The collection exhibition from November 22 , 2016 – February 12 , 2017

Welcome to the MOMAT Collection! Here are a few of the highlights of this installment of the exhibition.

Some of the Nihon-ga (Japanese-style paintings) are displayed for a limited period in order to help preserve the works. Of special note in this edition are several Important Cultural Properties, which are only shown publicly once a year. The exhibition is divided into two periods, the first running from Nov. 22 to Jan. 15, and the second from Jan. 17 to Feb. 12. During the former, viewers can enjoy Kaburaki Kiyokata’s Portrait of Sanyutei Encho in the Highlights section (Room 1, 4th floor), and during the latter, Yasuda Yukihiko’s Camp at Kisegawa (Room 10, 3rd floor).

This edition also includes several rooms devoted to individual artists. Room 3 (4th floor), for example, features the prominent Taisho Period painter Kishida Ryusei, and Room 4 focuses on the singular Nihon-ga painter Hada Teruo. Room 6 (3rd floor) showcases the war-record paintings of Nakamura Kenichi, and Room 7 is given over to Kawara On, an internationally renowned artist who died two years ago. Room 9 focuses on Alfred Stieglitz, one of the foremost American photographers.

Moreover, in conjunction with the Endless: The Paintings of Yamada Masaaki exhibition (held on the first floor), we present abstract paintings by some of Yamada’s contemporaries in Room 8 (3rd floor). And in conjunction with the Ei-Q 1935-1937: Seeking the “Real” in the Dark exhibition, held in Gallery 4 (2nd floor), we examine Japanese avant-garde painting of the 1930s in Room 5 (4th floor). Comparing these works with those on display in the special exhibitions promises an even more enjoyable viewing experience.

Take your time and savor the many and varied pleasures of this edition of the MOMAT Collection.

◆Works in the exhibition are subject to change.

The first: November 22 , 2016 – January 15, 2017

The second: January 17, 2017 – February 12 , 2017

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
■Nakamura Tsune, Portrait of Vasilii Yaroshenko , 1920
■Kaburaki Kiyokata, Portrait of San’yutei Encho , 1930 (Exhibit Date: November 22 , 2016 – January 15, 2017）
■Yasuda Yukihiko, Camp at Kisegawa, 1940/41(Exhibit Date: January 17, 2017 – February 12 , 2017） 

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

List of Works

MOMAT Collection　　November 22, 2016 – February 12, 2017

*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.
*F: November 22, 2016 – January 15, 2017
*S: January 17, 2017 – February 12, 2017

展示室 (Shown on/at；Room No.)	重文 (Important Cultural Property)	音声ガイド (Audio Guide)	期間	作家名	作品名	制作年 date	技法	収蔵経緯、寄贈、寄託	Name of the Artist	Title	Material (technique, support)
1室				結城素明	囀(さえずり)	1911	紙本彩色	購入	YUKI, Somei	Bird Twittering	color on paper
1室			F	吉川霊華	藐姑射之処子　（はこやのしょし）	1918	紙本彩色	購入	KIKKAWA, Reika	Virgin at Mt. Hakoya	color on paper
1室				平福百穂	丹鶴青瀾	1926	絹本彩色	三笠宮崇仁親王殿下寄贈	HIRAFUKU, Hyakusui	Crane and Blue Waves	color on silk
1室			S	吉川霊華	離騒（りそう）	1926	紙本墨画淡彩	購入	KIKKAWA, Reika	On Encountering Sorrow from The Poem by Qu Yuan	sumi and color on paper
1室	◎	48	F	鏑木清方	三遊亭円朝像	1930	絹本彩色	購入	KABURAKI, Kiyokata	Portrait of San’yutei Encho	color on silk
1室		12		荻原守衛	女	1910	ブロンズ	文部省管理換	OGIWARA, Morie	Woman	bronze
1室		21		村山槐多	バラと少女	1917	油彩・キャンバス	山本孝氏寄贈	MURAYAMA, Kaita	Roses and a Girl	oil on canvas
1室		27		関根正二	三星(さんせい)	1919	油彩・キャンバス	購入	SEKINE, Shoji	Three Stars	oil on canvas
1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
1室		51		安井曽太郎	奥入瀬の溪流	1933	油彩・キャンバス	文化庁管理換	YASUI, Sotaro	Oirase Stream	oil on canvas
1室		42		野田英夫	帰路	1935	油彩・キャンバス	購入	NODA, Hideo	Way Home	oil on canvas
1室		62		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				松本竣介	黒い花	1940	油彩・板	購入	MATSUMOTO, Shunsuke	Black Flowers	oil on board
1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
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
1室		3		アンリ・ルソー	第22回アンデパンダン展に参加するよう芸術家達を導く自由の女神	1905-06	油彩・キャンバス	購入	Henri Rousseau	Liberty Inviting Artists to Take Part in the 22nd Exhibition of the Société des Artistes Indépendants	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
2室		8		竹内栖鳳	飼われたる猿と兎	1908	絹本彩色	文部省管理換	TAKEUCHI, Seiho	Monkeys and Rabbits	color on silk
2室			F	横山大観	暮色	1922	絹本彩色	文化庁管理換	YOKOYAMA, Taikan	Evening Twilight	color on silk
2室			F	入江波光	蒼林図	1923	絹本彩色	文化庁管理換	IRIE, Hako	Green Grove	color on silk
2室		33	S	速水御舟	門(名主の家)	1924	紙本彩色	文化庁管理換	HAYAMI, Gyoshu	Gate (Residence of the Village Head)	color on paper
2室		35	S	村上華岳	松山雲煙	1925	絹本彩色	購入	MURAKAMI, Kagaku	Pine-covered Mountains in the Mist	color on silk
2室				熊谷守一	半裸婦	1904	油彩・板	川上淳氏寄贈	KUMAGAI, Morikazu	Half Naked	oil on board
2室				和田英作	おうな	1908	油彩・キャンバス	文部省管理換	WADA, Eisaku	Old Woman	oil on canvas
2室				小杉放菴(未醒)	水郷	1911	油彩・キャンバス	文部省管理換	KOSUGI, Hoan (Misei)	Waterside Village	oil on canvas
2室				南薫造	六月の日	1912	油彩・キャンバス	文部省管理換	MINAMI, Kunzo	One Day in June	oil on canvas
2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
2室				萬鉄五郎	太陽の麦畑	c.1913	油彩・板	購入	YOROZU, Tetsugoro	A Cornfield in the Sun	oil on board
3室				岸田劉生	自画像	1913	油彩・キャンバス	杉本健吉氏寄贈	KISHIDA, Ryusei	Self-Portrait	oil on canvas
3室				岸田劉生	自画像	1914	油彩・キャンバス	杉本健吉氏寄贈	KISHIDA, Ryusei	Self-Portrait	oil on canvas
3室				岸田劉生	壺の上に林檎が載って在る	1916	油彩・板	文化庁管理換	KISHIDA, Ryusei	An Apple Exists on Top of a Pot	oil on board
3室				岸田劉生	古屋君の肖像 (草持てる男の肖像)	1916	油彩・キャンバス	購入	KISHIDA, Ryusei	Portrait of Koya Yoshio(Portrait of a Man Holding a Plant)	oil on canvas
3室		23		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
3室				岸田劉生	蕪図	1925	油彩・キャンバス	寄託	KISHIDA, Ryusei	Turnip	oil on canvas
3室				岸田劉生	自画像	1908	鉛筆・紙	大畑照子氏遺贈	KISHIDA, Ryusei	Self-Portrait	pencil on paper
3室				岸田劉生	ほろよい	c.1910	鉛筆、水彩・紙	大畑照子氏遺贈	KISHIDA, Ryusei	Tipsiness	pencil and watercolor on paper
3室				岸田劉生	古屋芳雄像	1916	水彩・紙	古屋康子氏遺贈	KISHIDA, Ryusei	Portrait of Koya Yoshio	watercolor on paper
3室				岸田劉生	麗子六歳之像	1919	水彩・紙	岩波茂雄氏旧蔵、岩波雄二郎氏遺贈	KISHIDA, Ryusei	Reiko, Six Years Old	watercolor on paper
3室				岸田劉生	村嬢於松之坐像	1920	水彩、鉛筆・紙	森美子氏・奈良道氏・松尾香代子氏寄贈	KISHIDA, Ryusei	Portrait of Sitting Omatsu, a Village Girl	watercolor and pencil on paper
3室				岸田劉生	童児肖像	1921	水彩・紙	寄託	KISHIDA, Ryusei	Portrait of a Little Boy	watercolor on paper
3室				岸田劉生	村嬢於松立像	1921	水彩、鉛筆・紙	尾崎佐喜子氏寄贈	KISHIDA, Ryusei	Portrait of Standing Omatsu, a Village Girl	watercolor and pencil on paper
3室				岸田劉生	岸田劉生作品個人展覧会ポスター (東京展)	1919	木版(多色)	岸田鶴之助氏遺贈	KISHIDA, Ryusei	Poster for the Solo-exhibition of Ryusei Kishida (Exhibition in Tokyo)	color woodcut
3室				岸田劉生	岸田劉生作品個人展覧会ポスター (京都展)	1919	木版(多色)	岸田鶴之助氏遺贈	KISHIDA, Ryusei	Poster for the Solo-exhibition of Ryusei Kishida (Exhibition in Kyoto)	color woodcut
4室				秦テルヲ	自画像	1916	紙本墨画	有限会社えびな書店寄贈	HADA, Teruo	Self Portrait	sumi on paper
4室				秦テルヲ	黒烟	c.1916	インク・紙	購入	HADA, Teruo	Black Smoke	ink on paper
4室				秦テルヲ	開かぬ扉	c.1916	インク・紙	購入	HADA, Teruo	Locked Door	ink on paper
4室				秦テルヲ	死んで逝く	c.1916	インク・紙	購入	HADA, Teruo	Dying a Death	ink on paper
4室				秦テルヲ	月光	c.1916	インク、色鉛筆・紙	購入	HADA, Teruo	Moonlight	ink and color pencil on paper
4室				秦テルヲ	惨しき日	c.1916	インク、色鉛筆・紙	購入	HADA, Teruo	A Miserable Day	ink and color pencil on paper
4室				秦テルヲ	燈火	c.1916	インク、色鉛筆・紙	購入	HADA, Teruo	Lamplight	ink and color pencil on paper
4室				秦テルヲ	無題	c.1916	インク・紙	購入	HADA, Teruo	Untitled	ink on paper
4室				秦テルヲ	無題	c.1916	インク・紙	購入	HADA, Teruo	Untitled	ink on paper
4室				秦テルヲ	落日	c.1916	インク、色鉛筆・紙	購入	HADA, Teruo	Sunset	ink and color pencil on paper
4室				秦テルヲ	活動の女給	c.1916	インク、色鉛筆・紙	購入	HADA, Teruo	Waitress at the Cinema	ink and color pencil on paper
4室				秦テルヲ	煙	c.1916	インク、色鉛筆・紙	購入	HADA, Teruo	Smoke	ink and color pencil on paper
5室		41		福沢一郎	Poisson d’Avril(四月馬鹿)	1930	油彩・キャンバス	作者寄贈	FUKUZAWA, Ichiro	April Fool	oil on canvas
5室				福沢一郎	牛	1936	油彩・キャンバス	作者寄贈	FUKUZAWA, Ichiro	Oxen	oil on canvas
5室				吉原治良	朝顔と土蔵	c.1931-34	油彩・キャンバス	清水夏生氏寄贈	YOSHIHARA, Jiro	Morning Glories and Storehouse	oil on canvas
5室				吉原治良	作品2	c.1934	油彩・キャンバス	購入	YOSHIHARA, Jiro	Work 2	oil on canvas
5室				三岸好太郎	雲の上を飛ぶ蝶	1934	油彩・キャンバス	購入	MIGISHI, Kotaro	Butterflies Flying above Clouds	oil on canvas
5室				岡本太郎	コントルポアン	1935/54	油彩・キャンバス	購入	OKAMOTO, Taro	Counterpoint	oil on canvas
5室				長谷川三郎	アブストラクション	1936	油彩・キャンバス	購入	HASEGAWA, Saburo	Abstraction	oil on canvas
5室				北脇昇	最も静かなる時	1937	油彩・キャンバス	北脇かね氏寄贈	KITAWAKI, Noboru	The Quietest Time	oil on canvas
5室				村井正誠	URBAIN	1937	油彩・キャンバス	購入	MURAI, Masanari	Urban	oil on canvas
5室				浅原清隆	郷愁	1938	油彩・キャンバス	渡辺美枝子氏寄贈	ASAHARA, Kiyotaka	Nostalgia	oil on canvas
5室				浜田浜雄	ユパス	1939	油彩・キャンバス	購入	HAMADA, Hamao	Upas	oil on canvas
5室				オノサト・トシノブ（小野里利信）	黒白の丸	1940	油彩・キャンバス	購入	ONOSATO, Toshinobu	Circles in Black and White	oil on canvas
5室				古賀春江	そこに在る	1933	水彩、鉛筆・紙	高松太郎氏寄贈	KOGA, Harue	Being	watercolor and pencil on paper
5室				古賀春江	楽しき饗宴	1933	水彩、鉛筆・紙	高松太郎氏寄贈	KOGA, Harue	Pleasant Feast	watercolor and pencil on paper
6室				中村研一	マレー沖海戦	1942	油彩・キャンバス	無期限貸与	NAKAMURA, Ken’ichi	Naval Battle off Malaya	oil on canvas
6室				中村研一	コタ・バル	1942	油彩・キャンバス	無期限貸与	NAKAMURA, Ken’ichi	Kota Baru	oil on canvas
6室				中村研一	珊瑚海海戦	1943	油彩・キャンバス	無期限貸与	NAKAMURA, Ken’ichi	Battle of the Coral Sea	oil on canvas
6室				中村研一	タサファロング(ガダルカナルに於ける陸海共同作戦図)	1944	油彩・キャンバス	無期限貸与	NAKAMURA, Ken’ichi	Army-Navy Joint Operations on Tasivarongo Point, Guadalcanal	oil on canvas
6室				中村研一	コタ・バル B	1944	油彩・キャンバス	無期限貸与	NAKAMURA, Ken’ichi	Kota Baru B	oil on canvas
6室				中村研一	北九州上空野辺軍曹機の体当りB29二機を撃墜す	1945	油彩・キャンバス	無期限貸与	NAKAMURA, Ken’ichi	Sergeant Nobe’s Suicide Attack on Two B-29’s Over Kitakyushu	oil on canvas
7室				河原温	浴室1	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 1	pencil on paper
7室				河原温	浴室2	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 2	pencil on paper
7室				河原温	浴室3	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 3	pencil on paper
7室				河原温	浴室4	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 4	pencil on paper
7室				河原温	浴室5	1953	鉛筆、色鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 5	pencil and color pencil on paper
7室				河原温	浴室6	1953-54	鉛筆、色鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 6	pencil and color pencil on paper
7室				河原温	浴室7	1953	鉛筆、色鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 7	pencil and color pencil on paper
7室				河原温	浴室8	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 8	pencil on paper
7室				河原温	浴室9	1953	鉛筆、色鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 9	pencil and color pencil on paper
7室				河原温	浴室10	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 10	pencil on paper
7室				河原温	浴室11	1953	鉛筆、色鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 11	pencil and color pencil on paper
7室				河原温	浴室12	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 12	pencil on paper
7室				河原温	浴室13	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 13	pencil on paper
7室				河原温	浴室14	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 14	pencil on paper
7室				河原温	浴室15	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 15	pencil on paper
7室				河原温	浴室16	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 16	pencil on paper
7室				河原温	浴室17	1953-54	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 17	pencil on paper
7室				河原温	浴室18	1953	鉛筆、色鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 18	pencil and color pencil on paper
7室				河原温	浴室19	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 19	pencil on paper
7室				河原温	浴室20	1953	鉛筆、色鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 20	pencil and color pencil on paper
7室				河原温	浴室21	1953	鉛筆、色鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 21	pencil and color pencil on paper
7室				河原温	浴室22	1953	鉛筆、色鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 22	pencil and color pencil on paper
7室				河原温	浴室23	1953	鉛筆、色鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 23	pencil and color pencil on paper
7室				河原温	浴室24	1954	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 24	pencil on paper
7室				河原温	浴室25	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 25	pencil on paper
7室				河原温	浴室26	1954	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 26	pencil on paper
7室				河原温	浴室27	1953-54	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 27	pencil on paper
7室				河原温	浴室28	1954	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 28	pencil on paper
7室		79		河原温	孕んだ女	1954	油彩・キャンバス	作者寄贈	KAWARA, On	Pregnant Woman	oil on canvas
7室				河原温	DEC. 14, 1966	1966	アクリリック・キャンバス	寄託	KAWARA, On	DEC. 14, 1966	acrylic on canvas
7室				河原温	Date Painting	1994	アクリリック・キャンバス	寄託	KAWARA, On	Date Painting	acrylic on canvas
7室				河原温	Date Painting	1994	アクリリック・キャンバス	寄託	KAWARA, On	Date Painting	acrylic on canvas
7室				河原温	Date Painting	1994	アクリリック・キャンバス	寄託	KAWARA, On	Date Painting	acrylic on canvas
8室				桑山忠明	無題(赤)	1961	岩絵具、銀箔・和紙(麻布裏打ち)	購入	KUWAYAMA, Tadaaki	Untitled (Red)	Japanese pigment and silver leaf on Japanese paper, mounted on canvas
8室				オノサト・トシノブ（小野里利信）	作品100-B	1963	油彩・キャンバス	藤岡時彦氏寄贈―妻英子を偲んで	ONOSATO, Toshinobu	Work 100-B	oil on canvas
8室				堂本尚郎	連続の溶解 64-10	1964	油彩・キャンバス	購入	DOMOTO, Hisao	Solutions of Continuities 64-10	oil on canvas
8室				岩本拓郎	SQUARE-92-5<海＝黄色いヴェール>	1992	アクリルウレタン塗料・和紙(板に貼付)	購入	IWAMOTO, Takuro	SQUARE-92-5　<Sea＝Yellow Veil>	acrylic polyurethan on paper, mounted on board
8室				沢居曜子	Carbon Work Ⅱ- 5	1977	カーボン・和紙	山口孝氏寄贈	SAWAI, Yoko	Carbon Work Ⅱ- 5	carbon on paper
8室				沢居曜子	Line Work Ⅱ – 77 – 3	1977	コンテ・ケント紙	山口孝氏寄贈	SAWAI, Yoko	Line Work Ⅱ – 77 – 3	conté on paper
8室				辰野登恵子	UNTITLED-29	1974	孔版	購入	TATSUNO, Toeko	UNTITLED-29	silkscreen
8室				辰野登恵子	UNTITLED-30	1974	孔版	購入	TATSUNO, Toeko	UNTITLED-30	silkscreen
8室				田中信太郎	無域	1999	真鍮	購入	TANAKA, Shintaro	Without Bounds	brass
8室				アド・ラインハート	抽象絵画	1958	油彩・キャンバス	購入	Ad Reinhardt	Abstract Painting	oil on canvas
8室				ジョセフ・アルバース	正方形讃歌	1959	油彩・キャンバス	購入	Josef Albers	Homage to the Square	oil on canvas
8室				ブリンキー・パレルモ	四つの原型	1970	孔版	購入	Blinky Palermo	Four Prototypes	silkscreen, 4 pieces
9室				アルフレッド・スティーグリッツ	冬、五番街	1893 (1905 print)	フォトグラヴュア	購入	Alfred Stieglitz	Winter-5th Avenue	photogravure
9室				アルフレッド・スティーグリッツ	終着駅、ニューヨーク	1893	フォトグラヴュア	ジョージア・オキーフ氏寄贈	Alfred Stieglitz	The Terminal (New York)	photogravure
9室				アルフレッド・スティーグリッツ	五番街・街頭風景	1896	フォトグラヴュア	ジョージア・オキーフ氏寄贈	Alfred Stieglitz	The Street, Fifth Avenue	photogravure
9室				アルフレッド・スティーグリッツ	ザ・ハンド・オブ・マン	1902 (1911 print)	フォトグラヴュア	購入	Alfred Stieglitz	The Hand of Man	photogravure
9室				アルフレッド・スティーグリッツ	三等船室	1907 (1911 print)	フォトグラヴュール	ジョージア・オキーフ氏寄贈	Alfred Stieglitz	The Steerage	photogravure
9室				アルフレッド・スティーグリッツ	マンハッタン南部	1910 (1911 print)	フォトグラヴュア	購入	Alfred Stieglitz	Lower Manhattan	photogravure
9室				アルフレッド・スティーグリッツ	新旧のニューヨーク	1910 (1911 print)	フォトグラヴュア	購入	Alfred Stieglitz	Old and New New York	photogravure
9室				アルフレッド・スティーグリッツ	飛行船	1910	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	A Dirigible	gelatin silver print
9室				アルフレッド・スティーグリッツ	ジョージア・オキーフ: ある肖像	1918	パラディウム・プリント	ジョージア・オキーフ氏寄贈	Alfred Stieglitz	Georgia O’Keeffe: A Portrait	palladium print
9室				アルフレッド・スティーグリッツ	ジョージア・オキーフ: ある肖像―手と指貫	1919	パラディウム・プリント	ジョージア・オキーフ氏寄贈	Alfred Stieglitz	Georgia O’Keeffe: A Portrait- Hands and Thimble	palladium print
9室				アルフレッド・スティーグリッツ	ジョージア・オキーフ: ある肖像―横顔	1920	パラディウム・プリント	ジョージア・オキーフ氏寄贈	Alfred Stieglitz	Georgia O’Keeffe: A portrait- Profile	palladium print
9室				アルフレッド・スティーグリッツ	虹、ジョージ湖	c.1920	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	Rainbow, Lake George	gelatin silver print
9室				アルフレッド・スティーグリッツ	ジョージ湖	1922	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	Lake George	gelatin silver print
9室				アルフレッド・スティーグリッツ	ジョージア・オキーフ: ある肖像	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	Georgia O’Keeffe: A Portrait	gelatin silver print
9室				アルフレッド・スティーグリッツ	イクィヴァレント	1925	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	Equivalent	gelatin silver print
9室				アルフレッド・スティーグリッツ	イクィヴァレント	1926	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	Equivalent	gelatin silver print
9室				アルフレッド・スティーグリッツ	枯れかけた栗の木、ジョージ湖	c.1927	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	Dying Chestnut Trees, Lake George	gelatin silver print
9室				アルフレッド・スティーグリッツ	夜―ニューヨーク	1931-32	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	Night- New York	gelatin silver print
9室				アルフレッド・スティーグリッツ	ニューヨーク (シェルトン・ホテル西側より)	1931-32	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	New York (from the Shelton Westward)	gelatin silver print
10室			F	川合玉堂	小松内府図	1899	絹本彩色	購入	KAWAI, Gyokudo	Taira Shigemori, Komatsu-no-naifu	color on silk
10室			F	野田九浦	辻説法	1907	絹本彩色	文部省管理換	NODA, Kyuho	Street Preaching	color on silk
10室			F	今村紫紅	時宗	1908	絹本彩色	購入	IMAMURA, Shiko	Hojo Tokimune Consulting Mugaku Sogen about the Mongol Invasion	color on silk
10室				尾竹国観	油断	1909	絹本彩色	文部省管理換	OTAKE, Kokkan	Alarmed	color on silk
10室				菊池契月	供燈 (くとう)	1910	絹本彩色	文部省管理換	KIKUCHI, Keigetsu	Dedicating Lanterns	color on silk
10室				下村観山	大原御幸 (おおはらごこう)	1908	絹本彩色	購入	SHIMOMURA, Kanzan	Ohara-Goko, from the Tale of Heike	color on silk
10室			F	下村観山	清涼殿	1924	絹本彩色	寄贈	SHIMOMURA, Kanzan	Seiryoden [royal hall]	color on silk
10室			S	小山栄達	謙信公	1930	絹本墨画	東京国立博物館管理換	KOYAMA, Eitatsu	Uesugi Kenshin	sumi on silk
10室				小山栄達	木村長門出陣	1942	絹本彩色	東京国立博物館管理換	KOYAMA, Eitatsu	Kimura Shigenari Departing for the Front	color on silk
10室				吉村忠夫	燈籠大臣	1936	絹本彩色	文部省管理換	YOSHIMURA, Tadao	Taira Shigemori, minister of lantern	color on silk
10室	◎	61	S	安田靫彦	黄瀬川陣	1940/41	紙本彩色	文化庁管理換	YASUDA, Yukihiko	Camp at Kisegawa	color on paper
10室				植中直斎	重成夫人	1942	絹本彩色	東京国立博物館管理換	UENAKA, Chokusai	Lady Kimura Shigenari	color on silk
10室			F	前田青邨	清正	1942	紙本彩色	東京国立博物館管理換	MAEDA, Seison	Kato Kiyomasa	color on paper
10室				前田青邨	かちかち山	1947	紙本墨画	作者寄贈	MAEDA, Seison	Kachi-kachi-yama, the story of a rabbit and a racoon dog	sumi on paper
10室				前田青邨	御嶽神社赤威冑	1927	墨、彩色・紙	作者寄贈	MAEDA, Seison	Red-Braided Helmet of the Mitake Shrine	sumi and color on paper
10室				稗田一穂	奇異鳥	1952	紙本彩色	購入	HIEDA, Kazuho	Kiwi	color on paper
10室				上村松篁	星五位 (ほしごい)	1958	紙本彩色	購入	UEMURA, Shoko	Night Herons	color on paper
10室				岩橋英遠	鴇	1960	紙本彩色	五藤きみえ氏寄贈	IWAHASHI, Eien	Japanese Crested Ibises	color on paper
10室				堀文子	霧の野	1960	紙本彩色	文部省管理換	HORI, Fumiko	Field Veiled in a Mist	color on paper
10室				山口蓬春	秋	1961	紙本彩色	作者寄贈	YAMAGUCHI, Hoshun	Autumn	color on paper
10室				麻田辨自	鴛	1962	紙本彩色	文化庁管理換	ASADA, Benji	Mandarin Ducks	color on paper
10室				山本丘人	狭霧野	1970	紙本彩色	作者寄贈	YAMAMOTO, Kyujin	Misty Field	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				舟越保武	原の城	1971	ブロンズ	購入	FUNAKOSHI, Yasutake	Haranojo Castle	bronze
11室				向井良吉	蟻の城	1960	アルミニウム	購入	MUKAI, Ryokichi	Castle of Ants	aluminum
11室		82		三木富雄	EAR	1965	アルミニウム	購入	MIKI, Tomio	EAR	aluminum
11室				菅木志雄	止空散様	2004	アルミニウム、石	作者寄贈	SUGA, Kishio	To-ku-san-yo	aluminum and stone
12室				宮脇愛子	スクロール・ペインティング　白	1975	アクリリック・キャンバス	作者寄贈	MIYAWAKI, Aiko	Scroll Painting, White	acrylic on canvas
12室				宮脇愛子	スクロール・ペインティング　黒	1976	アクリリック・キャンバス	作者寄贈	MIYAWAKI, Aiko	Scroll Painting, Black	acrylic on canvas
12室				斎藤義重	“反対称”正方形 No.1, No.2	1976	木	購入	SAITO, Yoshishige	“Dissymmetry” Square No.1, No.2	wood, 2 pieces
12室				李禹煥	線より	1977	岩絵具、膠・キャンバス	購入	LEE, Ufan	From Line	Japanese pigment and glue on canvas
12室				村上友晴	無題	1988-90	油彩・キャンバス	購入	MURAKAMI, Tomoharu	Untitled	oil on canvas
12室				大竹伸朗	Torso and Guitar	1988	染料、石膏、綿テープ、本、見本帳の裏表紙、木製の船の部品・鉄、ワイヤー、手紙、ホチキス、和紙、紙、薄紙	作者寄贈	OHTAKE, Shinro	Torso and Guitar	dye, paper, cotton tape, iron, wire, staples, book, parts of wooden ship, etc.
12室				大竹伸朗	網膜 （ワイヤー・ホライズン、タンジェ）	1990-93	油彩、オイルスティック、チョーク、ウレタンペイント、樹脂、布、紙、写真、ホチキス、ハトメ等・木製パネル	購入	OHTAKE, Shinro	Retina (Wire Horizon, Tangier)	oil, oil stick, chalk, urethane paint, plastic resin, cloth, paper, photographs, staples, iron brass grommet, etc. on wooden panel
12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
12室				イケムラレイコ	横たわる少女	1997	油彩・キャンバス	購入	IKEMURA, Leiko	Reclining Girl	oil on canvas
12室				小林正人	Unnamed #7	1997	油彩・キャンバス	購入	KOBAYASHI, Masato	Unnamed #7	oil on canvas, stretcher
12室				岡﨑乾二郎	屋根の熱気に吹きつけられ、祖父の顔は頭蓋骨のようにもう色褪せて見える。ところで彼は何といったのでしたっけ? 灼熱の焼きごてを眼に入れられようとしたときに。「僕の美しいお友達、火よ。もう少しやさしくお願いします」。大丈夫。安心なさって。姉は日傘を取りにいき、祖父は指先をまるく尖った舌で冷やしていた。	2002	アクリリック・キャンバス	購入	OKAZAKI, Kenjiro	Blown by the heat of the roof, Grandfather’s head already seemed pale like a skull. Well, I’m not sure… do you remember what he said, when the red-hot iron was about to be put into his eyes? “O Fire, my beautiful friend,  be a little more gentle, please.” Don’t worry. Take it easy. Big sister went for a parasol, and Grandfater was cooling his fingertips with the round tip of his tongue.	acrylic on canvas
12室				岡﨑乾二郎	背後から火事が迫ってきたとでもいうの、この顔の青さは普通じゃないわ、どうしたの? ぽつりと答えます。「惜しいと思うほどの物は捉まえようと追いかけず、一生惜しんで思い出せるようにしておいたほうがいいんだよ」。そうか。胡瓜の漬け方を、老婦人から習ったときみたいに、熟した実がひとりでに落ちる音を聞いた。	2002	アクリリック・キャンバス	購入	OKAZAKI, Kenjiro	You look like getting chased by a fire. How pale you are…you aren’t yourself. What’s the matter? “It’s not good to chase after what you think to be precious,” I answered muttering, “you’d better leave it alone so that you can remember it for life”. I see. Just like when Ilearned how to pickle cucumbers from an old woman, I heard a ripe fruit drop off of itself.	acrylic on canvas
12室				大岩オスカール	ガーデニング (平和への道)	2003	油彩・キャンバス	作者寄贈	Oscar Oiwa	Gardening (Way to Peace)	oil on canvas
12室				堂本右美	Kanashi-11	2004	油彩・キャンバス	購入	DOMOTO, Yuumi	Kanashi-11	oil on canvas
12室				中村一美	存在の鳥 107	2006	アクリリック・綿布	購入	NAKAMURA, Kazumi	Phasianus colchicus (A Bird in its Existence) 107	acrylic on cotton
12室				Chim ↑ Pom	BLACK OF DEATH 2013	2013	ヴィデオ　カラー　サウンド　8分53秒	購入	Chim ↑ Pom	BLACK OF DEATH 2013	video, color, sound, 8’53”
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
本館屋外		84		イサム・ノグチ	門	1969	鋼鉄、彩色	購入	Isamu Noguchi	Gate	painted steel
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

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

The MOMAT Collection, drawn from the museum’s holdings, consists of over 200 works displayed over a 3,000-square meter area. To start off the exhibition, we present the “Highlights” section, consisting of some of the collection’s most essential works, including Important Cultural Properties. For the walls of this newly established space (part of a 2012 effort to renovate the collection galleries), we have selected navy blue to create a more beautiful contrast with the works. And to eliminate the glare of glass cases, we have chosen mat black for the floor, to enhance viewers’ concentration.

This edition of the exhibition includes Nihon-ga (Japanese-style paintings) by Kikkawa Reika, Yuki Somei, Hirafuku Hyakusai, and Kaburaki Kiyokata, all of whom were associated with a Taisho-era research group called Kinreisha. Don’t miss Hirafuku’s Crane and Blue Waves, with its ebullient atmosphere, and Kaburaki’s Portrait of San’y utei Encho, an Important Cultural Property on limited display until January 15. In the Western-painting category, viewers can enjoy comparing works by Yasui Sotaro and Umehara Ryuzaburo, who were known as champions of “Japanese-style oil painting,” and Noda Hideo and Matsumoto Shunsuke, who reconfigured fragmentary images in montage-style works.

Room 2 New or Old?

Determining the beginning of something is always a difficult task. The middle “m” in MOMAT stands for “modern.” But when did modern art really start? Half of these works were displayed in the Bunten, an annual exhibition launched by the Ministry of Education in 1907. Though opinions vary, some have suggested that this event marks the beginning of modern art in Japan.

This was an era in which modern meant “avant-garde.” In other words, the recent past was seen as something old that should be rejected and surmounted. Though the Bunten was initially welcomed, it soon became a stronghold for rigid Academicism and a target of criticism among the younger generation. The rest of these works were made by artists who intentionally veered away from the exhibition.

Do these works, created some 100 years ago, convey the feeling that new things are more magnificent than old ones or vice versa ?

Room 3 Resonating Ryusei

Kishida Ryusei (1891-1929) was one of the most prominent Japanese modern artists. One way to enjoy Kishida’s art is to carefully compare his works.

Take, for instance, these two self-portraits, made a year apart. The color, touch, and signatures are different in each work. The reason the male figure in the 1914 picture looks glummer probably has to do with the shading. Based on the date, we can assume that Kishida completed this painting the day before his daughter Reiko was born. (The 1913 work was made about four months after the artist got married.)

Kishida’s portraits of Mr. Koya, a doctor, convey different impressions of the man through the use of watercolor or oil paint. The most immediate difference between the two pictures is that Koya is holding some Asian flatsedge in the oil painting, but are also some other differences. A closer look reveals subtle differences in his hairstyle, left eyelid, and the angle of his face.

Plants appear in some of Kishida’s other works. For example, a picture of Reiko at five years old shows her clutching some creeping smartweed. She holds the plant differently from Koya, but which way has a more adult appearance? There is also some grass in Kishida’s painting of the pot. As we compare the plant pattern and signature, we realize that there is a quiet resonance between the forms.

Room 4 Hada Teruo

In Room 4, we present pen drawings by Hada Teruo (1887-1945) from around 1916. They were acquired in 2012, but this is the first time all 11 (as well as a self-portrait) have been shown together.

At the time, Hada’s works were consistently dark and gruesome. He visited pleasure quarters such as Yoshiwara and establishments of unlicensed prostitution in search of subject matter, and produced works such as Blood Pond (1919, collection of the National Museum of Modern Art, Kyoto). Hada was seen as all the more heretical because these were Nihon-ga (paintings made with traditional Japanese art materials). The strangeness of his subject matter comes across forcefully in these pen drawings as well.

In fin-de-siècle Europe a good deal of art with a decadent mood, such as the work of Aubrey Beardsley　(1872-98), was being produced, which evidently influenced Hada for a time. At the same time, he was a man with great warmth and love for humanity. Everyone who knew him relates that underlying his grim paintings was a wealth of compassion for their subjectsthe weak and criticism of social injustices.

Room 5 Avant-garde Painting of the 1930s

In this exhibition, we examine Japanese avant-garde painting of the 1930s in conjunction with EI-Q 1935-1937: Seeking the “Real” in the Dark, currently on display in Gallery 4 (2nd floor).

At the time that Ei-Q made his debut in the art world in 1936, Surrealism and abstract painting were attracting the attention of many young Japanese artists as part of the so-called “avant-garde.” While abstract painting was rooted in intellectual compositions, Surrealism was concerned with discovering irrational beauty that was not subject to the power of human reason. Though the two movements might seem like polar opposites, the ’30s were an age of mechanical development accompanied by an increasing anxiety toward the war – both pressing themes for artists. Ei-Q, who was interested in both abstract painting and Surrealism, searched for a unique way of capturing the reality of the times. In letters to a friend , he expressed admiration for artists like Koga Harue and Migishi Kotaro. At the same time, he was friendly with abstract painters like Hasegawa Saburo, Murai Masanari, and Onosato Toshinobu, with whom he formed the Jiyu Bijutsuka Kyokai (Free Artists’ Association).

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 The War-record Paintings of Nakamura Kenichi

The painter Nakamura Kenichi (1895-1967) was born in Fukuoka Prefecture. After graduating from the Tokyo School of Fine Arts (now, Tokyo University of the Arts), he studied in Paris from 1923 to 1928. Using a solid, realistic depiction, Nakamura proved particularly adept at painting groups of people with urban manners. Partially due to the fact that his father-in-law was a rear admiral, Nakamura became actively involved in making war-record paintings during World War II.

  In Naval Battle off Malaya and Battle of the Coral Sea, machines (battleships and fighter planes) are the protagonists in a spectacle that unfolds across an expansive landscape. On the other hand, in Kota Baru  and Army-Navy Joint Operations on Tasivarongo Point, Guadalcanal, the artist captures a tense group of soldiers. All of these large pictures were based on on-site sketches, interviews with the military, and live drawings of soldiers made in Nakamura’s studio. As suggested by the fact that Kota Baru  depicts a Japanese attack from the perspective of the enemy, Nakamura did not simply paint scenes that he saw, but skillfully crafted them to heighten the dramatic effect.

Room 7 Signs and Circumstances of Survival

The Bathroom series is an early work by Kawara On that he made when he was around 20. As the protagonists decrease, increase, and change places in the tile-covered room, they witness a blood bath, which lacks both context and beginning or end. Many viewers are likely to be reminded of Kafka’s The Metamorphosis. In that novella, the main character, Gregor Samsa, awakes one morning to find that his body has been transformed into a “monstrous vermin.” Samsa simply accepts this as an ordinary occurrence – without either bewailing his fate or viewing the change as some kind of curse. Similarly, the men and women in Kawara’s works maintain their composure despite finding themselves in the midst of a tragedy. To shed light on the gratuitous nature (factual aspects) of human life and death, both Kawara and Kafka felt the need to distance themselves from standard realism, and adopt pseudo-sci-fi settings and manga-like approaches. The same focus on the factual nature of survival can also be seen in Kawara’s “Date Paintings,” a long-running series that he began in 1966. These works eternally convey the fact that the artist lived on a given date in a given year.

Room 8 From a Single Straight Line

In the past, the word “painting” signified something in which a figure was painted on a ground – as if an object perfectly occupied the space. After World War II, this convention was broken with a horizontal or vertical line that extended from one edge of the canvas to the other.

These striped and grid-like structures, made with inorganic and endlessly repeating lines and rectangular units, are probably have no relation to the poetic quality of the “infinite cosmos.” This group of works proves that even when subjected to the limitations of such unimpassioned structures, it is abundantly possible to make a painting. They include a two-color construction that faintly rises up from the canvas once our eyes become adjusted (Ad Reinhardt); minute irregularities and fluctuations in countless forms depicted freehand without the use of masking tape (Onosato Toshinobu); slight ruptures and disparities in regulated patterns (Tatsuno Toeko and Sawai Yoko); and twists and varying speeds in horizontal brushstrokes that resemble a stream (Iwamoto Takuro). As we look at these works, our vision seems to vibrantly swing back and forth.

Room 9 Modern German Photography: New Vision and New Objectivity

Alfred Stieglitz was an important American photographer who played a crucial role in establishing photography as an art form.

Stieglitz went to Germany to study photographic chemistry and Pictorialism, a type of photographic expression that was popular at the time. After returning to the U.S. in 1902, Stieglitz, based in New York, formed the Photo-Secession with a group of highly distinguished photographers living all over the country. He also went to great lengths to develop photography as an art by publishing a magazine and running a gallery.

In his early works, Stieglitz focused on picturesque scenes on the street of the city, and by instantaneously capturing a perfect composition, he strove to create expressions that were unique to the photographic medium. His “straight” method of capturing a piece of the world without altering the negatives or prints gradually developed into what Stieglitz referred to as the “equivalent” aesthetic. In this approach, the subject, the photographer’s inner feelings, and the viewer’s sensibilities were all viewed as equals.

In 1953, not long after MOMAT opened, Stieglitz’s widow, the painter Georgia O’Keeffe, donated a number of the photographer’s works to the museum. On the 70th anniversary of Stieglitz’s death, we present a group of works (primarily those that we received from O’Keeffe) that stretches from the beginning to the end of his career.

Room 10 Samurai in Painting

In Yoshitsune-den (The Legend of Yoshitsune) (Tokyo Bunkaido Shoten), published in 1914, Kuroita Katsumi (1874-1946) cites three men as embodiments of Bushido, the Way of the Samurai: Kusunoki Masashige, who faithfully served Emperor Go-Daigo of the Southern Court; Hojo Tokimune, who successfully defied the invading Mongols during the Genko War; and Minamoto no Yoshitsune, who fought fiercely to defend his clan. Kuroita states that these three samurai represent the three Bushido tenets of “loyalty”, “defense of the country”, and “piety” respectively, and all of them have been portrayed extensively in modern Nihon-ga (Japanese-style) painting.

From the start, history painting was a genre that embodied the values and ethics of the day, and was expected to play a role in public education. How did modern Japanese painters select and shape their subject matter in line with these expectations? In this section we present works from the collection with a primary focus on war paintings.

By contrast, the section just ahead will have a peaceful theme: to celebrate the new Year of the Rooster, we present Nihon-ga paintings featuring a wide variety of birds. Look for a curious flightless bird from down under in Hieda Kazuho’s Kiwi.

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.

EI-Q 1935-1937: Seeking the “Real” in the Dark

Room 11 Special Aluminum

Aluminum exists as part of a compound in nature. It was discovered in 1807 using an electrochemical. In 1887, a method of producing aluminum from the raw material of bauxite was developed.

Aluminum smelting began in Japan in 1934. Light and strong yet flexible and easy to process, the metal was primarily used in the munitions industry. After World War II, aluminum became widespread in everyday items, and by the time it was chosen as the material for one-yen coins in 1955, aluminum had become completely commonplace.

With the emergence of an artistic movement to question materiality in the 1960s, aluminum came to be a popular new material – along with stainless steel and synthetic resin. But in light of the fact that stainless steel is an alloy and synthetic resin is a high-polymer-, aluminum (with its ability to be artificially separated from compounds) is markedly different in terms of its material qualities. With this in mind, we present three works that employ aluminum as their chief component.

Room 12 Representative or Transcendent?

In this section, we introduce a group of paintings, dating from the 1970s and later, that are representative of each era.

The ’70s are represented by Lee Ufan and Saito Yoshishige. Both in terms of theory and practice, Lee was a leading figure in Mono-ha, an important movement in Japanese art from the late ’60s to the early ’70s. For his part, Saito, a professor at Tama Art University, exerted a strong influence on young Mono-ha artists like Suga Kishio and Sekine Nobuo.

The ’80s are represented by Ohtake Shinro. Along with Hibino Katsuhiko, Ohtake, who boldly adopted the installation format and design methods and sensibilities, is an iconic figure of the period.

The ’90s are represented by Nara Yoshitomo. Nara’s works not only incorporate visual elements associated with religious art and picture books, but also the musical spirit of rock and punk. In the sense that his work creates a strong affinity (or total rejection) with viewers, Nara has further developed the potential of painting.

Of course, there are also works that transcend the spirit of the times in which they were created. One example of this is Murakami Tomoharu, who felt obliged to make paintings as an accumulation of everyday acts that are equal to prayer.

About the Exhibition