMURA, Kotaro	Hand	bronze
4室			戸張孤雁	唱える女	c.1914	ブロンズ	購入	TOBARI, Kogan	Woman Chanting Prayers	bronze
4室			戸張孤雁	曇り	1917	ブロンズ	購入	TOBARI, Kogan	Cloudiness	bronze
4室			戸張孤雁	煌めく嫉妬	1924	ブロンズ	購入	TOBARI, Kogan	Glittering Jealousy	bronze
4室			オーギュスト・ロダン	トルソー	制作年不詳	ブロンズ	岩波茂雄氏旧蔵、岩波雄二郎氏遺贈	Auguste Rodin	Torso	bronze
5室			伊藤廉	パン	1927	油彩・キャンバス	作者寄贈	ITO, Ren	Bread	oil on canvas
5室			伊藤廉	リューマチの労働者	1930	油彩・キャンバス	作者寄贈	ITO, Ren	Rheumatoid Labourer	oil on canvas
5室			伊原宇三郎	室内群像	1928-29	油彩・キャンバス	作者寄贈	IHARA, Usaburo	Group in a Room	oil on canvas
5室			伊原宇三郎	バーモウビルマ国家代表像	1943	油彩・キャンバス	無期限貸与	IHARA, Usaburo	Portrait of Ba Maw, Burmese Premier	oil on canvas
5室			梅原龍三郎	桜島(青)	1935	油彩・キャンバス	川口松太郎氏寄贈	UMEHARA, Ryuzaburo	Mt. Sakurajima (Blue)	oil on canvas
5室		59	梅原龍三郎	北京秋天	1942	油彩、岩絵具・紙	川口松太郎氏寄贈	UMEHARA, Ryuzaburo	Autumn in Beijing	oil and Japanese pigment on paper
5室			梅原龍三郎	姑娘とチューリップ	1942	油彩、岩絵具・紙	作者寄贈	UMEHARA, Ryuzaburo	Chinese Girl and Tulip	oil and Japanese pigment on paper
5室			梅原龍三郎	噴煙	1950-53	デトランプ・紙	川口松太郎氏寄贈	UMEHARA, Ryuzaburo	Volcano Mt. Asama Erupting	detrempe on paper
5室			梅原龍三郎	葬壇	1977	油彩・キャンバス	城下るり子氏遺贈	UMEHARA, Ryuzaburo	Funeral Altar	oil on canvas
5室		14	藤島武二	うつつ	1913	油彩・キャンバス	購入	FUJISHIMA, Takeji	Half Dreaming	oil on canvas
5室			藤島武二	アルチショ	1917	油彩・キャンバス	購入	FUJISHIMA, Takeji	Artichoke	oil on canvas
5室			藤島武二	港の朝陽	1934	油彩・キャンバス	東京国立博物館管理換	FUJISHIMA, Takeji	Sunrise at a Harbor	oil on canvas
5室			藤島武二	麻姑献壽（まこけんじゅ）	1937	油彩・キャンバス	武廣恭子氏寄贈	FUJISHIMA, Takeji	Magu, a Nymph in an Ancient Chinese Legend	oil on canvas
5室			安井曽太郎	黄色い甕	1912	油彩・キャンバス	購入	YASUI, Sotaro	Yellow Flower Vase	oil on canvas
5室		51	安井曽太郎	奥入瀬（おいらせ）の溪流	1933	油彩・キャンバス	文化庁管理換	YASUI, Sotaro	Oirase Stream	oil on canvas
5室		52	安井曽太郎	金蓉（きんよう）	1934	油彩・キャンバス	購入	YASUI, Sotaro	Portrait of Chin-Jung	oil on canvas
5室			安井曽太郎	安倍能成（よししげ）像	1944	油彩・キャンバス	安倍恭子氏寄贈	YASUI, Sotaro	Portrait of Mr. Abe Yoshishige	oil on canvas
3F (Third floor)
6室			藤田嗣治	哈爾哈（はるは）河畔之戦闘	1941	油彩・キャンバス	無期限貸与	FUJITA, Tsuguharu	Battle on the Banks of the Khalkha, Nomonhan	oil on canvas
6室			松本竣介	山王の街	1933	油彩・板	購入	MATSUMOTO, Shunsuke	The Town of Sanno	oil on board
6室			松本竣介	黒い花	1940	油彩・板	購入	MATSUMOTO, Shunsuke	Black Flowers	oil on board
6室			松本竣介	N駅近く	1940	油彩・キャンバス	購入	MATSUMOTO, Shunsuke	Scene near N Station	oil on canvas
6室			松本竣介	女の顔	c.1946	インク・紙	購入	MATSUMOTO, Shunsuke	Head of a Woman	ink on paper
6室			松本竣介	裸婦	1947	油彩・キャンバス	購入	MATSUMOTO, Shunsuke	Nude	oil on canvas
6室			松本竣介	ニコライ堂付近	c.1947	油彩・キャンバス	購入	MATSUMOTO, Shunsuke	Near Nikolai Cathedral	oil on canvas
6室			松本竣介	習作（陸橋）	c.1947	油彩・キャンバス	購入	MATSUMOTO, Shunsuke	Study (Bridge over the Roadway)	oil on canvas
6室			松本竣介	建物(茶)	1948	墨・紙	購入	MATSUMOTO, Shunsuke	Building (Brown)	sumi on paper
6室			松本竣介	建物	1948	油彩・板	購入	MATSUMOTO, Shunsuke	Building	oil on board
6室			松本竣介	建物	c.1948	鉛筆・紙	購入	MATSUMOTO, Shunsuke	Building	pencil on paper
6室			宮本三郎	南苑攻撃図	1941	油彩・キャンバス	無期限貸与	MIYAMOTO, Saburo	Attack on Nanyuan, Beijing	oil on canvas
7室			海老原喜之助	姉妹ねむる	1927	油彩・キャンバス	塩沢沙河氏寄贈	EBIHARA, Kinosuke	Sleeping Sisters	oil on canvas
7室			海老原喜之助	ゲレンデ	1930	油彩・キャンバス	塩沢沙河氏寄贈	EBIHARA, Kinosuke	Skiing Ground	oil on canvas
7室			海老原喜之助	群がる雀	c.1935	油彩・キャンバス	購入	EBIHARA, Kinosuke	Flock of Sparrows	oil on canvas
7室			海老原喜之助	殉教者	1951	油彩・キャンバス	東京国立博物館管理換	EBIHARA, Kinosuke	Martyr	oil on canvas
7室			海老原喜之助	雨の日	1963	油彩・キャンバス	購入	EBIHARA, Kinosuke	Rainy Day	oil on canvas
7室			鳥海青児	畑	1953	油彩・キャンバス	購入	CHOKAI, Seiji	Fields	oil on canvas
7室			鳥海青児	石だたみ	1961	油彩・キャンバス	購入	CHOKAI, Seiji	Stone Pavement	oil on canvas
7室			ジャン・デュビュッフェ	土星の風景	1952	油彩・キャンバス	盛田良子氏寄贈	Jean Dubuffet	Saturian Landscape	oil on canvas
7室			ジャン・デュビュッフェ	草の茂る壁際	1956	油彩・キャンバス（アサンブラージュ）	購入	Jean Dubuffet	The Foot of the Grass-grown Wall	oil on canvas (assemblage)
8室			北代省三	モビール・オブジェ(回転する面による構成)	1953	アルミニウム、ジュラルミン、鉄	北代芳江氏寄贈	KITADAI, Shozo	Mobile Object (Composition of Rotating Surfaces)	aluminum, duralumin and steel
8室			北代省三	自動車についての美学-2	1958	ゼラチン・シルバー・プリント	寄託	KITADAI, Shozo	Aesthetics About Cars 2	gelatin silver print
8室			北代省三	自動車についての美学-3	1958	ゼラチン・シルバー・プリント	寄託	KITADAI, Shozo	Aesthetics About Cars 3	gelatin silver print
8室			北代省三	自動車についての美学-4	1958	ゼラチン・シルバー・プリント	寄託	KITADAI, Shozo	Aesthetics About Cars 4	gelatin silver print
8室			北代省三・大辻清司	『APN』ポートフォリオより (4)	1953-54 (2003 print)	ゼラチン・シルバー・プリント	購入	KITADAI, Shozo / OHTSUJI, Kiyoji	From APN portfolio (4)	gelatin silver print
8室			北代省三・大辻清司	『APN』ポートフォリオより (6)	1953-54 (2003 print)	ゼラチン・シルバー・プリント	購入	KITADAI, Shozo / OHTSUJI, Kiyoji	From APN portfolio (6)	gelatin silver print
8室			北代省三・大辻清司	『APN』ポートフォリオより (8)	1953-54 (2003 print)	ゼラチン・シルバー・プリント	購入	KITADAI, Shozo / OHTSUJI, Kiyoji	From APN portfolio (8)	gelatin silver print
8室			山口勝弘・大辻清司	『APN』ポートフォリオより (6)	1953-54 (2002 print)	ゼラチン・シルバー・プリント	購入	YAMAGUCHI, Katsuhiro / OHTSUJI, Kiyoji	From APN portfolio (6)	gelatin silver print
8室			山口勝弘・大辻清司	『APN』ポートフォリオより (10)	1953-54 (2002 print)	ゼラチン・シルバー・プリント	購入	YAMAGUCHI, Katsuhiro / OHTSUJI, Kiyoji	From APN portfolio (10)	gelatin silver print
8室			駒井哲郎	束の間の幻影	1951	銅版	購入	KOMAI, Tetsuro	Momentary Illusion	aquatint
8室			駒井哲郎	夜の森	1958	銅版	購入	KOMAI, Tetsuro	Forest at Night	aquatint
8室			駒井哲郎	13	1959	銅版	作者寄贈	KOMAI, Tetsuro	13	aquatint and etching
8室			山口勝弘	ヴィトリーヌ No.47(完全分析方法による風景画)	1955	油彩、水彩・紙、ガラス、木	購入	YAMAGUCHI, Katsuhiro	Vitrine No.47 (Landscape Analyzed by a Perfect Method)	oil, water color, paper, glass and wood
8室			アレクサンダー・カルダー	モンスター	c.1939	金属板、針金　、塗料	購入	Alexander Calder	The Monster	sheet metal, steel wire and paint
8室			アーシル・ゴーキー	無題	1940s	鉛筆・紙	購入	Arshile Gorky	Untitled	pencil on paper
8室			アーシル・ゴーキー	無題	c.1945	鉛筆、オイルパステル・紙	寄託	Arshile Gorky	Untitled drawing	pencil and crayon on paper
8室			アーシル・ゴーキー	「十字架の木」のための習作	c.1946	インク、鉛筆・紙	購入	Arshile Gorky	Study for Tree of the Cross (Khatchdzar)	ink and pencil on paper
8室		43	ワシリー・カンディンスキー	全体	1940	油彩・キャンバス	購入	Wassily Kandinsky	The Whole	oil on canvas
8室		38	パウル・クレー	花ひらく木をめぐる抽象	1925	油彩・厚紙	購入	Paul Klee	Abstraction with Reference to a Flowering Tree	oil on carton
8室			パウル・クレー	花のテラス	1937	油彩・綿布	購入	Paul Klee	Flower Terrace	oil on cotton canvas
8室			ハンス・リヒター	色のオーケストレーション	1923	油彩・キャンバス	作者遺贈	Hans Richter	Orchestration of Color	oil on canvas
9室			大辻清司	「大辻清司ポートフォリオ」より　日が暮れる	1975 (1997 print)	ゼラチン・シルバー・プリント	購入	OHTSUJI, Kiyoji	At Dusk from Kiyoji Ohtsuji Portfolio	gelatin silver print, 2 prints
9室			白岡順	ベルサイユ宮殿、フランス、1991年2月12日	1991	ゼラチン・シルバー・プリント	作者寄贈	SHIRAOKA, Jun	Versailles, France, February 12, 1991	gelatin silver print
9室			白岡順	東京、青山、1991年4月10日	1991	ゼラチン・シルバー・プリント	作者寄贈	SHIRAOKA, Jun	Aoyama, Tokyo, April 10, 1991	gelatin silver print
9室			白岡順	愛媛、土居、1991年8月16日	1991	ゼラチン・シルバー・プリント	購入	SHIRAOKA, Jun	Doi, Ehime, August 16, 1991	gelatin silver print
9室			白岡順	フランス、グルノーブル、1991年10月1日	1991	ゼラチン・シルバー・プリント	購入	SHIRAOKA, Jun	Grenoble, France, October 1, 1991	gelatin silver print
9室			白岡順	パリ、ピカソ美術館、1992年6月25日	1992	ゼラチン・シルバー・プリント	購入	SHIRAOKA, Jun	Musee Picasso, Paris, June 25, 1992	gelatin silver print
9室			高梨豊	「町」より　三田・芝 港区芝五ノ三一ノ一 三分間写真	1976-77 (2008 print)	タイプCプリント	購入	TAKANASHI, Yutaka	Mita, Shiba: 3 minutes photo booth, 5-31-1 Shiba, Minato-ku from Machi	type C print
9室			奈良原一高	「王国」より　沈黙の園	1958 (1977 print)	ゼラチン・シルバー・プリント	株式会社ニコン寄贈	NARAHARA, Ikko	Garden of Silence from Domains	gelatin silver print
9室			奈良原一高	「王国」より　沈黙の園	1958	ゼラチン・シルバー・プリント	株式会社ニコン寄贈	NARAHARA, Ikko	Garden of Silence from Domains	gelatin silver print
9室			古屋誠一	「クリスティーネの肖像」より　ミッターラスニッツ 1980	1980 (1997 print)	ゼラチン・シルバー・プリント	購入	FURUYA, Seiichi	Mitterlassnitz 1980 from Portrait of Christine	gelatin silver print
9室			安井仲治	「安井仲治ポートフォリオ」より　流氓ユダヤ 窓	1941 (2010 print)	ゼラチン・シルバー・プリント	購入	YASUI, Nakaji	Wondering Jews: Window from Nakaji Yasui Portfolio	gelatin silver print
9室			ハリー・キャラハン	エレノアとバーバラ、シカゴ、1954	1954	ゼラチン・シルバー・プリント	購入	Harry Callahan	Eleanor and Barbara, Chicago, 1954	gelatin silver print
9室			ロバート・フランク	ニューヨーク, 1948	1948	ゼラチン・シルバー・プリント	購入	Robert Frank	NYC, 1948	gelatin silver print
9室			リー・フリードランダー	ニューオーリンズ	1968	ゼラチン・シルバー・プリント	谷口昌良氏寄贈・空蓮房コレクション	Lee Friedlander	New Orleans	gelatin silver print
9室			フローランス・アンリ	『フローランス・アンリ・ポートフォリオ』より　パリの窓	1929 (1974 print)	ゼラチン・シルバー・プリント	購入	Florence Henri	Window, Paris from the portfolio Florence Henri	gelatin silver print
9室			ウィリアム・クライン	ホームズ医療用品、ニューヨーク	1955	ゼラチン・シルバー・プリント	購入	William Kｌein	Holmes Sickroom, New York	gelatin silver print
9室			ジョセフ・クーデルカ	「亡命者たち」よりウェールズ	1975 (1990 print)	ゼラチン・シルバー・プリント	購入	Josef Koudelka	Wales from Exiles	gelatin silver print
9室			ヤロスラフ・レスレル	天窓	1923 (2001 print)	ゼラチン・シルバー・プリント	購入	Jaroslav Rössler	Skylight	gelatin silver print
9室			アルフレッド・スティーグリッツ	雪の積もった鶏小屋の窓	1923	ゼラチン・シルバー・プリント	ジョージア・オキーフ氏寄贈	Alfred Stieglitz	Chicken House Window with Snow	gelatin silver print
9室			ゲリー・ウィノグランド	ポートフォリオ「Fifteen Photographs」より　テキサス州サンマルコス	1964 (1974 print)	ゼラチン・シルバー・プリント	購入	Garry Winogrand	San Marcos, Texas from Fifteen Photographs	gelatin silver print
10室			伊東深水	神立前	1920	木版(多色)	購入	ITO, Shinsui	Before a Thunderstorm	color woodcut
10室			伊東深水	大島三原山の外輪	1921	木版(多色)	購入	ITO, Shinsui	The Crater Rim of Mt. Miharayama, Oshima Island	color woodcut
10室			上村松篁	双鳩（そうきゅう）	1942	絹本彩色	東京国立博物館管理換	UEMURA, Shoko	A Couple of Doves	color on silk
10室			小野竹喬	池	1967	絹本彩色	作者寄贈	ONO, Chikkyo	Pond	color on silk
10室			堅山南風	白雨	1951	紙本彩色	文部省管理換	KATAYAMA, Nampu	Shower	color on paper
10室			河合健二	霧雨	1947	絹本彩色	文部省管理換	KAWAI, Kenji	Misty Rain	color on silk
10室			川瀬巴水	「旅みやげ　第一集」より　十和田湖　千丈幕	1919	木版(多色)	購入	KAWASE, Hasui	The Senjomaku Rock Wall from Scenes from Travels I	color woodcut
10室			川瀬巴水	「東京十二題」より　駒形河岸	1919	木版	購入	KAWASE, Hasui	By the Sumida River Around Komagata from Twelve Tokyo Scenes	color woodcut
10室			川瀬巴水	「旅みやげ　第三集」より　周防　錦帯橋	1924	木版(多色)	購入	KAWASE, Hasui	Kintaikyo Bridge, Suo from Scenes from Travels III	color woodcut
10室			川端龍子	新樹の曲	1932	絹本彩色	川端捷良氏遺贈	KAWABATA, Ryushi	Song of Newly Green Trees	color on silk
10室			菊池契月	麦挋(むぎふるい)	1937	絹本彩色	菊池一雄氏寄贈	KIKUCHI, Keigetsu	Winnowing Wheat	color on silk
10室			北野恒富	戯れ	1929	絹本彩色	購入	KITANO, Tsunetomi	For Fun	color on silk
10室			小泉癸巳男	「昭和大東京百図絵」より 15.関口・大滝	1931	木版(多色)	購入	KOIZUMI, Kishio	Waterfall at Sekiguchi (No.15 of One Hundred Scenes from Tokyo Metropolis in the Showa Period)	color woodcut
10室			児玉希望	仏蘭西山水絵巻(山)	1958	絹本墨画	作者寄贈	KODAMA, Kibo	Scrolls of Landscape in France: Mountain	sumi on silk
10室			竹内栖鳳	雨霽(あまばれ)	1907	絹本墨画	文部省管理換	TAKEUCHI, Seiho	After a Shower	sumi on silk
10室			徳岡神泉	菖蒲	1939	絹本彩色	文部省管理換	TOKUOKA, Shinsen	Irises	color on silk
10室			中村岳陵	気球揚る	1950	紙本彩色	文部省管理換	NAKAMURA, Gakuryo	Rising Balloon	color on paper
10室			中村岳陵	孫	1951	紙本彩色	文部省管理換	NAKAMURA, Gakuryo	Grandson	color on paper
10室			中村貞以	爽凉	1956	絹本彩色	購入	NAKAMURA, Teii	Cool and Refreshing	color on silk
10室			橋本雅邦	牧童	c.1899	絹本彩色	寄贈	HASHIMOTO, Gaho	A Cowboy	color on silk
10室		66	福田平八郎	雨	1953	紙本彩色	購入	FUKUDA, Heihachiro	Rain	color on paper
3F、EVホール			柳原義達	犬の唄	1961	ブロンズ	作者寄贈	YANAGIHARA, Yoshitatsu	Song of the Dog	bronze
3F、EVホール			柳原義達	道標(風と鴉)	1966	ブロンズ	作者寄贈	YANAGIHARA, Yoshitatsu	Milestone (Wind and Crow)	bronze
3F、EVホール			マリノ・マリーニ	小さな裸婦	1943	ブロンズ	作者寄贈	Marino Marini	Small Nude	bronze
2F (Second floor)
11室			勝又公仁彦	Skyline 100531	2004	タイプCプリント	購入	KATSUMATA, Kunihiko	Skyline 100531	type C print
11室			清野賀子	「The Sign of Life」より　千葉	2000	タイプCプリント	清野良民氏寄贈	SEINO, Yoshiko	Chiba from The Sign of Life	type C print
11室			清野賀子	「The Sign of Life」より　秩父　埼玉	2000	タイプCプリント	清野良民氏寄贈	SEINO, Yoshiko	Chichibu, Saitama from The Sign of Life	type C print
11室			清野賀子	「The Sign of Life」より　建物　千葉	2000	タイプCプリント	清野良民氏寄贈	SEINO, Yoshiko	A Building, Chiba from The Sign of Life	type C print
11室			清野賀子	「The Sign of Life」より　道　青森	2001	タイプCプリント	清野良民氏寄贈	SEINO, Yoshiko	A Path, Aomori from The Sign of Life	type C print
11室			清野賀子	「The Sign of Life」より　ブロック塀　千葉	2001	タイプCプリント	清野良民氏寄贈	SEINO, Yoshiko	A Concrete Wall, Chiba from The Sign of Life	type C print
11室			清野賀子	「The Sign of Life」より　海　青森	2001	タイプCプリント	清野良民氏寄贈	SEINO, Yoshiko	The Sea, Aomori from The Sign of Life	type C print
11室			清野賀子	「The Sign of Life」より　橋　東京	2001	タイプCプリント	清野良民氏寄贈	SEINO, Yoshiko	A Bridge, Tokyo from The Sign of Life	type C print
11室			清野賀子	「The Sign of Life」より　橋　徳島	2001	タイプCプリント	清野良民氏寄贈	SEINO, Yoshiko	A Bridge, Tokushima from The Sign of Life	type C print
11室			清野賀子	「The Sign of Life」より　愛媛	2001	タイプCプリント	清野良民氏寄贈	SEINO, Yoshiko	Ehime from The Sign of Life	type C print
11室		82	三木富雄	EAR	1965	アルミニウム	購入	MIKI, Tomio	EAR	aluminum
11室			三木富雄	EAR NO.Y-8	1972	アルミニウム	購入	MIKI, Tomio	EAR No.Y-8	aluminum
11室			ロバート・アダムズ	コロラド州デンバー、ブロードウェイ	1974	ゼラチン・シルバー・プリント	谷口昌良氏寄贈・空蓮房コレクション	Robert Adams	Broadway, Denver, Colorado	gelatin silver print
11室			ロバート・アダムズ	夏の夜 5	1982-85	ゼラチン・シルバー・プリント	谷口昌良氏寄贈・空蓮房コレクション	Robert Adams	Summer Nights 5	gelatin silver print
11室			ロバート・アダムズ	カリフォルニア州レッドランズ、州間高速道路10号線脇	1983	ゼラチン・シルバー・プリント	谷口昌良氏寄贈・空蓮房コレクション	Robert Adams	Next to Interstate 10, Redlands, California	gelatin silver print
11室			ロバート・アダムズ	コロラド州ボールダー郡、コットンウッドの葉	1988	ゼラチン・シルバー・プリント	谷口昌良氏寄贈・空蓮房コレクション	Robert Adams	Cottonwood Leaves, Boulder County, Colorado	gelatin silver print
11室			トーマス・シュトゥルート	フェルディナント＝フォン＝シール通り、デッサウ	1991	ゼラチン・シルバー・プリント	購入	Thomas Struth	FERDINAND-VON-SCHILL-STRASSE, DESSAU	gelatin silver print
11室			トーマス・シュトゥルート	ザルツマン通り、ライプツィヒ	1991	ゼラチン・シルバー・プリント	購入	Thomas Struth	SALZMANNSTRASSE, LEIPZIG	gelatin silver print
11室			トーマス・シュトゥルート	ゾフィー教区I、ハンブルガー大通り、東ベルリン	1992	ゼラチン・シルバー・プリント	購入	Thomas Struth	SOPHIENGEMEINDE　I, GROSSE HAMBURGERSTRASSE, BERLIN OST	gelatin silver print
11室			トーマス・シュトゥルート	ベルリン大聖堂 (アム・クプファーグラーベン通りより)、東ベルリン	1992	ゼラチン・シルバー・プリント	購入	Thomas Struth	BERLINER DOM (AM KUPFERGRABEN), BERLIN OST	gelatin silver print
12室			多和圭三	無題	1991	鋼鉄	購入	TAWA, Keizo	Untitled	steel
12室			土谷武	開放 I	1997	鋼鉄	購入	TSUCHITANI, Takeshi	Openness I	steel
12室			村岡三郎	熔断―1380°C×11000mm	1986	鋼鉄	購入	MURAOKA, Saburo	A Torch Cutting–1380°C×11000mm	steel
12室			若林奮	素描（64－68）	1964	墨・紙	作者寄贈	WAKABAYASHI, Isamu	Drawing（64－68）	sumi on paper
12室			若林奮	素描（64－72）	1964	インク・紙	作者寄贈	WAKABAYASHI, Isamu	Drawing（64－72）	ink on paper
12室			若林奮	素描（65－3）	1965	インク、水彩	作者寄贈	WAKABAYASHI, Isamu	Drawing（65－3）	ink and watercolor on paper
12室			若林奮	素描（65－6）	1965	鉛筆、墨、水彩	作者寄贈	WAKABAYASHI, Isamu	Drawing（65－6）	pencil and sumi on paper
12室			若林奮	素描（66－22）	1966	墨、水彩・紙	作者寄贈	WAKABAYASHI, Isamu	Drawing（66－22）	sumi and watercolor on paper
12室			若林奮	素描（66－37）	1966	鉛筆・紙	作者寄贈	WAKABAYASHI, Isamu	Drawing（66－37）	pencil on paper
12室			若林奮	素描（66－41）	1966	墨、水彩・紙	作者寄贈	WAKABAYASHI, Isamu	Drawing（66－41）	sumi and watercolor on paper
12室			若林奮	素描（66－71）	1966	墨、水彩・紙	作者寄贈	WAKABAYASHI, Isamu	Drawing（66－71）	sumi and watercolor on paper
12室			若林奮	北方金属	1966	鋼鉄	購入	WAKABAYASHI, Isamu	Northern Metal	steel
12室			若林奮	素描（67－67）	1967	インク､墨・紙	作者寄贈	WAKABAYASHI, Isamu	Drawing（67－67）	ink and sumi on paper
12室			若林奮	素描（67－100）	1967	インク・紙	作者寄贈	WAKABAYASHI, Isamu	Drawing（67－100）	ink on paper
12室			若林奮	素描（68－31）	1968	墨、水彩・紙	作者寄贈	WAKABAYASHI, Isamu	Drawing（68－31）	sumi and watercolor on paper
12室			若林奮	素描（68－39）	1968	墨、水彩・紙	作者寄贈	WAKABAYASHI, Isamu	Drawing（68－39）	sumi and watercolor on paper
12室			若林奮	2.5mの犬	1968	鋼鉄	購入	WAKABAYASHI, Isamu	Dog 2.5 Meters Wide	steel
12室			若林奮	不透明・低空	1969	鉛、紙、木、鋼鉄	購入	WAKABAYASHI, Isamu	Opacity, Low Altitude	lead, paper, wood and steel
12室			ブルース・ナウマン	コーナーで跳ねる　No.1	1968	ヴィデオ（デジタル・ベータカムに変換）、モノクロ、サウンド、60分00秒	購入	Bruce Nauman	Bouncing in the Corner No.1	video, b＆w, sound, 60’00”
12室			ブルース・ナウマン	壁と床での姿勢	1968	ヴィデオ　モノクロ　サウンド　60分	購入	Bruce Nauman	Wall-Floor Positions	video, b＆w, sound, 60’00”
2F、EVホール			田中功起	一つのプロジェクト、七つの箱と行為、美術館にて	2012	HDヴィデオ　カラー　サウンド　13分33秒、段ボール、椅子他	購入	TANAKA, Koki	A Project, Seven Boxes and Movements at the Museum	HD video, color, sound, 13’33”. chairs and cardoboard boxes, etc.
2Fテラス		90	アントニー・ゴームリー	反映／思索	2001	鋳鉄	購入	Antony Gormley	Reflection	cast iron
2Fテラス			ジュリアン・オピー	「日本八景」より　国道百三十六号線から見る雨の松崎港	2007	映像インスタレーション（液晶モニター2台、コンピューター）	購入	Julian Opie	Matsuzaki Bay in the Rain from Route 136. From Eight Views of Japan.	double 46 inches LCD screens PC inside, computer film
2Fテラス			ジュリアン・オピー	「日本八景」より　真鶴半島の上の月	2007	映像インスタレーション（液晶モニター2台、コンピューター）	購入	Julian Opie	Moon Over Manazuru Peninsula. From Eight Views of Japan.	double 46 inches LCD screens PC inside, computer film
2Fテラス			ジュリアン・オピー	「日本八景」より　国道三百号線からみる本栖湖の富士山	2007	映像インスタレーション（液晶モニター1台、コンピューター）	購入	Julian Opie	View of Lake Motosu and Mount Fuji from Route 300. From Eight Views of Japan.	single 46 inches LCD screens PC inside, computer film
2Fテラス			ジュリアン・オピー	「日本八景」より　国道五十二号線から南部橋をのぞむ	2007	映像インスタレーション（液晶モニター2台、コンピューター）	購入	Julian Opie	View of Nambu Bridge from Route 52. From Eight Views of Japan.	double 46 inches LCD screens PC inside, computer film
屋外彫刻　Outdoor Sculptures
本館前庭			多田美波	Chiaroscuro	1979	ステンレススチール、硬質ガラス	購入	TADA, Minami	Chiaroscuro	stainless steel and hard glass
本館屋外			木村賢太郎	七つの祈り	1969	石	購入	KIMURA, Kentaro	Seven Prayers	stone
本館屋外			マリノ・マリーニ	あるイメージの構想	1969-70	ブロンズ	文化庁管理換	Marino Marini	The Idea of an Image	bronze
本館屋外		84	イサム・ノグチ	門	1969	鋼鉄、彩色	購入	Isamu Noguchi	Gate	painted steel

Important Cultural Properties on display

The National Museum of Modern Art, Tokyo Collection (main building) contains 14 items that have been designated by the Japanese government as Important Cultural Properties. These include nine Nihon-ga (Japanese-style) paintings, four oil paintings, and one sculpture. (One of the Nihon-ga paintings and one of the oil paintings are on long-term loan to the museum.)

The following Important Cultural Properties are shown in this period:

■Yorozu Tetsugoro, Nude Beauty, 1912
■Kishida Ryusei, Road Cut through a Hill, 1915
■Tsuchida Bakusen, Serving Girl in a Spa, 1918
■Nakamura Tsune, Portrait of Vasilii Yaroshenko , 1920

◆Please visit the Important Cultural Property section Masterpieces for more information about the pieces.

About the Sections

MOMAT Collection comprises twelve（or thirteen）rooms and two spaces for relaxation on three floors. In addition, sculptures are shown near the terrace on the second floor and in the front yard. The light blue areas in the cross section above make up MOMAT Collection. The space for relaxation A Room With a View is on the fourth floor.

The entrance of the collection exhibition MOMAT Collection is on the fourth floor. Please take the elevator or walk up stairs to the fourth floor from the entrance hall on the first floor.

4F (Fourth floor)

Room 1 Highlights * This section presents a consolidation of splendid works from the collection, with a focus on Master Pieces.
Room 2– 5 1900s－1940s
　From the End of the Meiji Period to the Beginning of the Showa Period

A Room With A View
Reference Corner

Room 1 Highlights

Over 200 works are lined up in this 3,000-square-meter space – these extravagant conditions are the selling point of the MOMAT Collection. But in recent years, we have received an increasing number of comments like, “They’re so many things here, I’m not sure what to see!” and “All I want to do is have a quick look at the famous works in a short period of time!” Thus, in conjunction with the gallery renovation in 2012, we have created this “Highlights” corner to allow visitors to enjoy a consolidation of splendid works from the collection, with a focus on Important Cultural Properties. For the walls, we have selected navy blue to make the works stand out more beautifully. And to eliminate the glare of glass cases, we have opted for a mat black for the floor to help viewers concentrate on the displays.

We begin this edition with two screens that are perfect for early to midsummer: Kaburaki Kiyokata’s Boating Excursion on the Sumida River depicts a lively pleasure-boat trip, and Tsuchida Bakusen’s Serving Girl in a Spa expresses the vitality of human life as it competes with that of plants. The oil painting section includes foreign artists such as Paul Cézanne and Georges Braque, both of whom exerted an enormous influence on 20th century art. These paintings are followed by Important Cultural Properties by Yorozu Tetsugoro and Kishida Ryusei, and in the postwar category, works by Kusama Yayoi, Tanaka Atsuko, Tatsuno Toeko, and Nara Yoshitomo.

Room 2 Brilliant Light

Summer is finally upon us. In this brilliant season, the mountains, rivers, and seas are bathed in sunlight. Artists of the Meiji and Taisho Period frequently depicted these types of landscapes that conveyed the summer light.

 The woman in Nakazawa Hiromitsu’s Summer is shown under the shining sun. It would actually be difficult to sketch this kind of scene due to the backlight. Nakazawa, however, splendidly consolidates the women’s form, exuding a cool sensation with the underlying blue color.

While Kawabata Ryushi depicts living things bathed in peaceful light in his Nihon-ga (Japanese-style painting), Tokuoka Shinsen focuses on a lotus glistening in the mist of an early morning rain. In Tobari Kogan’s Woman Gazing at the Surface of the Water, the protagonist seems to be staring at the reflection of her own face. As you look at these works, try to imagine how each artist dealt with the light as they created the landscape.

Room 3 Love and Cream Buns

Established in 1901, the bakery Shinjuku Nakamuraya is still headquartered in the Shinjuku district of Tokyo. Its founders, Soma Aizo and his wife Kokko, loved the arts and many young artists gathered at the bakery. These included sculptors such as Ogiwara Morie, Nakahara Teijiro, and Tobari Kogan, and painters such as Nakamura Tsune and Yanagi Keisuke. Perfectly conveying the freedom of the period, associated with so-called “Taisho democracy,” Nakamuraya was one of the era’s most important art salons.

The art salon concept originated in Europe, and its most significant feature was an attractive proprietress who discovered talented people. At Nakamuraya, Soma Kokko fulfilled this role. Ogiwara Morie was in love with Kokko and his work Woman is said to be based on her appearance. For his part, Nakamura Tsune fell first for Kokko and then later for the Somas’ oldest daughter, Toshiko. In both cases, however, his love went unrequited. As these examples suggest, in art salons during the Taisho democracy era, love was an important source of nourishment for art. So what about cream buns? In 1904, Nakamuraya became the first shop in Japan to make the baked delicacy.

Room 4 Writhing Season

The word “writhing” in the title connotes two things. The first is mental agony. The sculptures on view in this room were made by artists such as Ogiwara Morie, Takamura Kotaro, Tobari Kogan, who were associated with the Nakamuraya Salon introduced in Room 3. Ogiwara, who was in love with Soma Kokko, proprietress of the salon, suddenly died at the age of 31 after completing Woman (on display in Room 3). Priest Mongaku (also on display in Room 3) deals with a Buddhist priest from the Kamakura Period who is said to have entered the priesthood after falling in love with the wife of one of his compatriots.

The title’s second connotation is physical agony – not merely emotional distress, but the violently twisted bodies seen in these works. Until the late 19th century, Japanese sculpture was characterized by figures that stood at attention. Ogiwara, however, introduced a trend of forms twisted in a spiral shape. This was rooted in his fondness for the work of the French sculptor Auguste Rodin. Despite the fact that the figure’s limbs have been omitted from the work, Rodin’s Torso conveys the twisted state of an entire body using only a torso.

Room 5 There’s a Reason for Gathering Together

Fujishima Takeji, Umehara Ryuzaburo, Yasui Sotaro, Ihara Usaburo, and Ito Ren: The works you see here are by some of the most prominent artists of the 1940s. Yasui and Umehara, for example, are so well known that they inspired the term “Yasui / Umehara era.” Ihara served as a judge in the Teiten (Imperial Academy of Art Exhibition) in 1935, and Fujishima was awarded the first Order of Culture in 1937. Ito was recognized for his work with a prize at the Nika-ten exhibition in 1930 among other honors.

These artists took part in an event titled the “Works by Exceptional Children Roundtable Discussion,” held in 1939, a transcript of which was published the following year in the art magazine Mizue. The “exceptional child” under discussion was Yamashita Kiyoshi (1922–71), who is still known by the epithet, “the Wandering Artist.” Based on the fact that the five artists are joined by the Nihon-ga painter Kawabata Ryushi, the art critic Araki Sueo, the philosopher Tanigawa Tetsuzo, the psychologist Togawa Yukio, and Mizue’s editor-in-chief Oshita Masao, it is clear that Yamashita’s emergence in the art world was seen as an important event.

3F (Third floor)

Room 6-8 1940s-1960s
　From the End of the Meiji Period to the Beginning of the Showa Period
Room 9 Photography and Video
Room 10 Nihon-ga (Japanese-style Painting)

Room to Consider the Building

Room 6 Matsumoto Shunsuke: During and After the War

Last year the museum acquired a group of 11 works (six oil paintings and five drawings) by Matsumoto Shunsuke. Combined with other works by Matsumoto that were already part of the collection, the museum now includes a total of 22 items, ranging from an early painting titled The Town of Sanno (1933) to the artist’s last work, Building (Brown) (1948), allowing viewers to trace the development of Matsumoto’s career. In this exhibit, we present all 22 of the works in this room and Gallery 4 (2nd floor) alongside Modern Landscapes – For the Pleasure of People and Scenery: Nara Yoshimoto Curates the MOMAT Collection.

Two of the new acquisitions, Scene near N Station and Black Flowers, were first shown in the avant-garde art group Kyushitsu-kai’s second exhibition in 1940, and are distinguished by the use of a montage technique combining a town and people. However, it was not new techniques that concerned Matsumoto so much the existence of the individual, whose existence was threatened by the masses of people in the city. Unlike the era’s war paintings, which were created for the nation and the masses, Matsumoto focused on the irreplaceable individual. This attitude is also consistently evident in the artist’s postwar artistic experiments.

Room 7 Ebihara Kinosuke, Chokai Seiji, and Jean Dubuffet

Born in Kagoshima Prefecture, Ebihara Kinosuke moved to France at the age of 18. After receiving acclaim in Paris, he moved to Kumamoto following the war and energetically devoted himself to art. Here, for the first time in quite a while, we have assembled several of the artist’s most notable works. In addition to Sleeping Sisters, the painting that led to Ebihara’s recognition in Paris, the museum collection includes works such as Skiing Ground, notable for the color of the sky, which inspired the term “Ebihara blue,” and Rainy Day, one of the reasons the artist received the Minister of Education Award for Fine Arts in 1964.

Along with these items, we present some works by Chokai Seiji, who like Ebihara was a member of the Dokuritsu Bijutsu Kyokai (Independent Art Association), and some by Jean Dubuffet, who like Chokai strove to express the ground using the texture of his canvases.

Room 8 Swinging and Swaying

Along with a design movement that attempted to revolutionize daily life, abstract painting, which emerged in Western Europe in the 1920s and ’30s between World War I and II, set out to renew the 20th century’s aesthetic sensibility. Established in Weimar, Germany in 1919, the Bauhaus, a comprehensive educational facility that strove to unify art and technology, counted artists like Wassily Kandinsky and Paul Klee among its teachers.

While referencing music and plant growth, the artists’ abstract paintings are distinguished by dynamic structures made up of colors and forms. In light of the fact that Alexander Calder’s kinetic sculptures, which he called “mobiles,” emerged during the same period, it is clear that movement in art was believed to contain new potential to create dialogue with the viewer and an interactive relationship with the surrounding environment.

Similar work began to flourish all over the world in the 1950s. While absorbing the ideas of Bauhaus and the art of Klee and Calder, Yamaguchi Katsuhiro and Kitadai Shozo, members of the Japanese art group Jikken Kobo (lit., “experimental workshop”), which was formed in 1951, crafted unique and dynamic images through their use of new materials like glass and aluminum.

Room 9 Windows and Photography

A window is an opening installed in the wall or roof of a building to provide lighting or

ventilation. As it is a familiar part of our lives, the word is used in a variety of metaphors and idioms such as “window on the world,” “the eyes are the windows of the soul,” “out the window,” and “window of time.” What sort of part do windows play in photography?

Windows, passages for light and vision, are highly compatible subjects for photography, a visual medium based on the apprehension of light, as is clear from the 20 works in this exhibit. Jaroslav Rössler’s Skylight, for example, simply captures the beauty of light pouring down into a room through a skylight, but that alone is deeply attractive. Meanwhile, Yasui Nakaji and Ohtsuji Kiyoji’s works, which provide us with a glimpse of something from a window, convey the fact that in its role as an opening that connects the inside and outside of a building, a window functions like a stage set producing dramatic effects.

Incidentally, the word “camera” is derived from the Latin word for “room.” Thus, the lens, which allows light inside a camera, is akin to a window. With this in mind, it makes perfect sense that windows are important motifs in photography.

Room 10 Season of Fragrant Breezes

In selecting works with a seasonal theme for the first time in quite a while, we have assembled a group of works, which, by virtue of the fact that they are Nihon-ga (Japanese-style painting), are perfectly suited to summer. The title of this section is “Season of Fragrant Breezes.”

As one Japanese idiom would have it, May is a month of fresh breezes.  But in referring back to Japanese literature, fragrant breezes have not always been associated with May. This is also clear, for example, from a poetic exchange between Emperor Wenzong (809-840) and Liu Gongquan (778-865) that dates to Tang-dynasty China. In this exchange, the term “fragrant breezes” referred to the winds of midsummer. And to return to Japan, the Heian-era poet Fujiwara Yoshitsune (1169-1206) used the term in a waka poem to refer to cherry blossoms in spring (“The day has again come when the cherry blossoms come into view / In my hometown, the flowers are illuminated by the moon through the trees / As fragrant breezes carry their fragrance through the trees”), and also in one about summer oranges (“The wind carries the fragrance of oranges to the eaves / As the years pass, oranges and hare’s-foot ferns always arrive together / Calling up images of the past.”). How about haiku? Masaoka Shiki’s poem, “Fragrant winds and pine shadows on naked forms,” is set on the island of shima in Ehime Prefecture, and the distinct shadows cast on naked men are so dazzling that they fit in perfectly with the fragrant breezes of early summer.

How do Nihon-ga painters depict the radiant period from early to midsummer?

2F (Second floor)

Room 11-12 1970s-2010s
　From the End of the Showa Period to the Present

Gallery 4

* A space of about 250 square meters. This gallery offers cutting-edge thematic exhibitions from the Museum Collection, and special exhibitions featuring photographs or design.

 Modern Landscapes – For the Pleasure of People and Scenery

 Nara Yoshitomo Curates the MOMAT Collection

 May 24－November 13, 2016 （except August 8－August 15, 2016）

Room 11 Signs of Life

Photography is an ideal medium for exploring and documenting everyday scenes that do not contain a particularly beautiful view or notable event. This is because our environment is our reality and the things that we come into contact with on a daily basis are the elements that make up the world we live in. This viewpoint gradually emerged as a distinct movement after the initial search for new photographic visions had ended.

In this section, we present work by four contemporary photographers: Robert Adams, a pioneer in this type of photography; Thomas Struth, a German artist who meticulously documents city streets; and Seino Yoshiko and Katsumata Kunihiko, who are approaching the Japanese landscape with their own methodologies in the 2000s.

The title of this special exhibit is derived from the title of a photo book by Seino in which the photographer subtly responded with a unique sensibility to scenes that most of us would have overlooked, and attempted to discover signs of life in those places.

Room 12 Challenging Iron

Iron, which exists in abundance in the natural world, has not only provided a foundation for human civilization, but is also indispensable in sustaining human life as a component in our blood. Despite its prevalence in every aspect of our lives, however, iron’s history as an art material is relatively short. The earliest use of iron can be traced to the 1920s, when the Spanish artist Julio González (1876-1942) created sculptures by welding together pieces of the metal.

In this room, we present postwar works by Japanese artists who were both attracted to iron and engaged in battle with the material. Wakabayashi Isamu developed fresh sculptural spaces based on his singular imagination, as is evident from the artist’s sketches. Muraoka Saburo, meanwhile, strove to evoke the inherent physiology of iron by melting and cutting iron rods with a length of over ten meters. Tsuchitani Takeshi created open spaces by adding wrinkles and beating thin, light pieces of iron. And last but not least, after pounding lumps of iron with a hammer, Tawa Keizo drew out the metal’s brilliance by making its surface fluid. By coming in contact with various features of the material that we would not normally encounter in daily life, we come to understand the magic of iron, which has the power to drive sculptors mad.

About the Exhibition

Location

Art Museum Collection Gallery, from the fourth to second floors

Date

May 24, 2016 – August 7, 2016

Time

10:00-17:00 (Friday and Saturday is 10:00-20:00)
*Last admission is 30 minutes before closing.

Closed

Closed on Mondays (except July 18) and July 19

Admission

Adults ¥430 (220)
College and university students ¥130 (70)
*Including the admission fee for MOMAT Collection and Modern Landscapes – For the Pleasure of People and Scenery: Nara Yoshimoto Curates the MOMAT Collection.
*The price in brackets is for the group of 20 persons or more.
*All prices include tax.
*Free for high school students, under 18, seniors(65 and over), Campus Members, MOMAT passport holder.
* Show your Membership Card of the MOMAT Supporters or the MOMAT Members to get free admission (a MOMAT Members Card admits two persons free).
*Persons with disability and one person accompanying them are admitted free of charge. *Members of the MOMAT Corporate Partners are admitted free with their staff ID.

Free Admission Days

Collection Gallery and Gallery 4
Free on June 5, July 3 and August 7, 2016

Organized by

The National Museum of Modern Art, Tokyo