The collection exhibition from June 5 – September 24, 2018

Welcome to the MOMAT Collection! In this exhibition, we introduce currents in Japanese modern and contemporary art from the beginning of the 20th century to the present along with a variety of works from other countries.

 In the Highlights section (Room 1, 4th floor), viewers are treated to a host of masterpieces selected from the museum collection. Rooms 2 to 12, arranged in roughly chronological order, have each been assigned a theme, enabling viewers to see the relationship between art and society in each era from a wide range of perspectives. In addition, to commemorate the 150th anniversary of the Meiji Period (1868-1912), a special exhibit called “Art of the Late Meiji Period” is being presented in Room 10 (3rd floor), which is normally devoted to Nihonga (Japanese-style painting). Along with Wada Sanzo’s South Wind, newly designated as an Important Cultural Property this fiscal year, you will find some works from the early Bunten (Ministry of Education Art Exhibition) and others that presage the individualistic artistic expressions that emerged in the Taisho Period (1912-1926). On the second floor, please keep an eye out for a new acquisition by the important postwar American sculptor David Smith. In Gallery 4 (also on the second floor), you will find a small exhibit focusing on the art critic and poet Takiguchi Shuzo. We hope that you will enjoy this edition of the MOMAT Collection, which includes as a wide and varied assortment of works.

translated by Christopher Stephens

List of Works

room	audio guide (En)	artist	title	美术家	标题	작가의	표제	date	on view from	on view to
1	0062	AI-MITSU	Landscape with an Eye	叆光	有眼睛的风景	아이미쓰	눈이 있는 풍경	1938	2018/06/05	2018/09/24
1		UMEHARA, Ryuzaburo	Mt. Sakurajima (Blue)	梅原龙三郎	樱岛（青）	우메하라 류자브로	사쿠라지마(청)	1935	2018/06/05	2018/09/24
1	0012	OGIWARA, Morie	Woman	荻原守卫	女子	오기와라 모리에	여자	1910	2018/06/05	2018/09/24
1	0002	KURODA, Seiki	Dead Leaves	黑田清辉	落叶	구로다 세이키	낙엽	1891	2018/06/05	2018/09/24
1	0040	KOGA, Harue	Sea	古贺春江	海	고가 하루에	바다	1929	2018/06/05	2018/09/24
1	0029	NAKAMURA, Tsune	Portrait of Vasilii Yaroshenko	中村彝	愛羅先珂先生的肖像	나카무라 쓰네	예로센코의 초상	1920	2018/06/05	2018/09/24
1	0001	HARADA, Naojiro	Kannon Bodhisattva Riding the Dragon	原田直次郎	骑龙观音	하라다 나오지로	기용 관음	1890	2018/06/05	2018/09/24
1		Matsumoto Shunsuke	Scene near N Station	松本竣介	N车站附近	마쓰모토 슌스케	N역 근처	1940	2018/06/05	2018/09/24
1	0052	YASUI, Sotaro	Portrait of Chin-Jung	安井曾太郎	金蓉	야스이 소타로	진중의 초상	1934	2018/06/05	2018/09/24
1		KABURAKI, Kiyokata	Monthly Manners and Customs of the Meiji Period, January	镝木清方	明治风俗十二月	가부라키 기요카타	메이지 세시 풍속	1935	2018/06/05	2018/07/29
1	0047	KAWABATA, Ryushi	Flaming Grass	川端龙子	草炎	가와바타 류시	초염(草炎)	1930	2018/07/31	2018/09/24
1		KOBAYASHI, Kokei	Indian Corn Plants	小林古径	玉米	고바야시 고케이	옥수수	1939	2018/07/31	2018/09/24
2		KOGA, Harue	Thinking Woman	古贺春江	思考的女人	고가 하루에	생각하는 여인	1919	2018/06/05	2018/09/24
2		SEKINE, Shoji	Portrait of a Woman	关根正二	妇人像	세키네 쇼지	부인상	c.1918	2018/06/05	2018/09/24
2	0027	SEKINE, Shoji	Three Stars	关根正二	三星	세키네 쇼지	삼형제 별	1919	2018/06/05	2018/09/24
2	0025	TAKAMURA, Kotaro	Hand	高村光太郎	手	다카무라 고타로	손	c.1918	2018/06/05	2018/09/24
2		NAKAGAWA, Kazumasa	Landscape at Itabashi	中川一政	板桥风景	나카가와 가즈마사	이타바시 풍경	1919	2018/06/05	2018/09/24
2		FUJISHIMA, Takeji	Artichoke	藤岛武二	洋蓟花	후지시마 다케지	아르티쇼	1917	2018/06/05	2018/09/24
2	0021	MURAYAMA, Kaita	Roses and a Girl	村山槐多	玫瑰和少女	무라야마 가이타	장미와 소녀	1917	2018/06/05	2018/09/24
2		YOROZU, Tetsugoro	Landscape with Standing Trees	万铁五郎	树木风景	요로즈 데쓰고로	나무가 서 있는 풍경	1916	2018/06/05	2018/09/24
2		KAWABATA, Ryushi	Divine Light of Love: Morning, Evening	川端龙子	慈悲光礼赞（朝、夕）	가와바타 류시	자비의 빛의 예찬(아침, 저녁)	1918	2018/06/05	2018/07/29
2		KIKKAWA, Reika	Virgin at Mt. Hakoya	吉川灵华	藐姑射之处子	깃카와 레이카	막고야산의 처자	1918	2018/06/05	2018/07/29
2		HAYAMI, Gyoshu	Early Spring	速水御舟	浅春	하야미 교슈	초봄	1918	2018/06/05	2018/07/29
2	0026	TSUCHIDA, Bakusen	Serving Girl in a Spa	土田麦僊	澡堂侍女	쓰치다 바쿠센	온천에서 일하는 여자	1918	2018/07/31	2018/09/24
2		TSUCHIDA, Bakusen	Sketchbook	土田麦僊	画册	쓰치다 바쿠센	스케치북	c.1918	2018/07/31	2018/09/24
2		TSUCHIDA, Bakusen	Sketch for Serving Girl in a Spa	土田麦僊	《澡堂侍女》 写生	쓰치다 바쿠센	「온천에서 일하는 여자」 사생	c.1918	2018/07/31	2018/09/24
2		TSUCHIDA, Bakusen	Sketch for Serving Girl in a Spa	土田麦僊	《澡堂侍女》 写生	쓰치다 바쿠센	「온천에서 일하는 여자」 사생	c.1918	2018/07/31	2018/09/24
3		IHARA, Usaburo	Group in a Room	伊原宇三郎	室内群像	이하라 우사부로	실내 군상	1928-29	2018/06/05	2018/09/24
3		KAWAGUCHI, Kigai	Still Life, Mandolin	川口轨外	静物（曼陀林）	가와구치 기가이	정물(만돌린)	1927-31	2018/06/05	2018/09/24
3		KOJIMA, Zentaro	Man Playing the Violin	小岛善太郎	拉小提琴的男人	고지마 젠타로	바이올린 켜는 남자	1932	2018/06/05	2018/09/24
3	0039	SAEKI, Yuzo	Gas Lamp and Advertisements	佐伯祐三	煤气灯和广告	사에키 유조	가스등과 광고	1927	2018/06/05	2018/09/24
3		SAEKI, Yuzo	Church at Morin	佐伯祐三	莫兰的教堂	사에키 유조	모랭의 교회	1928	2018/06/05	2018/09/24
3		SATOMI, Katsuzo	Still Life	里见胜藏	静物	사토미 가쓰조	정물	1926	2018/06/05	2018/09/24
3		SATOMI, Katsuzo	Interior (Woman)	里见胜藏	室内（女）	사토미 가쓰조	실내(여)	1927	2018/06/05	2018/09/24
3		NOGUCHI, Yataro	Bellecour Place	野口弥太郎	白莱果广场	노구치 야타로	벨쿠르 광장	1931	2018/06/05	2018/09/24
3		MAETA, Kanji	Nude	前田宽治	裸妇	마에타 간지	나부	1925	2018/06/05	2018/09/24
3		MAETA, Kanji	Woman in Black	前田宽治	黑衣妇人像	마에타 간지	검은 옷의 부인상	1925	2018/06/05	2018/09/24
4		KOIZUMI, Kishio	From One Hundred Scenes from the Tokyo Metropolis in the Showa Period	小泉癸巳男	出自《昭和大东京百图绘》	고이즈미 기시오	《쇼와시대 도쿄의 백가지 풍경》에서		2018/06/05	2018/09/24
4			No.3: Mitsui Building and Mitsukoshi Department Store		3.三井和三越		3. 미쓰이와 미쓰코시	1929	2018/06/05	2018/07/29
4			No.4: Oil Tanks in Senju		4.千住油罐街		4. 센주 가스 탱크 거리	1930	2018/06/05	2018/07/29
4			No.5: Young Leaves and Azaleas in Hibiya Park		5.新绿与日比谷公园的杜鹃花		5. 신록과 히비야 공원의 철쭉	1930	2018/06/05	2018/07/29
4			No.16: Vegetable Market in Kanda		16.神田菜市场		16. 간다의 청과물 시장	1931	2018/06/05	2018/07/29
4			No.20: The Ferry at Kachidoki, Tsukiji		20.筑地，胜哄桥		20. 쓰키지 가치도키의 나루터	1931	2018/06/05	2018/07/29
4			No.25: Sumida Park in Kototoi, Mukojima		25.墨田公园向岛言问		25. 무코지마 고토토이의 스미다 공원	1932	2018/06/05	2018/07/29
4			No.30: Hijiri Bridge		30.圣桥		30. 히지리바시	1932	2018/06/05	2018/07/29
4			No.54: Landscape in Sunamachi Town, Joto Ward		54.城东区砂町风景		54. 조토구 스나마치 풍경	1934	2018/06/05	2018/07/29
4			No.59: Kokugikan Arena During the Spring Sumo Tournament		59.春场所的国技馆		59. 봄경기 국기장	1935	2018/06/05	2018/07/29
4			No.64: Pine Tree at the Zen’yo-ji Temple in Edogawa Ward		64.江户川区，善养寺的星降松		64. 에도가와구 젠요지의 소나무	1935	2018/06/05	2018/07/29
4			No.66: River Festival at Ryogoku		66.两国的开川祭		66. 료고쿠의 가와비라키 불꽃놀이	1936	2018/06/05	2018/07/29
4			No.87: The International Airport, Haneda		87.羽田国际机场		87. 하네다 국제 비행장	1937	2018/06/05	2018/07/29
4			No.90: Hyokeikan Hall and the Museum, Ueno		90.上野风景，表庆馆和美术馆		90. 우에노 풍경, 효케이관과 미술관	1937	2018/06/05	2018/07/29
4			No.6: The Drawbridge on the Rinkai Pier, Shibaura		6.芝浦临海码头可动桥		6. 시바우라 린카이 부두 도개교	1930	2018/07/31	2018/09/24
4			No.12: Spring Night on Ginza		12.春日银座夜景		12. 봄의 긴자 야경	1931	2018/07/31	2018/09/24
4			No.15: Sekiguchi, Otaki		15.关口，大泷		15. 세키구치의 오타키	1931	2018/07/31	2018/09/24
4			No.33: Earthquake Memorial Hall in Honjo		33.本所，震灾纪念堂		33. 혼죠의 진재기념당	1932	2018/07/31	2018/09/24
4			No.39: Garbage Incineration Plant in Fukagawa		39.东京深川垃圾处理工场		39. 도쿄 후쿠가와 쓰레기 처리 공장	1933	2018/07/31	2018/09/24
4			No.47: Steamship Landing and Bridges		47.轮船客运站和桥的风景		47. 기선 정류장과 다리	1934	2018/07/31	2018/09/24
4			No.58: Tokyo Chrysanthemum Show at Hibiya Park		58.日比谷公园，东京市菊花大会		58. 히비야 공원의 도쿄시 국화 대회	1934	2018/07/31	2018/09/24
4			No.60: At the Foot of Sukiyabashi Bridge		60.数寄屋桥畔		60. 스키야바시 부근	1935	2018/07/31	2018/09/24
4			No.61: Buildings in Shinjuku		61.淀桥区新宿街景		61. 요도바시구 신주쿠 거리	1935	2018/07/31	2018/09/24
4			No.76: Tokyo Municipal Hall		76.东京市政府		76. 도쿄시청	1936	2018/07/31	2018/09/24
4			No.100: Kabutocho Stock Exchange		100.兜町，交易所街		100. 가부토초 거래소 거리	1937	2018/07/31	2018/09/24
4			No.27 (new version): Togoshi Ginza Station		改版27.户越银座，荏原区		개정판 27. 에바라구 도고시 긴자	1940	2018/07/31	2018/09/24
4			No.20 (new version): Kachidoki Bridge		改版20.胜哄桥		개정판 20. 가치도키바시	Date unknown	2018/07/31	2018/09/24
5		AI-MITSU	Lion	叆光	狮子	아이미쓰	사자	1936	2018/06/05	2018/09/24
5		ASAKURA, Fumio	Looking Up	朝仓文夫	仰视	아사쿠라 후미오	앙시	1944	2018/06/05	2018/09/24
5		INOKUMA, Gen’ichiro	Railroad Construction in a Certain Area	猪熊弦一郎	○○方向的铁道建设	이노쿠마 겐이치로	○○방면 철도 건설	1944	2018/06/05	2018/09/24
5		SUDA, Kunitaro	Walking Eagle	须田国太郎	行走的鹫	스다 구니타로	걷는 독수리	1940	2018/06/05	2018/09/24
5		KITAWAKI, Noboru	Airport	北胁升	机场	기타와키 노보루	공항	1937	2018/06/05	2018/09/24
5		KOMAKI, Gentaro	Bricks and a Squirrel	小牧源太郎	积木和松鼠	고마키 겐타로	나무 블록과 다람쥐	1941	2018/06/05	2018/09/24
5		FUKUZAWA, Ichiro	Oxen	福泽一郎	牛	후쿠자와 이치로	소	1936	2018/06/05	2018/09/24
5		FUJIO, Ryushiro	Mythos, Study for Figures	藤尾龙四郎	神话（群像习作）	후지오 류시로	신화(군상 습작)	1943	2018/06/05	2018/09/24
5		YAMASHITA, Kikuji	Salmon and Owl	山下菊二	鲑与枭	야마시타 기쿠지	연어와 올빼미	1939	2018/06/05	2018/09/24
5		WADA, Sanzo	Mandara for Rousing Asians	和田三造	兴亚曼荼罗	와다 산조	흥아 만다라	1940	2018/06/05	2018/09/24
6		ASO, Saburo	Red Sky	麻生三郎	赤空	아소 사부로	붉은 하늘	1956	2018/06/05	2018/09/24
6		EBIHARA, Kinosuke	Rainy Day	海老原喜之助	雨天	에비하라 기노스케	비오는 날	1963	2018/06/05	2018/09/24
6		OYAMADA, Jiro	Dining Table	小山田二郎	餐桌	오야마다 지로	식탁	1955	2018/06/05	2018/09/24
6		KAZUKI, Yasuo	Carrier	香月泰男	搬运的人	가즈키 야스오	나르는 사람	1959	2018/06/05	2018/09/24
6		SUGURO, Tadashi	Heavy Moon	胜吕忠	重月	스구로 다다시	무거운 달	1956	2018/06/05	2018/09/24
6		TATEHATA, Kakuzo	Figure	建畠觉造	貌	다테하타 가쿠조	얼굴	1955	2018/06/05	2018/09/24
6		NAKANO, Jun	Dining Table	中野淳	餐桌	나카노 준	식탁	1956	2018/06/05	2018/09/24
6		FURUSAWA, Iwami	Mountain Path	古泽岩美	垭口	후루사와 이와미	고개	1952	2018/06/05	2018/09/24
6		ASO, Saburo	Lying Man	麻生三郎	躺着的男人	아소 사부로	자고 있는 남자	1963	2018/06/05	2018/07/29
6		ISHII, Shigeo	People of the Nest	石井茂雄	巢中的人们	이시이 시게오	둥지의 사람들	1959	2018/06/05	2018/07/29
6		ISHII, Shigeo	Prisoner	石井茂雄	虏囚	이시이 시게오	포로	1961	2018/06/05	2018/07/29
6		HAMADA, Chimei	Crowd of the Blind	滨田知明	群盲	하마다 지메이	군맹(群盲)	1960	2018/06/05	2018/07/29
6		ASO, Saburo	Eye C	麻生三郎	目C	아소 사부로	눈 C	1967	2018/07/31	2018/09/24
6		KAWARA, On	Dump	河原温	垃圾场	가와라 온	쓰레기장	1954	2018/07/31	2018/09/24
6		HAMADA, Chimei	Elegy of Raw Recruits: Sentinel	滨田知明	初年兵哀歌（步哨）	하마다 지메이	초년병 애가(보초)	1951	2018/07/31	2018/09/24
6		HAMADA, Chimei	Landscape	滨田知明	风景	하마다 지메이	풍경	1953	2018/07/31	2018/09/24
7		Bruce Nauman	Bouncing in the Corner No.1	布鲁斯·瑙曼	角落跳跃No.1	브루스  나우만	코너에서 바운싱 No.1	1968	2018/06/05	2018/09/24
7		Hergé (Georges Remi)	No.43 from Flight 714 to Sydney	埃尔热（乔治·勒米）	《714航班》之No.43	에르제(조르주 레미)	“시드니행 714편” 중 No.43	1968/81	2018/06/05	2018/09/24
7		KAMOI, Rei	Stand Still Time	鸭居玲	静止之刻	가모이 레이	정지한 시간	1968	2018/06/05	2018/09/24
7		KOJIMA, Nobuaki	Boxer	小岛信明	拳击选手	고지마 노부아키	복서	1968	2018/06/05	2018/09/24
7		TOMATSU, Shomei	From Castle	东松照明	出自《城》	도마쓰 쇼메이	“성”에서	1968 (1992 print)	2018/06/05	2018/09/24
7		NAKANISHI, Natsuyuki	Compact Object: Sinking Scissors	中西夏之	小型作品　沉没的剪刀	나카니시 나쓰유키	콤팩트 오브제 가라앉는 가위	1968	2018/06/05	2018/09/24
7		HOSHINO, Shingo	White Work, Man	星野真吾	白色作品，男	호시노 신고	하얀 작품・남자	1968	2018/06/05	2018/09/24
7		MOKUTA, Takeo	Notification	杢田武雄	告知	모쿠타 다케오	고지	1968	2018/06/05	2018/09/24
7		WATANABE, Katsumi	Barkers, Shinjuku	渡边克巳	揽客的人，新宿	와타나베 가쓰미	선전원, 신주쿠	1968 (2014 print)	2018/06/05	2018/09/24
7		WATANABE, Katsumi	Bandsmen, Shinjuku	渡边克巳	乐队小子，新宿	와타나베 가쓰미	밴드 보이, 신주쿠	1968 (c.2005 print)	2018/06/05	2018/09/24
7		Barbara Hepworth	Four Figures Waiting	芭芭拉·赫普沃斯	等待的四个人	헵워스 바버라	4 명의 피규어 대기 중	1968	2018/06/05	2018/09/24
7		TAMURA, Akihide	Yokota from BASE	田村彰英	《BASE》之“横田”	다무라 아키히데	“BASE”에서 요코타	1968 (printed later)	2018/06/05	2018/07/29
7		TAMURA, Akihide	Yokota from BASE	田村彰英	《BASE》之“横田”	다무라 아키히데	“BASE”에서 요코타	1968 (1992 print)	2018/06/05	2018/07/29
7		TAMURA, Akihide	Yokota from BASE	田村彰英	《BASE》之“横田”	다무라 아키히데	“BASE”에서 요코타	1968 (1992 print)	2018/07/31	2018/09/24
7		TAMURA, Akihide	Yokota from BASE	田村彰英	《BASE》之“横田”	다무라 아키히데	“BASE”에서 요코타	1968 (1992 print)	2018/07/31	2018/09/24
8		ISHIUCHI, Miyako	Yasuura from Endless Night	石内都	《连夜之街》之“安浦”	이시우치 미야코	“연야의 거리”에서 야스우라	1978-80 (1993 print)	2018/06/05	2018/09/24
8		ISHIUCHI, Miyako	Nakamura Red-light District from Endless Night	石内都	《连夜之街》之“中村游廓”	이시우치 미야코	“연야의 거리”에서  나카무라 유곽	1978-80 (1993 print)	2018/06/05	2018/09/24
8		ISHIUCHI, Miyako	Tobita-Shinchi from Endless Night	石内都	《连夜之街》之“飞天新地”	이시우치 미야코	“연야의 거리”에서 도비타 신치	1978-80 (1993 print)	2018/06/05	2018/09/24
8		ISHIUCHI, Miyako	Miyagawa-Cho from Endless Night	石内都	《连夜之街》之“宫川町”	이시우치 미야코	“연야의 거리”에서 미야가와초	1978-80 (1993 print)	2018/06/05	2018/09/24
8		ISHIUCHI, Miyako	Noge from Endless Night	石内都	《连夜之街》之“野毛”	이시우치 미야코	“연야의 거리”에서 노게	1978-80 (1993 print)	2018/06/05	2018/09/24
8		KATSURA, Yuki (Yukiko)	Work	桂雪（雪子）	作品	가쓰라 유키(유키코)	작품	1978-79	2018/06/05	2018/09/24
8		KANNO, Seiko	Work	菅野圣子	作品	간노 세이코	작품	c.1970	2018/06/05	2018/09/24
8		KANNO, Seiko	Eulogy on Vowels 4	菅野圣子	母音颂4	간노 세이코	모음송(母音頌) 4	1973	2018/06/05	2018/09/24
8		KINOSHITA, Kazuyo	’79-38-A	木下佳通代	79-38-A	기노시타 가즈요	79-38-A	1979	2018/06/05	2018/09/24
8		KINOSHITA, Kazuyo	Compass ’77-I	木下佳通代	圆规’77-I	기노시타 가즈요	컴퍼스  ’77-I	1977	2018/06/05	2018/09/24
8		KINOSHITA, Kazuyo	’79-40-A	木下佳通代	’79-40-A	기노시타 가즈요	’79-40-A	1979	2018/06/05	2018/09/24
8		SAKAGAMI, Chiyuki	Untitled	坂上Chiyuki	无题	사카가미 지유키	무제	c.1980	2018/06/05	2018/09/24
8		SAKAGAMI, Chiyuki	Untitled	坂上Chiyuki	无题	사카가미 지유키	무제	c.1980	2018/06/05	2018/09/24
8		SAKAGAMI, Chiyuki	Untitled	坂上Chiyuki	无题	사카가미 지유키	무제	c.1980	2018/06/05	2018/09/24
8		SAKAGAMI, Chiyuki	In Search of the Supernatural 7	坂上Chiyuki	搜神7	사카가미 지유키	수신(捜神) 7	1984	2018/06/05	2018/09/24
8		SAKAGAMI, Chiyuki	Frozen King	坂上Chiyuki	冰冻王者	사카가미 지유키	얼어 붙은 왕	1982	2018/06/05	2018/09/24
8		SAKAGAMI, Chiyuki	Untitled	坂上Chiyuki	无题	사카가미 지유키	무제	c.1982	2018/06/05	2018/09/24
8		TATSUNO, Toeko	UNTITLED-35	辰野登惠子	UNTITLED-35	다쓰노 도에코	UNTITLED-35	1974	2018/06/05	2018/09/24
8		TATSUNO, Toeko	UNTITLED-24	辰野登惠子	UNTITLED-24	다쓰노 도에코	UNTITLED-24	1974	2018/06/05	2018/09/24
8		TATSUNO, Toeko	UNTITLED-28	辰野登惠子	UNTITLED-28	다쓰노 도에코	UNTITLED-28	1974	2018/06/05	2018/09/24
8		MIYAWAKI, Aiko	Scroll Painting, White	宫胁爱子	卷轴画，白	미야와키 아이코	두루마리 그림, 백	1975	2018/06/05	2018/09/24
8		MIYAWAKI, Aiko	Scroll Painting, Black	宫胁爱子	卷轴画，黑	미야와키 아이코	두루마리 그림, 흑	1976	2018/06/05	2018/09/24
9		YAMAMURA, Gasho	From Plants	山村雅昭	出自《植物》	야마무라 가쇼	‘식물에’로부터	1974-75	2018/06/05	2018/07/29
9		YAMAMURA, Gasho	From Plants					1974-75	2018/06/05	2018/07/29
9		YAMAMURA, Gasho	From Plants					1974-75	2018/06/05	2018/07/29
9		YAMAMURA, Gasho	From Plants					1974-75	2018/06/05	2018/07/29
9		YAMAMURA, Gasho	From Plants					1974-75	2018/06/05	2018/07/29
9		YAMAMURA, Gasho	From Plants					1974-75	2018/06/05	2018/07/29
9		YAMAMURA, Gasho	From Plants					1974-75	2018/06/05	2018/07/29
9		YAMAMURA, Gasho	From Plants					1974-75	2018/06/05	2018/07/29
9		YAMAMURA, Gasho	From Plants					1974-75	2018/06/05	2018/07/29
9		YAMAMURA, Gasho	From Plants					1974-75	2018/06/05	2018/07/29
9		YAMAMURA, Gasho	From Plants					1974-75	2018/06/05	2018/07/29
9		YAMAMURA, Gasho	From Plants					1974-75	2018/06/05	2018/07/29
9		YAMAMURA, Gasho	From Plants					1974-75	2018/06/05	2018/07/29
9		YAMAMURA, Gasho	From Plants					1974-75	2018/06/05	2018/07/29
9		YAMAMURA, Gasho	From Plants					1974-75	2018/06/05	2018/07/29
9		YAMAMURA, Gasho	From Plants					1974-75	2018/06/05	2018/07/29
9		YAMAMURA, Gasho	From Plants					1974-75	2018/06/05	2018/07/29
9		YAMAMURA, Gasho	From Plants					1974-75	2018/06/05	2018/07/29
9		YAMAMURA, Gasho	From Plants					1974-75	2018/06/05	2018/07/29
9		HOSOE, Eikoh	Ordeal by Roses No.1	细江英公	蔷薇刑  作品1	호소에 에이코	장미형 작품1	1961 (printed later)	2018/07/31	2018/09/24
9		HOSOE, Eikoh	Ordeal by Roses No.3	细江英公	蔷薇刑  作品3	호소에 에이코	장미형 작품3	1961 (printed later)	2018/07/31	2018/09/24
9		HOSOE, Eikoh	Ordeal by Roses No.6	细江英公	蔷薇刑  作品6	호소에 에이코	장미형 작품6	1961 (printed later)	2018/07/31	2018/09/24
9		HOSOE, Eikoh	Ordeal by Roses No.16	细江英公	蔷薇刑  作品16	호소에 에이코	장미형 작품16	1961 (printed later)	2018/07/31	2018/09/24
9		HOSOE, Eikoh	Ordeal by Roses No.17	细江英公	蔷薇刑  作品17	호소에 에이코	장미형 작품17	1961 (printed later)	2018/07/31	2018/09/24
9		HOSOE, Eikoh	Ordeal by Roses No.18	细江英公	蔷薇刑  作品18	호소에 에이코	장미형 작품18	1961 (printed later)	2018/07/31	2018/09/24
9		HOSOE, Eikoh	Ordeal by Roses No.19	细江英公	蔷薇刑  作品19	호소에 에이코	장미형 작품19	1961 (printed later)	2018/07/31	2018/09/24
9		HOSOE, Eikoh	Ordeal by Roses No.29	细江英公	蔷薇刑  作品29	호소에 에이코	장미형 작품29	1961 (printed later)	2018/07/31	2018/09/24
9		HOSOE, Eikoh	Ordeal by Roses No.32	细江英公	蔷薇刑  作品32	호소에 에이코	장미형 작품32	1961 (printed later)	2018/07/31	2018/09/24
9		HOSOE, Eikoh	Ordeal by Roses No.33	细江英公	蔷薇刑  作品33	호소에 에이코	장미형 작품33	1961 (printed later)	2018/07/31	2018/09/24
9		HOSOE, Eikoh	Ordeal by Roses No.38	细江英公	蔷薇刑  作品38	호소에 에이코	장미형 작품38	1961 (printed later)	2018/07/31	2018/09/24
10		KAWAKAMI, Ryoka	Railroad	川上凉花	铁路	가와카미 료카	철로	1912	2018/06/05	2018/09/24
10		KUME, Keiichiro	An Island Brehat	久米桂一郎	布雷阿岛	구메 게이치로	브레아 섬	1891	2018/06/05	2018/09/24
10		KOSUGI, Hoan (Misei)	Waterside Village	小杉放菴（未醒）	水乡	고스기 호안 (미세이)	수향	1911	2018/06/05	2018/09/24
10		SHINKAI, Taketaro	Bathing	新海竹太郎	沐浴	신카이 다케타로	목욕	1907	2018/06/05	2018/09/24
10	0005	SHINKAI, Taketaro	Bathing	新海竹太郎	沐浴	신카이 다케타로	목욕	1907	2018/06/05	2018/09/24
10		NAKAGAWA, Hachiro	Wild Roses	中川八郎	野蔷薇	나카가와 하치로	들장미	1909	2018/06/05	2018/09/24
10		YAMASHITA, Shintaro	Woman at Her Shoes	山下新太郎	靴子女人	야마시타 신타로	구두 신은 여인	1910	2018/06/05	2018/09/24
10	0017	YOROZU, Tetsugoro	Nude Beauty	万铁五郎	裸体美人	요로즈 데쓰고로	나체 미인	1912	2018/06/05	2018/09/24
10	0004	WADA, Sanzo	South Wind	和田三造	南风	와다 산조	남쪽 바람	1907	2018/06/05	2018/09/24
10		AKAGI, Yasunobu	White Sand	赤城泰舒	白沙	아카기 야스노부	흰 모래	1912	2018/06/05	2018/07/29
10		OSHITA, Tojiro	Foot of Mt. Hotaka	大下藤次郎	穂高山之麓	오시타 도지로	호타카산의 기슭	1907	2018/06/05	2018/07/29
10		KAWAI, Gyokudo	New Moon	川合玉堂	阴历二日月	가와이 교쿠도	초승달	1907	2018/06/05	2018/07/29
10		KOSAKA, Shiden	Green Dale	小坂芝田	溪山积翠	고사카 시덴	초록빛 계곡	1911	2018/06/05	2018/07/29
10		SHIMOMURA, Kanzan	Diogenes	下村观山	第欧根尼	시모무라 간잔	디오게네스	1903	2018/06/05	2018/07/29
10		TAKEUCHI, Seiho	After a Shower	竹内栖凤	雨过天晴	다케우치 세이호	비가 온 뒤	1907	2018/06/05	2018/07/29
10	0018	TSUCHIDA, Bakusen	Island Women	土田麦僊	岛上的女子	쓰치다 바쿠센	섬 여인	1912	2018/06/05	2018/07/29
10		TOBARI, Kogan	Fresh Verdure at Nippori	户张孤雁	日暮里新绿	도바리 고간	닛뽀리의 신록	c.1907-1912	2018/06/05	2018/07/29
10		HISHIDA, Shunso	Lin Hejing [the Chinese poet]	菱田春草	林和靖	히시다 슌소	임화정	c.1900-1901	2018/06/05	2018/07/29
10		MINAMI, Kunzo	Girl Seated by the Water	南薰造	水边的少女	미나미 군조	물가의 소녀	1908	2018/06/05	2018/07/29
10		YAMAUCHI, Tamon	Summer from Four Seasons in the Nikko Mountains	山内多门	日光山四季（夏）	야마우치 다몬	닛코산의 사계 (여름)	1911	2018/06/05	2018/07/29
10		YOSHIDA, Hiroshi	Nishinohashi Bridge,Yozawa	吉田博	养泽 西之桥	요시다 히로시	요자와 니시노하시	1896	2018/06/05	2018/07/29
10		YOSHIDA, Fujio	Fuchu on a National Holiday	吉田藤远	国民节日的府中	요시다 후지오	휴일의 후츄	1902-03	2018/06/05	2018/07/29
10		ASAI, Chu	Scene in a Mountain Village	浅井忠	山村风景	아사이 츄	산촌풍경	1887	2018/07/31	2018/09/24
10		IMAMURA, Shiko	Flute	今村紫红	笛	이마무라 시코	피리	c.1900	2018/07/31	2018/09/24
10		OTAKE, Kokkan	Alarmed	尾竹国观	疏忽	오타케 곳칸	방심	1909	2018/07/31	2018/09/24
10		KANOKOGI, Takeshiro	Country Road	鹿子孟太郎	乡间的路	가노코기 다케시로	시골길	c.1895	2018/07/31	2018/09/24
10		HASHIMOTO, Gaho	The Isle of Eternal Youth	桥本雅邦	蓬莱山	하시모토 가호	봉래산	c.1903-07	2018/07/31	2018/09/24
10		TOMIOKA, Tessai	Dong-po Going Home Drunken	富冈铁斋	东坡醉归图	도미오카 뎃사이	동파취귀도	c.1907	2018/07/31	2018/09/24
10		TOMIOKA, Tessai	Enchanted Land, Penglaishan	富冈铁斋	蓬莱仙境图	도미오카 뎃사이	봉래선경도	1924	2018/07/31	2018/09/24
10		HIRATA, Shodo	Autumn in the Trees	平田松堂	树木之秋	히라타 쇼도	나무들의 가을	1912	2018/07/31	2018/09/24
10		MARUYAMA, Banka	The Highlands in the Fog	丸山晚霞	雾之高原	마루야마 반카	안개의 고원	c.1905	2018/07/31	2018/09/24
10		YAMAUCHI, Tamon	Autumn from Four Seasons in the Nikko Mountains	山内多门	日光山四季（秋）	야마우치 다몬	닛코산의 사계 (가을)	1911	2018/07/31	2018/09/24
10		YAMAZAKI, Choun	Takaogami [the goddess of rain]	山崎朝云	靇（高靇神）	야마자키 조운	다카오가미	1911	2018/07/31	2018/09/24
10		YUKI, Somei	Bird Twittering	结城素明	鸟鸣	유키 소메이	새소리	1911	2018/07/31	2018/09/24
10		YOSHIDA, Hiroshi	Crescent	吉田博	新月	요시다 히로시	초승달	1907	2018/07/31	2018/09/24
10		YOSHIDA, Fujio	Green Garden	吉田藤远	绿庭	요시다 후지오	초록 정원	1912	2018/07/31	2018/09/24
10		YONEHARA, Unkai	The Elixir of Life	米原云海	仙丹	요네하라 운카이	선단	1910	2018/07/31	2018/09/24
3F		FUNAKOSHI, Yasutake	Haranojo Castle	舟越保武	原之城	후나코시 야스타케	하라노조, 성 / 하라노 성의 무인	1971	2018/06/05	2018/09/24
3F		YANAGIHARA, Yoshitatsu	Song of the Dog	柳原义达	犬之歌	야나기하라 요시타쓰	개 짖는 소리	1961	2018/06/05	2018/09/24
11		KATO, Izumi	Untitled	加藤泉	无题	가토 이즈미	무제	2016	2018/06/05	2018/09/24
11		Miriam Cahn	Untitled	米瑞安·坎	无题	미리암 칸	무제	2016	2018/06/05	2018/09/24
11		KUNIYOSHI, Yasuo	Three Generations	国吉康雄	三代	구니요시 야스오	삼세대	1918-20	2018/06/05	2018/09/24
11		KOBAYASHI, Masato	Education (to Make Light)	小林正人	教育（to Make Light）	고바야시 마사토	교육（to Make Light）	1998	2018/06/05	2018/09/24
11		KOBAYASHI, Masato	Education (to Make Light)	小林正人	教育（to Make Light）	고바야시 마사토	교육（to Make Light）	1998	2018/06/05	2018/09/24
11		Shooshie Sulaiman	In Between Values (Antara Nilai)	苏西·苏莱曼	价值的间隙（Antara Nilai）	슈시 술라이만	가치의 사이（Antara Nilai）	2013	2018/06/05	2018/09/24
11		Shooshie Sulaiman	Banana Institution (Institusi Pisang)	苏西·苏莱曼	香蕉机构（Institusi Pisang）	슈시 술라이만	바나나 인스티튜션（Institusi Pisang）	2013	2018/06/05	2018/09/24
11		Shooshie Sulaiman	Country (Negara)	苏西·苏莱曼	国（Negara）	슈시 술라이만	나라（Negara）	2012-13	2018/06/05	2018/09/24
11		SEIMIYA, Naobumi	Leave Taking	清宫质文	告别	세이미야 나오부미	고별	1974	2018/06/05	2018/09/24
11		NARA, Yoshitomo	Harmless Kitty	奈良美智	Harmless Kitty	나라 요시토모	Harmless Kitty	1994	2018/06/05	2018/09/24
11		HASEKAWA, Toshiyuki	Woman of Noa-Noa	長谷川利行	诺阿诺阿的女子	하세카와 도시유키	노아노아의 여인	1937	2018/06/05	2018/09/24
11	0089	Georg Baselitz	Self-Portrait I	格奥尔格·巴泽利茨	自画像I	게오르그 바젤리츠	자화상1	1996	2018/06/05	2018/09/24
11		Markus Lüpertz	Head of Hera	马库斯·吕佩尔兹	赫拉的头部	마르쿠스 뤼페르츠	헤라의 머리	2003	2018/06/05	2018/09/24
12		AKASEGAWA, Gempei	Prophecy of a Patient (Glass Egg)	赤濑川原平	患者的预言（玻璃蛋）	아카세가와 겐페이	환자의 예언(유리 알)	1962/94	2018/06/05	2018/09/24
12		Josef Albers	Homage to the Square	约瑟夫·亚伯斯	正方形赞歌	조제프 앨버스	정사각형에 바치는 경의	1959	2018/06/05	2018/09/24
12		OHTAKE, Shinro	Torso and Guitar	大竹伸朗	胴体和吉他	오타케 신로	Torso and Guitar	1988	2018/06/05	2018/09/24
12		Alexander Calder	The Monster	亚历山大·考尔德	怪物	알렉산더 칼더	몬스터	c.1939	2018/06/05	2018/09/24
12		Tony Cragg	The Meter	托尼·克拉格	计量器	토니 크랙	미터(계측기)	2003	2018/06/05	2018/09/24
12		KUWAYAMA, Tadaaki	GOLD,SILVER AND GOLD	桑山忠明	GOLD, SILVER AND GOLD	구와야마 다다아키	GOLD, SILVER AND GOLD	1975	2018/06/05	2018/09/24
12		Kurt Schwitters	Coloured Relief with Plastic “O”	库尔特·施威特斯	有立体“O”的彩色浮雕	쿠르트 슈비터스	입체 “O”에 있는 색체 릴리프	1944-46	2018/06/05	2018/09/24
12		David Smith	Circle IV	大卫·史密斯	圆 IV	데이비드 스미스	서클 IV	1962	2018/06/05	2018/09/24
12	0085	KUSAMA, Yayoi	A Signpost to Hades	草间弥生	往阴间的路标	구사마 야요이	명계로의 이정표	1976	2018/06/05	2018/09/24
12		TAKAMINE, Tadasu	God Bless America	高岭格	God Bless America	다카미네 다다스	God Bless America	2002	2018/06/05	2018/09/24
12		TANAKA, Atsuko	Work 66 – SA	田中敦子	作品 66 – SA	다나카 아쓰코	작품 66 – SA	1966	2018/06/05	2018/09/24
12		Georges Braque	Female Torso	乔治·布拉克	女性胴体	조르주 브라크	여자 토르소	1910-11	2018/06/05	2018/09/24
12		Hamish Fulton	A Road to the Sea	哈米什·富尔顿	通往大海的路	해미쉬 훌톤	바다로 향하는 길	1990	2018/06/05	2018/09/24
12		Jackson Pollock	Untitled [Head with Polygons]	杰克逊·波洛克	无题（有多角形的头部）	잭슨 폴록	무제(다각형이 있는 머리 부분)	c.1938-41	2018/06/05	2018/09/24
12		Bruce Mclean	Sunrise and Sunset	布鲁斯·麦克莱恩	日升，日落	브루스 맥린	해는 뜨고 해는 진다	1990	2018/06/05	2018/09/24
12		Morris Louis	No End	莫里斯·路易斯	No End	루이스 모리스	No End	1962	2018/06/05	2018/09/24
12	0078	YOSHIHARA, Jiro	White on Black	吉原治良	黑底白	요시하라 지로	검정 위에 하양	1965	2018/06/05	2018/09/24
12	0022	YOROZU, Tetsugoro	Leaning Woman	万铁五郎	倚立者	요로즈 데쓰고로	기대선 사람	1917	2018/06/05	2018/09/24
12		Robert Rauschenberg	Potato Buds	罗伯特·劳森伯格	Potato Buds	로버트 라우센버그	감자씨	1971	2018/06/05	2018/09/24
2F		TANAKA, Koki	A Project, Seven Boxes and Movements at the Museum	田中功起	一个工程、七个盒子和行为、在美术馆	다나카 고키	하나의 프로젝트, 일곱 개의 상자와 행위, 미술관에서	2012	2018/06/05	2018/09/24
2F	0090	Antony Gormley	Reflection	安东尼·戈姆雷	反映/思索	안토니 고무리	반영 / 사색	2001	2018/06/05	2018/09/24
2F		Julian Opie	Matsuzaki Bay in the Rain from Route 136. From Eight Views of Japan.	朱利安·奥培	《日本八景》 从国道一百三十六号线看雨中的松崎港	줄리안 오피	“일본 팔경” 중, 국도 136호선에서 본 비오는 마쓰자키 항구	2007	2018/06/05	2018/09/24
2F		Julian Opie	Moon Over Manazuru Peninsula. From Eight Views of Japan.	朱利安·奥培	《日本八景》 真鹤半岛上的月亮	줄리안 오피	“일본 팔경” 중, 마나즈루반도 위에 뜬 달	2007	2018/06/05	2018/09/24
2F		Julian Opie	View of Lake Motosu and Mount Fuji from Route 300. From Eight Views of Japan.	朱利安·奥培	《日本八景》 从国道三百号线看本栖湖的富士山	줄리안 오피	“일본 팔경” 중, 국도 300호선에서 보는 모토스 호수의 후지산	2007	2018/06/05	2018/09/24
terrace	0084	Isamu Noguchi	Gate	野口勇	门	이사무 노구치	문	1969	2018/06/05	2018/09/24
outside		KIMURA, Kentaro	Seven Prayers	木村贤太郎	七个祈祷	기무라 겐타로	일곱 가지의 기원	1969	2018/06/05	2018/09/24
outside		Marino Marini	The Idea of an Image	马里诺·马里尼	一个形象的构想	마리노 마리니	어떤 이미지의 구상	1969-70	2018/06/05	2018/09/24
outside		TADA, Minami	Chiaroscuro	多田美波	明暗对照	다다 미나미	Chiaroscuro	1979	2018/06/05	2018/09/24

Important Cultural Properties on display

The National Museum of Modern Art, Tokyo Collection (main building) contains 15 items that have been designated by the Japanese government as Important Cultural Properties. These include nine Nihon-ga (Japanese-style) paintings, five 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:

• Harada Naojiro , Kannon Bodhisattva Riding the Dragon, 1890, Long term loan (Gokokuji Temple Collection)
• Shinkai Taketaro,Bathing, 1907
• Wada Sanzo, South Wind , 1907 
• Yorozu Tetsugoro, Nude Beauty , 1912
• Tsuchida Bakusen, Serving Girl in a Spa, 1918 (Exhibit Date: July 31 – September 24）
• 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

 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.

 This year marks the 150th anniversary of start of the Meiji Period (1868-1912). To commemorate this historical landmark, we present Kaburaki Kiyokata’s Monthly Manners and Customs of the Meiji Period during the first part of the exhibition (June 5-July 29). As you examine the details of the work, please imagine how people of the era lived. In the second part of the exhibition (July 31-September 24), we present Kawabata Ryushi’s Flaming Grass and Kobayashi Kokei’s Indian Corn Plants in keeping with the season. Although all of the motifs are summer plants, the depictions are resplendent with unique characteristics.

 In the yo-ga (Western-style paintings by Japanese artists) exhibit, we present a number of important works from the Meiji to the early Showa Period (1926-1989), including Harada Naojiro’s Kannon Bodhisattva Riding the Dragon and Nakamura Tsune’s Portrait of Vasilii Yaroshenko. Koga Harue’s Sea contains a scattering of suitably seasonal images as well as a refined composition.

Room 2 The Melancholy of the Countryside

 This year marks the 150th anniversary of the Meiji Period, but what kind of year was 1918, which occurred exactly 100 years ago? Although 1918 was a year of important historical landmarks, such as the end of the First World War, we are going to focus on a relatively minor event. Sato Haruo’s novel The Melancholy of the Countryside was also published that year.

 The book meticulously depicts the mental workings of the protagonist, who, having grown weary of city life, moves to a secluded house in the suburbs surrounded by greenery. After reading the story and looking at art of the period, you realize that there is no shortage of works that deal with people lingering in plant-filled spaces and suburban scenes. For example, there is a splendid resonance between Murayama Kaita’s Roses and a Girl and the original title of Sato’s novel, The Sick Rose. The Taisho Period (1912-1926) is often seen as an era that placed a strong emphasis on individuality and the self, but there were also plenty of self-aware individuals who were tormented by social friction. Perhaps these plant-encircled areas were envisioned by artists of the era as a kind of Utopia to help them recover from exhaustion.

Room 3 A Friendship Formed in Paris

Following the First World War, there was a dramatic increase in the number of Japanese painters who went to study in Paris. After pursuing a variety of styles based on their individual interests, they returned to Japan with their newfound knowledge. In 1926, five of these artists, Maeta Kanji, Satomi Katsuzo, Saeki Yuzo, Kojima Zentaro, and Kinoshita Takanori, formed the 1930 Society. Their main motivations were to continue the friendships they had formed in Paris and to show the work they had created while living there. Other artists whom they had associated with in France also joined the group on their return to Japan, expanding the membership. Since their bonds were based on friendship, the artists’ styles were highly varied, as suggested by the works on display in this room. But the most important thing they learned in Paris was not style, it was the artistic approach of giving top priority to a subjective vision. Exaggerating things that they viewed as real based on a personal sensibility lay at the root of this new Realism. The fact that each artist’s style was so disparate enhanced the overall allure of the group as a collection of individuals. This also attracted younger artists who were searching for new forms of expression.

Room 4 Koizumi Kishio, Works from One Hundred Scenes from the Tokyo Metropolis in the Showa Period

Born in Shizuoka, Koizumi Kishio moved to Tokyo in 1909 and studied at the Japan Institute of Watercolor Painting, which was overseen by Oshita Tojiro. After became acquainted with Tobari Kogan and Oda Kazuma at the school, Koizumi began making prints. Between the late Meiji and the early Taisho era, prints became established as an art form rather than merely a reproductive technique for practical applications. As a print artist, Koizumi followed in the footsteps of the Creative Print movement, which was based on the idea that an artist would make his or her own picture, carve the plate, and print the work without relying on an artisan.

 One of Koizumi’s most prominent works, One Hundred Scenes from the Tokyo Metropolis in the Showa Period (published in pieces from 1929 to 1937) is an outstanding print series depicting the restoration and modernization of Tokyo in the wake of the 1923 Great Kanto Earthquake. Unsatisfied with the final product, Koizumi later revised some of the prints, creating a total of 105 works, 57 of which are contained in the museum collection. The works are distinguished by simple and concise compositions, and bright and vivid colors that make the most of the watercolor paint. In addition to sights that had been famous since the ukiyoe era, the prints depict scenes of Tokyo, which are striking for the urbanization, industrialization, and commercialization brought about by post-earthquake restoration, and the daily lives of people in the city. The works approach these beautiful, geometrical urban forms and modern manners and customs with a detached perspective.

Room 5 Animals and the War Era

When a society heads into war, people are not the only ones who get caught in the middle. During the Pacific War, animals were mobilized to transport goods and slaughtered in the fear that they would escape in the chaos caused by air raids. This might remind some viewers of the poor elephants depicted in Tsuchiya Yukio’s picture book Faithful Elephants: A True Story of Animals, People, and War.

 Most war-record paintings depict soldiers on the front lines or their families on the home front, but many other artists dealt with the theme of animals during this period. For example, images of fierce horses and eagles preparing to take flight were probably intended to increase the fighting spirit. Maple seedpods often appear in Kitawaki Noboru’s work as a metaphor for airplanes or jet fighters. Ai-Mitsu’s small, scrunched up lion seems to suggest people who were unavoidably engulfed in the tumult of the era.

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 Restless Bodies

At a time when the aftereffects of the Pacific War were still very pronounced, a variety of artists made works depicting introspective and depressed people as a way of quietly expressing their opposition to the turbulent social conditions.

 Kazuki Yasuo was interned in Siberia after the war. After being sent home, he adopted a completely different artistic style, focusing on people who had suffered at the hands of society. These works might also be seen as self-portraits of a grief-stricken artist who fell victim to harsh circumstances.

 Aso Saburo and Suguro Tadashi’s works portray people who are being crushed by things in a small space. While both Oyamada Jiro and Nakano Jun make use of dining tables, the artists fill the canvas with vivid brushstrokes, depicting dark scenes that are far removed from the pleasure of eating and enjoying each other’s company. The gloomy expressions and fragmented lifeless bodies reflect the atmosphere in a society faced with the reality that life is interchangeable.

Room 7 2018-50=1968

This room consists entirely of works made in 1968. Today, the year is associated with the “season of politics,” but needless to say, not everything was political at the time. For example, one thing that attracted a great deal of interest was UFOs. So much so that a hearing on the subject (commonly known as the UFO Symposium) was held in the U.S. House of Representatives. UFOs appeared in manga of the period too. This was also the year of the so-called Anpo Protests (the student movement reached a fever pitch around the same time), designed to block the automatic extension of the Japan-U.S. Security Treaty in 1970. Under the circumstances, any artist who evoked America in their work might seem to have been supporting the protests, but this was apparently not always the case. 

Room 8 The 1970s: There Are Only Women in This Room

 As it turns out, there is only a single female artist in the preceding seven rooms. This demonstrates the distorted nature of the museum collection. With this in mind, we decided to, at the very least, devote this room entirely to women (through September 24). In Japan and elsewhere, the ’70s were a period in which women’s activities became clearly visible (or began to receive proper recognition). This was partly due to social factors. For example, in 1975 the United Nations designated the following ten years as the International Women’s Year and called on every country and organization to set establish goals and act accordingly. This led the Japanese government to formulate to a plan of action in 1977.

Room 9 – 1 Yamamura Gasho, Plants (Exhibit Date: June 5 – July 29）

In this exhibit, we feature Yamamura Gasho’s Plants. The series, made up of monochrome works in which Yamamura trained his lens on scenes of thick vegetation, such as bushes, trees, and flowers, embodies a unique artistic vision markedly different from standard nature or landscape photography. In keeping with the artist’s stated intention of capturing “the various ecologies of plants dwelling in the darkness” (as Yamamura commented in the April 1976 issue of Camera Mainichi), the vegetation in his photographs exudes a strange quality, accentuated by his use of strobes in daylight and high-contrast printing.

 Yamamura’s early work, The Children Living in Washington Heights (1959-62), which earned him a great deal of acclaim while still in university, focuses on the strange world of children living in U.S. Army housing in the middle of Tokyo. As this series suggests, the artist has shown a consistent interest in unknown realms and extraordinary entities living alongside familiar scenes. Plants depicts the strange appearance of vegetation that is at once familiar but is also often viewed with indifference as something alien. This important series unifies Yamamura’s, an artist whose talent flowered early, artistic direction and photographic technique. 

Room 9 – 2 Hosoe Eikoh, Ordeal by Roses (Exhibit Date: July 31 – September 24）

 These 11 works are from Ordeal by Roses, an early work by Hosoe Eikoh in which he explored fundamental themes of human existence such as life, death, and eros using the motifs of the novelist Mishima Yukio’s body and his idiosyncratic aesthetic sensibility.

 Impressed by Hosoe’s pictures of the butoh dancer Hijikata Tatsumi (published in a photo book called Man and Woman), Mishima selected the photographer to take a portrait that was used to adorn a collection of the writer’s criticism. In the garden of Mishima’s house, where the shoot took place, Hosoe employed drastic staging such as wrapping a rubber water hose around Mishima’s naked torso. Deeply satisfied with these brilliant and highly finished works, Mishima agreed to Hosoe’s request for an additional shoot. Taken over a period of about two years, the resulting works were published in the 1963 photo book Ordeal by Roses.

 Hosoe’s genius lay in his ability to identify the perverted impulses to suffer and self-destruct that were concealed within Mishima, who proudly displayed his physical beauty, and to use a variety of settings to illuminate these qualities. This aim was embodied by the beautiful but thrown-encrusted rose motif. The title Ordeal by Roses was devised by Mishima, the key player in this bizarre artistic world.

Room 10 Special Exhibit: Art in the Late Meiji Period

The museum primarily deals with art after the Bunten, an annual Ministry of Education-sponsored exhibition that was launched in 1907. This year, to commemorate the 150th anniversary of the Meiji Period, we feature a number of works from the collection that date from that era.

 In a surge of Westernization, Japan underwent a sudden modernization, which also had a strong effect on the art world. As part of the influx of Western-style painting, artists searched for new types of expression as seen in Wada Sanzo’s South Wind, which depicts figures with dynamic and characteristically unJapanese physiques. At the same time, in Nihonga, the traditional form of Japanese-style painting, artists blurred contours to create a three-dimensional effect and developed other experimental methods in their search for originality.

 In addition to Nihonga and Western-style painting, in this special exhibit, we focus on the rich world of art that emerged in the late Meiji Period with sculptures and outstanding watercolor paintings, such as Oshita Tojiro’s Foot of Mt. Hotaka (on view until July 29) and Yoshida Hiroshi’s Crescent (on view from July 31). We also present paintings such as Yorozu Tetsugoro’s Nude Beauty to illustrate the links to the subsequent Taisho Period, in which works that emphasized the artist’s individuality came to the fore.

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.

Takiguchi Shuzo and the Artists Who Captivated Him
Primarily from the Museum Collection

Room 11 Are Faces Really Necessary?

 As suggested by the development of facial recognition systems, faces are often seen as a way of differentiating between one person and another. Or, as is vividly expressed by a phrase like “It’s written all over your face,” faces are believed to convey a person’s inner state through an expression or change in color. Due especially to this function, artists have used a variety of methods to incorporate faces into their work. In some cases, they have created compositions that call attention to the face or made works with only a detached face (or head). While some have made a concentrated effort to deal with the shape of the face by giving it an impassive expression, others have attempted to convey the idea that a person’s inner workings can be expressed without depicting the face. In this group of works, most of which were made since the 1990s, we examine how artists deal with facial expressions.

Room 12 Welcome, Mr. Smith

 Last year the museum acquired Circle IV (1962) by David Smith, a prominent postwar sculptor. To commemorate this, we present a collection of paintings and sculptures that are designed to deepen your understanding of the work. These include a work that attempts to fuse painting and sculpture, a work that uses an abstract expression to depict the human body, a work that focuses on the labor required to make sculpture, and a more straightforward work based on a circle motif. The fact that a single work can summon up such a wide variety of expressions shows that even though they might seem indifferent, art works are imbued with any number of concepts.

About the Exhibition

Location

Collection Gallery, from the fourth to second floors

Date

June 5 – September 24, 2018

Time

10:00 – 17:00 (10:00 – 20:00 on Fridays and Saturdays)
MOMAT Collection and Gallery 4 open until 21:00 on Fridays and Saturdays during Gordon Matta-Clark: Mutation in Space (June 19 – September 17)
*Last admission is 30 minutes before closing.

Closed

※Closed on Mondays (except July 16, September 17 and 24), July 17 and September 18

Admission

Adults ¥500 (400)
College and university students ¥250 (200)
*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.

Discounts

Evening Discount (From 17:00 on Fridays and Saturdays)
Adults ¥300
College and university students ¥150
*Admission free for college and university students from 17:00 on Fridays and Saturdays between June 19 and September 17.

Free Admission Days

Collection Gallery and Gallery 4
Free on the first Sunday of each month (July 1, August 5 and September 2).

Organized by

The National Museum of Modern Art, Tokyo