Exhibitions
2020-1 MOMAT Collection
Date
Location
Collection Gallery, from the fourth to second floors
The collection exhibition from June 16–October 25, 2020
Welcome to the MOMAT Collection! We originally planned to hold a special exhibition in conjunction with the Olympic and Paralympic Games, but both have been postponed until next year. Instead, we will once more present exhibits that could scarcely be viewed this spring due to countermeasures against the COVID-19 pandemic, with some of the works replaced by others.
In Room 1 on the fourth floor is an area focusing on the relocation to Kanazawa, Ishikawa Prefecture of the Crafts Gallery, which until this spring served as an exhibition facility for decorative arts in Tokyo, along with various craft works. Also, Room 9 and the first half of Room 10 on the third floor features a special exhibit on the Bauhaus. This German school of fine and applied arts, which enormously influenced the development of modern design, marked the centenary of its opening last year.
Room 4 on the fourth floor has a special exhibit on Ohara Koson (Shoson), known for bird-and-flower woodcuts produced in the early years of the Showa Era (i.e. the late 1920s and early 1930s), while Gallery 4 on the second floor features a small-scale exhibit on the avant-garde painter Kitawaki Noboru, active in Kyoto in the 1930s and 1940s. We invite you to enjoy all these special exhibits at your leisure.
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 |
---|---|---|---|---|---|---|---|---|---|---|
4F | UEDA, Shoji | Kako’s and Mimi’s World | 植田正治 | 和子和充的世界 | 우에다 쇼지 | 가코와 미미의 세계 | 1949 | 2020/06/16 | 2020/08/23 | |
4F | UEDA, Shoji | Ken Domon and Ryosuke Ishizu | 植田正治 | 土门拳和石津良介 | 우에다 쇼지 | 도몬 겐과 이시즈 료스케 | 1949 | 2020/08/25 | 2020/10/25 | |
1 | HISHIDA, Shunso | Sparrows on Plum Blossoms | 菱田春草 | 梅与雀 | 히시다 슌소 | 매화나무와 참새 | 1911 | 2020/06/16 | 2020/06/21 | |
1 | YUKI, Somei | Bird Twittering | 结城素明 | 啭 | 유키 소메이 | 새소리 | 1911 | 2020/06/16 | 2020/06/21 | |
1 | KIKKAWA, Reika | Virgin at Mt. Hakoya | 吉川灵华 | 藐姑射之处子 | 깃카와 레이카 | 막고야산의 처녀 | 1918 | 2020/06/16 | 2020/06/21 | |
1 | TOMITA, Keisen | Paper Making | 富田溪仙 | 抄纸 | 도미타 게이센 | 종이 뜨기 | 1928 | 2020/06/16 | 2020/06/21 | |
1 | 0057 | OGURA, Yuki | Bathing Women | 小仓游龟 | 浴女 其一 | 오구라 유키 | 목욕하는 여인 그 첫 번째 | 1938 | 2020/06/16 | 2020/06/21 |
1 | TOMIMOTO, Kenkichi | Ornamental octagonal box, four-petal flower pattern, overglaze enamels, gold and silver | 富本宪吉 | 色绘金银彩四瓣花纹八角盒 | 도미모토 겐키치 | 다채색 금은채 네잎꽃무늬 팔각 장식함 | 1955 | 2020/06/23 | 2020/08/23 | |
1 | Hans Coper | Spade Form | 汉斯·库伯 | 黑桃形状 | 한스 코퍼 | 스페이드 폼 | c.1970 | 2020/06/23 | 2020/10/25 | |
1 | MORINO, Hiroaki | Sea Cobalt | 森野泰明 | 海碧 | 모리노 히로아키 | 바다와 같은 푸른빛 | 1972 | 2020/06/23 | 2020/10/25 | |
1 | FUKAMI, Sueharu | Porcelain cylinder, Shin | 深见陶治 | “晨”铭陶筒 | 후카미 스에하루 | 원통형 도자기 “신” | 1991 | 2020/06/23 | 2020/08/23 | |
1 | INAGAKI, Toshijiro | Kimono, Wind, stencil dyeing on tsumugi silk | 稻垣稔次郎 | “风”铭纸型印染信州绸和服 | 이나가키 도시지로 | 신슈명주 바탕 형지염색 기모노 “바람” | 1953 | 2020/06/23 | 2020/08/23 | |
1 | ISA, Toshihiko | Le vent dans la plaine, Images from Claude Debussy’s Preludes I | 伊砂利彦 | 来自德彪西作品《前奏曲Ⅰ》 的意象 平原之风 | 이사 도시히코 | 드뷔시 작곡 《전주곡 I》의 이미지로부터: 들을 스치는 바람 | 1984-86 | 2020/06/23 | 2020/08/23 | |
1 | ISA, Toshihiko | Voiles, Images from Claude Debussy’s Preludes I | 伊砂利彦 | 来自德彪西作品《前奏曲Ⅰ》 的意象 帆 | 이사 도시히코 | 드뷔시 작곡 《전주곡 I》의 이미지로부터: 돛 | 1984-86 | 2020/06/23 | 2020/08/23 | |
1 | KOGA, Fumi | Sash, Hateruma Island, Saga-nishiki type weave | 古贺文 | 佐贺锦松皮菱纹带 波照间 | 고가 후미 | 사가 비단 소나무 껍질을 닮은 마름모무늬 허리띠 “하테루마 섬” | 1989 | 2020/06/23 | 2020/08/23 | |
1 | MATSUDA, Gonroku | Box, design of chrysanthemum and stream, maki-e | 松田权六 | 菊水纹盒子 | 마쓰다 곤로쿠 | 국화와 물무늬 장식함 | 1940 | 2020/06/23 | 2020/08/23 | |
1 | OBA, Shogyo | Ornamental box, Morning, hyomon and maki-e | 大场松鱼 | 平脱漆盒 晨 | 오바 쇼교 | 평문 상자 “아침” | 1969 | 2020/06/23 | 2020/08/23 | |
1 | MATSUDA, Gonroku | Two-tier table, black pine and bird design, bachiru inlay and maki-e | 松田权六 | 山雀纹莳绘槙双层桌 | 마쓰다 곤로쿠 | 마키에 나한송과 박새무늬 2단 탁자 | 1972 | 2020/06/23 | 2020/08/23 | |
1 | SHONO, Shounsai | Flower basket with handle, sozen type | 生野祥云斋 | 白竹制宗全柄花篮 | 쇼노 쇼운사이 | 흰 대나무 손잡이 꽃바구니 | 1969 | 2020/06/23 | 2020/08/23 | |
1 | KATSURA, Morihito | Incense container, Crab | 桂盛仁 | 盒子 蟹 | 가쓰라 모리히토 | 합자 “게” | 1980 | 2020/06/23 | 2020/08/23 | |
1 | UGAJIN, Yonezo | Ryokuei | 宇贺神米藏 | 绿映 | 우가진 요네조 | 푸른빛이 비치다 | 1980 | 2020/06/23 | 2020/08/23 | |
1 | ISHII, Koji | Reef | 石井康治 | 礁 | 이시이 고지 | 암초 | 1992 | 2020/06/23 | 2020/08/23 | |
1 | YANAGIHARA, Mutsuo | Vase, gold and silver designs on a dark blue ground | 柳原 睦夫 | 绀釉金银彩花瓶 | 야나기하라 무쓰오 | 감색 유약 금은채 꽃병 | 1971 | 2020/08/25 | 2020/10/25 | |
1 | KUMAKURA, Junkichi | Musical Thoughts | 熊仓顺吉 | 乐想 | 구마쿠라 준키치 | 악상 | 1980 | 2020/08/25 | 2020/10/25 | |
1 | MORI, Masahiro | Shell bowl | 森正洋 | 贝壳碗 | 모리 마사히로 | 조가비모양 그릇 | 1982 | 2020/08/25 | 2020/10/25 | |
1 | MORI, Masahiro | Shell plate | 森正洋 | 贝壳盘 | 모리 마사히로 | 조가비모양 접시 | 1982 | 2020/08/25 | 2020/10/25 | |
1 | MOTONO, Toichi | Composed Landscape A | 本野东一 | 构造的风景 A | 모토노 도이치 | 구조의 풍경 A | 1956 | 2020/08/25 | 2020/10/25 | |
1 | MOTONO, Toichi | Composed Landscape B | 本野东一 | 构造的风景 B | 모토노 도이치 | 구조의 풍경 B | 1956 | 2020/08/25 | 2020/10/25 | |
1 | SUZUTA, Teruji | Kimono, pine tree design, stencil dyeing on crepe silk | 铃田照次 | “松”铭纸型印染单捻绉绢和服 | 스즈타 데루지 | 요철이 있는 지리멘 바탕 형지염색 기모노 “소나무” | 1962 | 2020/08/25 | 2020/10/25 | |
1 | MATSUDA, Gonroku | Lidded bowl, motif of Longevity, maki-e | 松田权六 | 长生之器 | 마쓰다 곤로쿠 | 장수 모티프 그릇 | 1940 | 2020/08/25 | 2020/10/25 | |
1 | MATSUDA, Gonroku | Low table, cherry blossom and bird design, maki-e | 松田权六 | 莳绘樱鸟图茶几 | 마쓰다 곤로쿠 | 마키에 벚꽃과 새무늬 낮은 탁자 | 1956 | 2020/08/25 | 2020/10/25 | |
1 | TAGUCHI, Yoshikuni | Ornamental box, solar eclipse design, maki-e | 田口善国 | 日食莳绘盒 | 다구치 요시쿠니 | 마키에 일식무늬 장식함 | 1963 | 2020/08/25 | 2020/10/25 | |
1 | MIYAZAKI, Shutaro | A set of vases of round, triangular and square shapes, nejiri-ami (weave) | 宫崎珠太郎 | 扭编花篮 圆·三角·四角 | 미야자키 슈타로 | 꼬아 엮어 만든 꽃바구니: 원, 삼각, 사각 | 1998 | 2020/08/25 | 2020/10/25 | |
1 | OCHI, Kenzo | Black Vase | 越智 健三 | 黑色花器 | 오치 겐조 | 검은 꽃병 | 1958 | 2020/08/25 | 2020/10/25 | |
1 | FUJITA, Kyohei | Decorative casket, Longevity | 藤田 乔平 | “天寿”铭饰盒 | 후지타 교헤이 | 장식함 “천수” | 1984 | 2020/08/25 | 2020/10/25 | |
1 | 0001 | HARADA, Naojiro | Kannon Bodhisattva Riding the Dragon | 原田直次郎 | 骑龙观音 | 하라다 나오지로 | 기룡관음 | 1890 | 2020/06/16 | 2020/10/25 |
1 | Paul Cézanne | Grand Bouquet of Flowers | 保罗·塞尚 | 大花束 | 폴 세잔 | 큰 꽃다발 | c.1892-95 | 2020/06/16 | 2020/10/25 | |
1 | Georges Braque | Female Torso | 乔治·布拉克 | 女性胴体 | 조르주 브라크 | 여인의 토르소 | 1910-11 | 2020/06/16 | 2020/10/25 | |
1 | 0020 | KISHIDA, Ryusei | Road Cut through a Hill | 岸田刘生 | 道路、土堤和围墙(凿开之路的写生) | 기시다 류세이 | 도로와 제방과 담(언덕길 사생) | 1915 | 2020/06/16 | 2020/10/25 |
1 | 0022 | YOROZU, Tetsugoro | Leaning Woman | 万铁五郎 | 倚立者 | 요로즈 데쓰고로 | 기대선 사람 | 1917 | 2020/06/16 | 2020/10/25 |
1 | 0040 | KOGA, Harue | Sea | 古贺春江 | 海 | 고가 하루에 | 바다 | 1929 | 2020/06/16 | 2020/10/25 |
1 | Georgia O’Keeffe | Hollyhock White and Green with Pedernal | 乔治亚·欧姬芙 | 蜀葵的白和绿-与皮德农山在一起 | 조지아 오키프 | 접시꽃의 흰색과 녹색, 페더널산 | 1937 | 2020/06/16 | 2020/10/25 | |
1 | KATSURA, Yuki (Yukiko) | Work | 桂雪(雪子) | 作品 | 가쓰라 유키(유키코) | 작품 | 1940 | 2020/06/16 | 2020/10/25 | |
1 | MARUKI, Toshi (AKAMATSU, Toshiko) | Emancipation of Humanity | 丸木俊(赤松俊子) | 被解放的人性 | 마루키 도시(아카마쓰 도시코) | 해방되어 가는 인간성 | 1947 | 2020/06/16 | 2020/10/25 | |
1 | 0086 | Francis Bacon | Sphinx-Portrait of Muriel Belcher | 弗朗西斯·培根 | 斯芬克斯—缪里尔·贝尔彻肖像 | 프랜시스 베이컨 | 스핑크스–뮤리엘 벨처의 초상 | 1979 | 2020/06/16 | 2020/10/25 |
1 | Gerhard Richter | Sils Maria | 格哈德·里希特 | 锡尔斯玛利亚 | 게르하르트 리히터 | 실스 마리아 | 2003 | 2020/06/16 | 2020/10/25 | |
1 | NAKADA, Sadanosuke | Head of Woman | 仲田定之助 | 女人的头 | 나카다 사다노스케 | 여자의 머리 | 1924 | 2020/06/16 | 2020/10/25 | |
1 | FUNAKOSHI, Yasutake | Haranojo Castle | 舟越保武 | 原之城 | 후나코시 야스타케 | 하라노조 성 | 1971 | 2020/06/16 | 2020/10/25 | |
2 | KUME, Keiichiro | An Island Brehat | 久米桂一郎 | 布雷阿岛 | 구메 게이이치로 | 브레아섬 | 1891 | 2020/06/16 | 2020/10/25 | |
2 | 0002 | KURODA, Seiki | Dead Leaves | 黑田清辉 | 落叶 | 구로다 세이키 | 낙엽 | 1891 | 2020/06/16 | 2020/10/25 |
2 | YASUI, Sotaro | House in Spring | 安井曾太郎 | 春之家 | 야스이 소타로 | 봄철의 집 | 1911 | 2020/06/16 | 2020/08/23 | |
2 | OTA, Kijiro | Season on Fresh Green | 太田喜二郎 | 新绿的时候 | 오타 기지로 | 신록의 계절 | 1911 | 2020/06/16 | 2020/10/25 | |
2 | OTA, Kijiro | Mulberry Picking | 太田喜二郎 | 采桑 | 오타 기지로 | 뽕잎 따기 | 1916 | 2020/06/16 | 2020/10/25 | |
2 | OTA, Kijiro | Rice-Planting | 太田喜二郎 | 种田 | 오타 기지로 | 모내기 | 1916 | 2020/06/16 | 2020/10/25 | |
2 | MINAMI, Kunzo | One Day in June | 南薰造 | 六月的一天 | 미나미 군조 | 6월의 하루 | 1912 | 2020/06/16 | 2020/10/25 | |
2 | KAWAKAMI, Ryoka | Railroad | 川上凉花 | 铁路 | 가와카미 료카 | 철로 | 1912 | 2020/06/16 | 2020/10/25 | |
2 | SAITO, Toyosaku | Stream in the Evening Glow | 斋藤丰作 | 夕阳下的河流 | 사이토 도요사쿠 | 저녁놀 아래의 강 | 1913 | 2020/06/16 | 2020/10/25 | |
2 | YOSHIDA, Hiroshi | Near Shokonsha Shrine | 吉田博 | 招魂社附近 | 요시다 히로시 | 쇼콘샤 신사 부근 | 1895 | 2020/06/16 | 2020/08/23 | |
2 | YOSHIDA, Hiroshi | Nishinohashi Bridge,Yozawa | 吉田博 | 养泽 西之桥 | 요시다 히로시 | 요자와의 니시노하시 다리 | 1896 | 2020/06/16 | 2020/08/23 | |
2 | YOSHIDA, Fujio | Fuchu on a National Holiday | 吉田藤远 | 国民节日的府中 | 요시다 후지오 | 국경일의 후추 지역 | 1902-03 | 2020/06/16 | 2020/08/23 | |
2 | YOSHIDA, Fujio | Barekshire Hill in May | 吉田藤远 | 伯克郡的五月 | 요시다 후지오 | 버크셔 힐의 5월 | 1905 | 2020/06/16 | 2020/08/23 | |
2 | MARUYAMA, Banka | The Highlands in the Fog | 丸山晚霞 | 雾之高原 | 마루야마 반카 | 안개 속의 고원 | c.1905 | 2020/06/16 | 2020/08/23 | |
2 | AKAGI, Yasunobu | White Sand | 赤城泰舒 | 白沙 | 아카기 야스노부 | 흰 모래 | 1912 | 2020/06/16 | 2020/08/23 | |
2 | KOSAKA, Shiden | Green Dale | 小坂芝田 | 溪山积翠 | 고사카 시덴 | 초록빛 계곡 | 1911 | 2020/08/25 | 2020/10/25 | |
3 | 0003 | Henri Rousseau | Liberty Inviting Artists to Take Part in the 22nd Exhibition of the Société des Artistes Indépendants | 亨利·卢梭 | 自由女神指引艺术家参加第22届独立沙龙 | 앙리 루소 | 제22회 앙데팡당전에 참가하도록 예술가들을 이끄는 자유의 여신 | 1905-06 | 2020/06/16 | 2020/10/25 |
3 | 0024 | Oskar Kokoschka | Portrait of Alma Mahler | 奥斯卡·柯克西卡 | 阿尔玛·马勒的肖像 | 오스카 코코슈카 | 알마 말러의 초상 | 1912 | 2020/06/16 | 2020/10/25 |
3 | 0017 | YOROZU, Tetsugoro | Nude Beauty | 万铁五郎 | 裸体美人 | 요로즈 데쓰고로 | 나체 미인 | 1912 | 2020/06/16 | 2020/10/25 |
3 | KONO, Michisei | Portrait of Yoshiko | 河野通势 | 好子像 | 고노 미치세이 | 요시코의 초상 | 1916 | 2020/06/16 | 2020/10/25 | |
3 | OGIWARA, Morie | Priest Mongaku | 荻原守卫 | 文觉 | 오기와라 모리에 | 승려 몬가쿠 | 1908 | 2020/06/16 | 2020/10/25 | |
3 | 0012 | OGIWARA, Morie | Woman | 荻原守卫 | 女子 | 오기와라 모리에 | 여자 | 1910 | 2020/06/16 | 2020/10/25 |
3 | Oskar Kokoschka | The Face of Woman (No.1 of The Fettered Columbus) | 奥斯卡·柯克西卡 | 版画集《被束缚的哥伦布》 1. 女子的脸 | 오스카 코코슈카 | 판화집 『속박된 콜럼버스』 중, 1. 여자의 얼굴 | 1913 | 2020/06/16 | 2020/08/23 | |
3 | Oskar Kokoschka | The New Columbus and the St. George (No.2 of The Fettered Columbus) | 奥斯卡·柯克西卡 | 版画集《被束缚的哥伦布》 2. 新哥伦布与圣乔治 | 오스카 코코슈카 | 판화집 『속박된 콜럼버스』 중, 2. 새로운 콜럼버스와 성 게오르기우스 | 1913 | 2020/06/16 | 2020/08/23 | |
3 | Oskar Kokoschka | The Last Judgement (No.3 of The Fettered Columbus) | 奥斯卡·柯克西卡 | 版画集《被束缚的哥伦布》 3. 最后的审判 | 오스카 코코슈카 | 판화집 『속박된 콜럼버스』 중, 3. 최후의 심판 | 1913 | 2020/06/16 | 2020/08/23 | |
3 | Oskar Kokoschka | The Path to the Grave (No.4 of The Fettered Columbus) | 奥斯卡·柯克西卡 | 版画集《被束缚的哥伦布》 4. 前往坟墓的路 | 오스카 코코슈카 | 판화집 『속박된 콜럼버스』 중, 4. 무덤으로 향하는 길 | 1913 | 2020/06/16 | 2020/08/23 | |
3 | Oskar Kokoschka | The Couple in Candle Light (No.5 of The Fettered Columbus) | 奥斯卡·柯克西卡 | 版画集《被束缚的哥伦布》 5. 烛光中的二人 | 오스카 코코슈카 | 판화집 『속박된 콜럼버스』 중, 5. 촛불 옆의 두 사람 | 1913 | 2020/06/16 | 2020/08/23 | |
3 | Oskar Kokoschka | The Apple of Eve (No.6 of The Fettered Columbus) | 奥斯卡·柯克西卡 | 版画集《被束缚的哥伦布》 6 .夏娃的苹果 | 오스카 코코슈카 | 판화집 『속박된 콜럼버스』 중, 6. 이브의 사과 | 1913 | 2020/06/16 | 2020/08/23 | |
3 | Oskar Kokoschka | At the Separate Ways (No.7 of The Fettered Columbus) | 奥斯卡·柯克西卡 | 版画集《被束缚的哥伦布》 7. 在歧路 | 오스카 코코슈카 | 판화집 『속박된 콜럼버스』 중, 7. 갈림길에서 | 1913 | 2020/08/25 | 2020/10/25 | |
3 | Oskar Kokoschka | The man with Raised Arms and the Form of Death (No.8 of The Fettered Columbus) | 奥斯卡·柯克西卡 | 版画集《被束缚的哥伦布》8. 举起双臂的男子与死亡的姿态 | 오스카 코코슈카 | 판화집 『속박된 콜럼버스』 중, 8.양팔을 든 남자와 죽음의 형상 | 1913 | 2020/08/25 | 2020/10/25 | |
3 | Oskar Kokoschka | Encounter (No.9 of The Fettered Columbus) | 奥斯卡·柯克西卡 | 版画集《被束缚的哥伦布》 9. 相逢 | 오스카 코코슈카 | 판화집 『속박된 콜럼버스』 중, 9. 만남 | 1913 | 2020/08/25 | 2020/10/25 | |
3 | Oskar Kokoschka | Woman Prays Over a Phantom (No.10 of The Fettered Columbus) | 奥斯卡·柯克西卡 | 版画集《被束缚的哥伦布》 10. 覆盖在影子上的女人 | 오스카 코코슈카 | 판화집 『속박된 콜럼버스』 중, 10. 환영에 덮인 여자 | 1913 | 2020/08/25 | 2020/10/25 | |
3 | Oskar Kokoschka | The Woman Triumphs over Death (No.11 of The Fettered Columbus) | 奥斯卡·柯克西卡 | 版画集《被束缚的哥伦布》 11. 在死者上欢庆胜利的女人 | 오스카 코코슈카 | 판화집 『속박된 콜럼버스』 중, 11. 죽은 자 위에서 승리를 만끽하는 여자 | 1913 | 2020/08/25 | 2020/10/25 | |
3 | Oskar Kokoschka | The Pure Face (No.12 of The Fettered Columbus) | 奥斯卡·柯克西卡 | 版画集《被束缚的哥伦布》 12. 纯洁的脸 | 오스카 코코슈카 | 판화집 『속박된 콜럼버스』 중, 12. 청아한 얼굴 | 1913 | 2020/08/25 | 2020/10/25 | |
4 | OHARA, Koson (Shoson) | [Two Carp] | 小原古村(祥村) | [两条鲤鱼] | 오하라 고손(쇼손) | [잉어 두 마리] | 1926-1945 | 2020/06/16 | 2020/08/23 | |
4 | OHARA, Koson (Shoson) | [Two Goldfish] | 小原古村(祥村) | [两条金鱼] | 오하라 고손(쇼손) | [금붕어 두 마리] | 1926-1945 | 2020/06/16 | 2020/08/23 | |
4 | OHARA, Koson (Shoson) | [Peacock] | 小原古村(祥村) | [孔雀] | 오하라 고손(쇼손) | [공작] | 1926-1945 | 2020/06/16 | 2020/08/23 | |
4 | OHARA, Koson (Shoson) | [Tit on Vine of Wild Grapes] | 小原古村(祥村) | [山雀和葡萄] | 오하라 고손(쇼손) | [박새와 왕머루] | 1926-1945 | 2020/06/16 | 2020/08/23 | |
4 | OHARA, Koson (Shoson) | [Morning Glories] | 小原古村(祥村) | [牵牛花] | 오하라 고손(쇼손) | [나팔꽃] | 1926-1945 | 2020/06/16 | 2020/08/23 | |
4 | OHARA, Koson (Shoson) | [Two Bullfinches on a Plum Branch] | 小原古村(祥村) | [两只红腹灰雀与红梅] | 오하라 고손(쇼손) | [멋쟁이 두 마리와 홍매] | 1926-1945 | 2020/06/16 | 2020/08/23 | |
4 | OHARA, Koson (Shoson) | [Tiger Lilies and Butterfly] | 小原古村(祥村) | [卷丹与蝶] | 오하라 고손(쇼손) | [참나리와 나비] | 1926-1945 | 2020/06/16 | 2020/08/23 | |
4 | OHARA, Koson (Shoson) | [Hollyhocks and Dragonflies] | 小原古村(祥村) | [蜀葵与蜻蜓] | 오하라 고손(쇼손) | [접시꽃과 잠자리] | 1926-1945 | 2020/06/16 | 2020/08/23 | |
4 | OHARA, Koson (Shoson) | [Eagle in flight] | 小原古村(祥村) | [飞鹫] | 오하라 고손(쇼손) | [날아가는 독수리] | 1926-1945 | 2020/06/16 | 2020/08/23 | |
4 | OHARA, Koson (Shoson) | [Five White Herons] | 小原古村(祥村) | [五只白鹭] | 오하라 고손(쇼손) | [백로 다섯 마리] | 1926-1945 | 2020/06/16 | 2020/08/23 | |
4 | OHARA, Koson (Shoson) | [Turtledove under a Bough of Weeping Cherry] | 小原古村(祥村) | [山斑鸠与枝垂樱] | 오하라 고손(쇼손) | [염주비둘기와 수양벚나무] | 1926-1945 | 2020/06/16 | 2020/08/23 | |
4 | OHARA, Koson (Shoson) | [Hydrangeas] | 小原古村(祥村) | [绣球花] | 오하라 고손(쇼손) | [수국] | 1926-1945 | 2020/06/16 | 2020/08/23 | |
4 | OHARA, Koson (Shoson) | [Rabbits] | 小原古村(祥村) | [两只兔子] | 오하라 고손(쇼손) | [토끼 두 마리] | 1926-1945 | 2020/06/16 | 2020/08/23 | |
4 | OHARA, Koson (Shoson) | [Horned Owl] | 小原古村(祥村) | [雕鸮] | 오하라 고손(쇼손) | [부엉이] | 1926-1945 | 2020/06/16 | 2020/08/23 | |
4 | OHARA, Koson (Shoson) | [Irises] | 小原古村(祥村) | [燕子花] | 오하라 고손(쇼손) | [제비붓꽃] | 1926-1945 | 2020/06/16 | 2020/08/23 | |
4 | OHARA, Koson (Shoson) | [Kingfisher over Irises] | 小原古村(祥村) | [翠鸟与燕子花] | 오하라 고손(쇼손) | [물총새와 제비붓꽃] | 1926-1945 | 2020/06/16 | 2020/08/23 | |
4 | OHARA, Koson (Shoson) | [Nine Ducks] | 小原古村(祥村) | [九只鸭子] | 오하라 고손(쇼손) | [오리 아홉 마리] | 1931 | 2020/08/25 | 2020/10/25 | |
4 | OHARA, Koson (Shoson) | [Three Carp] | 小原古村(祥村) | [三条鲤] | 오하라 고손(쇼손) | [잉어 세 마리] | c.1935 | 2020/08/25 | 2020/10/25 | |
4 | OHARA, Koson (Shoson) | [Two Blue Flycatchers with Nandina in Snow] | 小原古村(祥村) | [两只白腹蓝鹟与南天竹(雪中)] | 오하라 고손(쇼손) | [유리새 두 마리와 남천(눈 속)] | 1926-1945 | 2020/08/25 | 2020/10/25 | |
4 | OHARA, Koson (Shoson) | [A Pair of Mandarin Ducks] | 小原古村(祥村) | [一对鸳鸯] | 오하라 고손(쇼손) | [원앙 두 마리] | 1926-1945 | 2020/08/25 | 2020/10/25 | |
4 | OHARA, Koson (Shoson) | [Tits over Begonias] | 小原古村(祥村) | [山雀与秋海棠] | 오하라 고손(쇼손) | [박새와 추해당] | 1926-1945 | 2020/08/25 | 2020/10/25 | |
4 | OHARA, Koson (Shoson) | [Two Crows and the Moon] | 小原古村(祥村) | [两只乌鸦与月亮] | 오하라 고손(쇼손) | [까마귀 두 마리와 달] | 1926-1945 | 2020/08/25 | 2020/10/25 | |
4 | OHARA, Koson (Shoson) | [Hawk] | 小原古村(祥村) | [鹰] | 오하라 고손(쇼손) | [매] | 1926-1945 | 2020/08/25 | 2020/10/25 | |
4 | OHARA, Koson (Shoson) | [Wild Geese] | 小原古村(祥村) | [雁] | 오하라 고손(쇼손) | [기러기] | 1926-1945 | 2020/08/25 | 2020/10/25 | |
4 | OHARA, Koson (Shoson) | [Snipes] | 小原古村(祥村) | [鹬] | 오하라 고손(쇼손) | [도요새] | 1926-1945 | 2020/08/25 | 2020/10/25 | |
4 | OHARA, Koson (Shoson) | [Wild Geese in Snow] | 小原古村(祥村) | [雪中双雁] | 오하라 고손(쇼손) | [눈 속의 기러기 두 마리] | 1926-1945 | 2020/08/25 | 2020/10/25 | |
4 | OHARA, Koson (Shoson) | [Wagtail on a Magnolia Branch] | 小原古村(祥村) | [鹡鸰与木兰] | 오하라 고손(쇼손) | [할미새와 목련] | 1926-1945 | 2020/08/25 | 2020/10/25 | |
4 | OHARA, Koson (Shoson) | [Bush Warbler and Peony] | 小原古村(祥村) | [树莺与牡丹] | 오하라 고손(쇼손) | [휘파람새와 모란] | 1926-1945 | 2020/08/25 | 2020/10/25 | |
4 | OHARA, Koson (Shoson) | [Herons with Willow Branches] | 小原古村(祥村) | [柳与白鹭] | 오하라 고손(쇼손) | [버드나무와 백로] | 1926-1945 | 2020/08/25 | 2020/10/25 | |
4 | OHARA, Koson (Shoson) | [Parrot on a Pomegranate Branch] | 小原古村(祥村) | [石榴与鹦鹉] | 오하라 고손(쇼손) | [석류나무와 앵무새] | 1926-1945 | 2020/08/25 | 2020/10/25 | |
4 | OHARA, Koson (Shoson) | [Swans] | 小原古村(祥村) | [天鹅] | 오하라 고손(쇼손) | [백조] | 1926-1945 | 2020/08/25 | 2020/10/25 | |
4 | OHARA, Koson (Shoson) | [The Moon and Herons] | 小原古村(祥村) | [月与鹭] | 오하라 고손(쇼손) | [달과 해오라기] | 1926-1945 | 2020/08/25 | 2020/10/25 | |
5 | YABE, Tomoe | Nude | 矢部友卫 | 裸妇 | 야베 도모에 | 나부 | 1920 | 2020/06/16 | 2020/10/25 | |
5 | KURODA, Jutaro | Women of the Harbour | 黑田重太郎 | 港之女 | 구로다 주타로 | 항구의 여인 | 1922 | 2020/06/16 | 2020/08/23 | |
5 | MAETA, Kanji | Nude | 前田宽治 | 裸妇 | 마에타 간지 | 나부 | 1925 | 2020/06/16 | 2020/10/25 | |
5 | Fernand Léger | Woman and Flower | 费尔南·莱热 | 女人和花 | 페르낭 레제 | 여자와 꽃 | 1926 | 2020/06/16 | 2020/10/25 | |
5 | TOGO, Seiji | Street Performers | 东乡青儿 | 流浪艺人 | 도고 세이지 | 유랑 악사 | 1926 | 2020/06/16 | 2020/10/25 | |
5 | YOKOYAMA, Junnosuke | Nude | 横山润之助 | 裸妇 | 요코야마 준노스케 | 나부 | 1926 | 2020/06/16 | 2020/10/25 | |
5 | KOJIMA, Zenzaburo | Woman with a Mirror | 儿岛善三郎 | 拿镜子的女人 | 고지마 젠자부로 | 거울을 든 여자 | 1928 | 2020/06/16 | 2020/10/25 | |
5 | IHARA, Usaburo | Group in a Room | 伊原宇三郎 | 室内群像 | 이하라 우사부로 | 실내의 군상 | 1928-29 | 2020/06/16 | 2020/10/25 | |
5 | MORI, Yoshio | Woman Leaning on Her Elbow | 森芳雄 | 支着肘部的女人 | 모리 요시오 | 팔꿈치를 괸 여자 | 1936 | 2020/06/16 | 2020/10/25 | |
5 | YABASHI, Rokuro | Ruins | 矢桥六郎 | 废墟 | 야바시 로쿠로 | 폐허 | 1937 | 2020/06/16 | 2020/10/25 | |
5 | YAMAGUCHI, Kaoru | Travel to Ancient Rome | 山口薫 | 古罗马之旅 | 야마구치 가오루 | 고대 로마로의 여행 | 1937 | 2020/06/16 | 2020/10/25 | |
5 | OSAWA, Shosuke | Men and Rocks | 大泽昌助 | 岩与人 | 오사와 쇼스케 | 바위와 사람 | 1940 | 2020/06/16 | 2020/10/25 | |
5 | YASUDA, Ryumon | Head of Christine | 保田龙门 | 克里斯蒂娜头像 | 야스다 류몬 | 크리스틴느의 머리 | c.1923 | 2020/06/16 | 2020/10/25 | |
5 | KANEKO, Kuheiji | Portrait of Miss C | 金子九平次 | C小姐像 | 가네코 구헤이지 | C양의 초상 | 1925 | 2020/06/16 | 2020/10/25 | |
5 | TAKATA, Hiroatsu | Portrait of Madame Foulon | 高田博厚 | 富隆夫人像 | 다카타 히로아쓰 | 풀롱 부인상 | 1931 | 2020/06/16 | 2020/10/25 | |
6 | HASHIMOTO, Kansetsu | The Huangpu River on December 8, 1941 | 桥本关雪 | 十二月八日的黄浦江上 | 하시모토 간세쓰 | 12월 8일 황포강 | 1943 | 2020/06/16 | 2020/10/25 | |
6 | FUJITA, Tsuguharu | Mortal Combat of a Unit in New Guinea | 藤田嗣治 | ○○部队的死斗——新几内亚战线 | 후지타 쓰구하루 | ○○부대의 사투−뉴기니 전선 | 1943 | 2020/06/16 | 2020/10/25 | |
6 | MATSUMI, Yoshihiko | Landing Party Marching into the International Settlement on December 8, 1941 | 松见吉彦 | 十二月八日进驻租界 | 마쓰미 요시히코 | 12월 8일 조계로의 진주 | c.1942 | 2020/06/16 | 2020/10/25 | |
6 | NAKAMURA, Ken’ichi | Battle of the Coral Sea | 中村研一 | 珊瑚海海战 | 나카무라 겐이치 | 산호해 해전 | 1943 | 2020/06/16 | 2020/10/25 | |
6 | KOBORI, Yasuo | Naval Battle off Santa Isabel Island | 小堀安雄 | 圣伊莎贝尔岛海域的海战 | 고보리 야스오 | 이사벨섬의 해전 | 1943 | 2020/06/16 | 2020/10/25 | |
6 | MIYAMOTO, Saburo | Surprise Attack of Naval Paratroops at Manado | 宫本三郎 | 海军降落伞部队美娜多奇袭 | 미야모토 사부로 | 해군 낙하산부대의 메나도 기습 | 1943 | 2020/06/16 | 2020/10/25 | |
7 | YAMASHITA, Kikuji | Colonial Factory | 山下菊二 | 殖民地工厂 | 야마시타 기쿠지 | 식민지 공장 | 1951 | 2020/06/16 | 2020/10/25 | |
7 | FURUSAWA, Iwami | Starveling | 古泽岩美 | 饿鬼 | 후루사와 이와미 | 아귀 | 1952 | 2020/06/16 | 2020/10/25 | |
7 | OYAMADA, Jiro | Dining Table | 小山田二郎 | 餐桌 | 오야마다 지로 | 식탁 | 1955 | 2020/06/16 | 2020/10/25 | |
7 | 0069 | OKAMOTO, Taro | Men Aflame | 冈本太郎 | 燃烧的人 | 오카모토 다로 | 불타는 사람 | 1955 | 2020/06/16 | 2020/10/25 |
7 | NAKANO, Jun | Dining Table | 中野淳 | 餐桌 | 나카노 준 | 식탁 | 1956 | 2020/06/16 | 2020/10/25 | |
7 | KAZUKI, Yasuo | Farewell | 香月泰男 | 告别 | 가즈키 야스오 | 고별 | 1958 | 2020/06/16 | 2020/10/25 | |
7 | EBIHARA, Kinosuke | Rainy Day | 海老原喜之助 | 雨天 | 에비하라 기노스케 | 비오는 날 | 1963 | 2020/06/16 | 2020/10/25 | |
7 | IKEDA, Tatsuo | Advertising Balloon | 池田龙雄 | 广告气球 | 이케다 다쓰오 | 애드벌룬 | 1955 | 2020/06/16 | 2020/08/23 | |
7 | ABE, Nobuya (Yoshibumi) | Study for Burial | 阿部展也(芳文) | 为《埋葬》而作的习作 | 아베 노부야(요시부미) | 《매장》을 위한 습작 | 1951 | 2020/06/16 | 2020/08/23 | |
7 | HAMADA, Chimei | Elegy for a New Conscript: Sentinel | 滨田知明 | 初年兵哀歌(步哨) | 하마다 지메이 | 초년병 애가(보초) | 1951 | 2020/06/16 | 2020/08/23 | |
7 | ISHII, Shigeo | Messengers | 石井茂雄 | 使者 | 이시이 시게오 | 사자 | 1959 | 2020/06/16 | 2020/08/23 | |
7 | ISHII, Shigeo | Prisoner | 石井茂雄 | 虏囚 | 이시이 시게오 | 포로 | 1961 | 2020/06/16 | 2020/08/23 | |
7 | HAMADA, Chimei | Landscape | 滨田知明 | 风景 | 하마다 지메이 | 풍경 | 1953 | 2020/08/25 | 2020/10/25 | |
7 | HAMADA, Chimei | Elegy for a New Conscript: Sentinel | 滨田知明 | 初年兵哀歌(步哨) | 하마다 지메이 | 초년병 애가(보초) | 1954 | 2020/08/25 | 2020/10/25 | |
7 | HAMADA, Chimei | Elegy for a New Conscript: Landscape (A Corner) | 滨田知明 | 初年兵哀歌(一角) | 하마다 지메이 | 초년병 애가: 풍경(한구석) | 1954 | 2020/08/25 | 2020/10/25 | |
7 | HAMADA, Chimei | Crowd of the Blind | 滨田知明 | 群盲 | 하마다 지메이 | 군맹(群盲) | 1960 | 2020/08/25 | 2020/10/25 | |
8 | ONOSATO, Toshinobu | Circles in Black and White | 小野里利信 | 黑白的圆 | 오노사토 도시노부 | 흑백의 원 | 1940 | 2020/06/16 | 2020/10/25 | |
8 | ONOSATO, Toshinobu | Work 100-B | 小野里利信 | 作品 100-B | 오노사토 도시노부 | 작품 100-B | 1963 | 2020/06/16 | 2020/10/25 | |
8 | EI-KYU | Dawn | 瑛九 | 黎明 | 에이큐 | 여명 | 1957 | 2020/06/16 | 2020/10/25 | |
8 | EI-KYU | Spots among Blue | 瑛九 | 蓝色中的圆 | 에이큐 | 파랑 속의 원 | 1958 | 2020/06/16 | 2020/10/25 | |
8 | KIKUHATA, Mokuma | Roulette | 菊畑茂久马 | 轮盘赌 | 기쿠하타 모쿠마 | 룰렛 | 1963 | 2020/06/16 | 2020/10/25 | |
8 | AI-O | Adam and Eve | 叆呕 | 亚当与夏娃 | 아이오 | 아담과 이브 | 1963-67 | 2020/06/16 | 2020/10/25 | |
8 | TSURUOKA, Masao | Blue Curtain | 鹤冈政男 | 蓝帘 | 쓰루오카 마사오 | 푸른 커튼 | 1964 | 2020/06/16 | 2020/10/25 | |
8 | 0078 | YOSHIHARA, Jiro | White on Black | 吉原治良 | 黑底白 | 요시하라 지로 | 검정 바탕에 하양 | 1965 | 2020/06/16 | 2020/10/25 |
8 | TANAKA, Atsuko | Work 66-SA | 田中敦子 | 作品 66-SA | 다나카 아쓰코 | 작품 66-SA | 1966 | 2020/06/16 | 2020/10/25 | |
8 | ABE, Nobuya (Yoshibumi) | R3 (Study) 1971 | 阿部展也(芳文) | R3(习作)1971 | 아베 노부야(요시부미) | R3(습작)1971 | 1971 | 2020/06/16 | 2020/10/25 | |
8 | SUGAI, Kumi | Festival W | 菅井汲 | 节日 W | 스가이 구미 | 페스티벌 W | 1971 | 2020/06/16 | 2020/10/25 | |
9 | László Moholy-Nagy | Photogram, László and Lucia from 10 Photograms 1922-1926 | 拉兹洛·莫霍利-纳吉 | 黑影照片,拉兹洛与露西娅 出自黑影照片集《10幅黑影照片 1922-1926》 | 라슬로 모홀리 나지 | 포트폴리오 《10점의 포토그램 1922~1926》 중, 포토그램, 라슬로와 루치아 | 1922-26 (1973 print) | 2020/06/16 | 2020/08/23 | |
9 | László Moholy-Nagy | Photogram from 10 Photograms 1922-1926 | 拉兹洛·莫霍利-纳吉 | 黑影照片 出自黑影照片集《10幅黑影照片 1922-1926》 | 라슬로 모홀리 나지 | 포트폴리오 《10점의 포토그램 1922~1926》 중, 포토그램 | 1922-26 (1973 print) | 2020/06/16 | 2020/08/23 | |
9 | Herbert Bayer | Pont Transbordeur, Marseille | 赫伯特·拜耶 | 运输桥,马赛 | 헤르베르트 바이어 | 운반교, 마르세이유 | 1928 | 2020/06/16 | 2020/08/23 | |
9 | Edmund Collein | Bauatelier Gropius from the portfolio BAUHAUS I / II 20 Photographs 1919-1933 | 埃德蒙·科莱因 | 格罗皮乌斯的建筑工作室 作品集《包豪斯 I/Ⅱ20幅照片 1919-1933》之 | 에트문트 콜라인 | 포트폴리오 《바우하우스 I/Ⅱ 20점의 사진 1919~1933》 중, 그로피우스의 건축 아틀리에 | 1927-28 (1985 print) | 2020/06/16 | 2020/08/23 | |
9 | Hajo Rose | Self Portrait from the portfolio BAUHAUS I / II 20 Photographs 1919-1933 | 豪约·罗泽 | 自拍肖像 作品集《包豪斯 I/Ⅱ20幅照片 1919-1933》之 | 하요 로제 | 포트폴리오 《바우하우스 I/Ⅱ 20점의 사진 1919~1933》 중, 셀프 포트레이트(포토몽타주) | 1931 (1985 print) | 2020/06/16 | 2020/08/23 | |
9 | W. David Feist | Man with Pipe (Kurt Stolp) from the portfolio BAUHAUS I / II 20 Photographs 1919-1933 | 大卫·W·法伊斯特 | 抽烟斗的的男人(科特·施托尔普) 作品集《包豪斯 I/Ⅱ20幅照片 1919-1933》之 | W. 데이비드 파이스트 | 포트폴리오 《바우하우스 I/Ⅱ 20점의 사진 1919~1933》 중, 파이프를 문 남자(쿠르트 슈톨프) | 1929 (1985 print) | 2020/06/16 | 2020/08/23 | |
9 | Herbert Bayer | Glass Eyes from the portfolio BAUHAUS I / II 20 Photographs 1919-1933 | 赫伯特·拜耶 | 义眼 出自作品集《包豪斯 I/Ⅱ20幅照片 1919-1933》 | 헤르베르트 바이어 | 포트폴리오 《바우하우스 I/Ⅱ 20점의 사진 1919~1933》 중, 의안 | c.1928 (1985 print) | 2020/06/16 | 2020/08/23 | |
9 | Gyorgy Kepes | Untitled | 捷尔吉•凯派什 | 无题 | 조르주 케페슈 | 무제 | c.1938 | 2020/06/16 | 2020/08/23 | |
9 | Harry Callahan | Eleanor, Chicago, 1949 | 哈里·卡拉汉 | 艾莉诺,芝加哥,1949 | 해리 캘러핸 | 엘리노어, 시카고, 1949 | 1949 | 2020/06/16 | 2020/08/23 | |
9 | Aaron Siskind | Jerome, Arizona 21 from 75th Anniversary Portfolio | 艾伦·西斯金德 | 杰罗姆,亚利桑那21 出自《75周年作品集》 | 애런 시스킨드 | 《75주년 포트폴리오》 중, 제롬, 애리조나 21 | 1949 (1979 print) | 2020/06/16 | 2020/08/23 | |
9 | Aaron Siskind | St. Louis 9 from 75th Anniversary Portfolio | 艾伦·西斯金德 | 圣路易斯9 出自《75周年作品集》 | 애런 시스킨드 | 《75주년 포트폴리오》 중, 세인트 루이스 9 | 1955 (1979 print) | 2020/06/16 | 2020/08/23 | |
9 | OHTSUJI, Kiyoji | Sendagaya from Kiyoji Ohtsuji Portfolio | 大辻清司 | 千驮谷 出自《大辻清司作品集》 | 오쓰지 기요시 | 《오쓰지 기요시 포트폴리오》 중, 센다가야 | 1956 (1997 print) | 2020/06/16 | 2020/08/23 | |
9 | OHTSUJI, Kiyoji | Tokyo | 大辻清司 | 东京 | 오쓰지 기요시 | 도쿄 | 1950s (1998 print) | 2020/06/16 | 2020/08/23 | |
9 | OHTSUJI, Kiyoji | Yoshishige Saito’s Work, Yurakucho Asahi Gallery | 大辻清司 | 斋藤义重作品,有乐町朝日画廊 | 오쓰지 기요시 | 사이토 요시시게의 작품, 유라쿠초 아사히 갤러리 | 1986 (1998 print) | 2020/06/16 | 2020/08/23 | |
9 | ISHIMOTO, Yasuhiro | From Chicago, Chicago | 石元泰博 | 《芝加哥、芝加哥》系列 | 이시모토 야스히로 | 《시카고, 시카고》 중에서 | 1958-61 (1992 print) | 2020/06/16 | 2020/08/23 | |
9 | ISHIMOTO, Yasuhiro | From Chicago, Chicago | 石元泰博 | 《芝加哥、芝加哥》系列 | 이시모토 야스히로 | 《시카고, 시카고》 중에서 | 1958-61 (1992 print) | 2020/06/16 | 2020/08/23 | |
9 | ISHIMOTO, Yasuhiro | 2. The Old Shoin, Viewed from the North-East from Katsura | 石元泰博 | 作品集《桂》之 二、眺望古书院二之间南面、一之间与地炉之间 | 이시모토 야스히로 | 포트폴리오 《가쓰라》 중 2, 고서원에서 제2실의 남면, 제1실, 화덕이 있는 방을 바라보다 | 1981-82 | 2020/06/16 | 2020/08/23 | |
9 | László Moholy-Nagy | Photogram | 拉兹洛·莫霍利-纳吉 | 黑影照片 | 라슬로 모홀리 나지 | 포토그램 | 1923-24 | 2020/08/25 | 2020/10/25 | |
9 | László Moholy-Nagy | Photogram from 10 Photograms 1922-1926 | 拉兹洛·莫霍利-纳吉 | 黑影照片 出自黑影照片集《10幅黑影照片 1922-1926》 | 라슬로 모홀리 나지 | 포트폴리오 《10점의 포토그램 1922~1926》 중, 포토그램 | 1922-26 (1973 print) | 2020/08/25 | 2020/10/25 | |
9 | Herbert Bayer | Metamorphosis | 赫伯特·拜耶 | 变形 | 헤르베르트 바이어 | 메타모르포제 | 1936 (1968 print) | 2020/08/25 | 2020/10/25 | |
9 | Gerd Balzer | Prellerhaus Balconies, Bauhaus Dessau from the portfolio BAUHAUS I / II 20 Photographs 1919-1933 | 格尔德·巴尔策 | 学生工作室楼的阳台,德绍包豪斯学校 出自作品集《包豪斯 I/Ⅱ20幅照片 1919-1933》 | 게르트 발처 | 포트폴리오 《바우하우스 I/Ⅱ 20점의 사진 1919~1933》 중, 바우하우스 학생 아틀리에 건물의 발코니, 데사우 | 1933 (1985 print) | 2020/08/25 | 2020/10/25 | |
9 | Katt Both | Atikah Cigarettes from the portfolio BAUHAUS I / II 20 Photographs 1919-1933 | 卡特·博特 | 阿提卡香烟 出自作品集《包豪斯 I/Ⅱ20幅照片 1919-1933》 | 캣 보트 | 포트폴리오 《바우하우스 I/Ⅱ 20점의 사진 1919~1933》 중, 아티카 시가렛 | 1930-31 (1985 print) | 2020/08/25 | 2020/10/25 | |
9 | Walter Funkat | Glass Spheres, Metal Festival from the portfolio BAUHAUS I / II 20 Photographs 1919-1933 | 瓦尔特·丰卡特 | 玻璃球体、金属音乐节 出自作品集《包豪斯 I/Ⅱ20幅照片 1919-1933》 | 발터 푼카트 | 포트폴리오 《바우하우스 I/Ⅱ 20점의 사진 1919~1933》 중, 유리 구체, 메탈 페스티벌 | 1929 (1985 print) | 2020/08/25 | 2020/10/25 | |
9 | T. Lux Feininger | Bauhaus Band from the portfolio BAUHAUS I / II 20 Photographs 1919-1933 | T•卢克斯•费宁格 | 包豪斯乐队 出自作品集《包豪斯 I/Ⅱ20幅照片 1919-1933》 | T. 룩스 파이닝거 | 포트폴리오 《바우하우스 I/Ⅱ 20점의 사진 1919~1933》 중, 바우하우스 밴드 | c.1928 (1985 print) | 2020/08/25 | 2020/10/25 | |
9 | György Kepes | Untitled | 捷尔吉•凯派什 | 无题 | 조르주 케페슈 | 무제 | 1939 | 2020/08/25 | 2020/10/25 | |
9 | Harry Callahan | Eleanor, Chicago, 1947 | 哈里·卡拉汉 | 埃莉诺,芝加哥,1947 | 해리 캘러핸 | 엘리노어, 시카고, 1947 | 1947 | 2020/08/25 | 2020/10/25 | |
9 | Aaron Siskind | Gloucester 1h from 75th Anniversary Portfolio | 艾伦·西斯金德 | 格洛斯特 1h 出自《75周年作品集》 | 애런 시스킨드 | 《75주년 포트폴리오》 중, 글로스터 1h | 1944 (1979 print) | 2020/08/25 | 2020/10/25 | |
9 | Aaron Siskind | Feet 102 from 75th Anniversary Portfolio | 艾伦·西斯金德 | 足 102 出自《75周年作品集》 | 애런 시스킨드 | 《75주년 포트폴리오》 중, 발 102 | 1957 (1979 print) | 2020/08/25 | 2020/10/25 | |
9 | OHTSUJI, Kiyoji | Pattern on Ice from Kiyoji Ohtsuji Portfolio | 大辻清司 | 水纹 出自《大辻清司作品集》 | 오쓰지 기요시 | 《오쓰지 기요시 포트폴리오》 중, 얼음 위의 무늬 | 1956 (1997 print) | 2020/08/25 | 2020/10/25 | |
9 | OHTSUJI, Kiyoji | Pattern on Ice from Kiyoji Ohtsuji Portfolio | 大辻清司 | 冰纹 出自《大辻清司作品集》 | 오쓰지 기요시 | 《오쓰지 기요시 포트폴리오》 중, 얼음 위의 무늬 | 1956 (1997 print) | 2020/08/25 | 2020/10/25 | |
9 | OHTSUJI, Kiyoji | Airplane | 大辻清司 | 飞机 | 오쓰지 기요시 | 항공기 | 1957 (1998 print) | 2020/08/25 | 2020/10/25 | |
9 | ISHIMOTO, Yasuhiro | 4. Formal Stone Pavement, Stone and Moss in Front of the Main Entrance of the Old Shoin from Katsura | 石元泰博 | 作品集《桂》之 四、古书院玄关前的石板路、石头和青苔 | 이시모토 야스히로 | 포트폴리오 《가쓰라》 중 4, 고서원 입구의 돌길・돌과 이끼 | 1954 | 2020/08/25 | 2020/10/25 | |
9 | ISHIMOTO, Yasuhiro | From Chicago, Chicago | 石元泰博 | 《芝加哥、芝加哥》系列 | 이시모토 야스히로 | 《시카고, 시카고》 중에서 | 1958-61 (1992 print) | 2020/08/25 | 2020/10/25 | |
9 | ISHIMOTO, Yasuhiro | From Chicago, Chicago | 石元泰博 | 《芝加哥、芝加哥》系列 | 이시모토 야스히로 | 《시카고, 시카고》 중에서 | 1958-61 (1992 print) | 2020/08/25 | 2020/10/25 | |
9 | ISHIMOTO, Yasuhiro | Snow Steps | 石元泰博 | 雪的足迹 | 이시모토 야스히로 | 눈 위의 발자국 | 1994-95 | 2020/08/25 | 2020/10/25 | |
10 | Marcel Breuer et al. | Catalogue: Staatliches Bauhaus in Weimar 1919-1923 | 马歇·布劳耶 等 | 《魏玛国立包豪斯学校1919-1923》 | 마르셀 브로이어 외 | 『바이마르 국립 바우하우스 1919~1923』 | 1923 | 2020/06/16 | 2020/10/25 | |
10 | Walter Gropius et al. | Magazine Bauhaus(vol.1, no.1) | 瓦尔特·格罗皮乌斯 等 | 机关杂志《包豪斯》(第1卷第1号) | 발터 그로피우스 외 | 기관지 『바우하우스』(제1권 제1호) | 1926 | 2020/06/16 | 2020/10/25 | |
10 | Herbert Bayer | Exhibition catalogue of the Société des Artistes Décorateurs, Section Allemande | 赫伯特·拜耶 | 巴黎装饰艺术家协会展《德国部门》展品目录 | 헤르베르트 바이어 | 파리 장식예술가협회전 『독일 부문』 카탈로그 | 1930 | 2020/06/16 | 2020/10/25 | |
10 | Kurt Schmidt | Pamphlet:Thonet Stahlrohrmöbel | 库尔特·施密特 | 《索耐特的钢管家具》 | 쿠르트 슈미트 | 『토넷의 스틸 파이프 가구』 | 1930-31 | 2020/06/16 | 2020/10/25 | |
10 | Otto Lindig | Cocoa pot | 奥托·林迪希 | 可可壶 | 오토 린디히 | 코코아팟 | c.1920-24 | 2020/06/16 | 2020/10/25 | |
10 | Theodor Bogler | Teapot | 特奥多尔·伯格勒 | 茶壶 | 테오도르 보글러 | 티팟 | 1925-26 | 2020/06/16 | 2020/10/25 | |
10 | Marcel Breuer | Club chair B3 Wassily | 马歇·布劳耶 | 俱乐部椅 B3“瓦西里” | 마르셀 브로이어 | 클럽 체어 B3(바실리) | 1927 | 2020/06/16 | 2020/10/25 | |
10 | Ludwig Mies van der Rohe | MR 10, Chair | 路德维希·密斯·凡·德·罗 | MR10 椅子 | 루트비히 미스 반 데어 로에 | MR 10 의자 | 1927 | 2020/06/16 | 2020/10/25 | |
10 | Otto Lindig | Tea set | 奥托·林迪希 | 茶具套装 | 오토 린디히 | 티 세트 | 1928 | 2020/06/16 | 2020/10/25 | |
10 | Erich Dieckmann | Chair for a child | 埃里希·迪克曼 | 儿童用椅子 | 에리히 디크만 | 어린이용 의자 | 1928 | 2020/06/16 | 2020/10/25 | |
10 | Marcel Breuer | Side chair B6 | 马歇·布劳耶 | 餐椅 B6 | 마르셀 브로이어 | 사이드 체어 B6 | 1928 | 2020/06/16 | 2020/10/25 | |
10 | Marcel Breuer | Tea trolley | 马歇·布劳耶 | 茶具车 | 마르셀 브로이어 | 티 트롤리 | 1932 | 2020/06/16 | 2020/10/25 | |
10 | YAMAWAKI, Iwao | Steel pipe chair at the House of Mine | 山胁岩 | 钢管椅子(峰邸) | 야마와키 이와오 | 스틸 파이프 의자(미네 저택) | 1934 | 2020/06/16 | 2020/10/25 | |
10 | Wilhelm Wagenfeld | Kubus | 威廉•瓦根菲尔德 | 立方体 | 빌헬름 바겐펠트 | 큐브 | 1938 | 2020/06/16 | 2020/10/25 | |
10 | TAKAMURA, Toyochika | Vase, bronze | 高村丰周 | 青铜花瓶 | 다카무라 도요치카 | 청동 꽃병 | c.1926 | 2020/06/16 | 2020/10/25 | |
10 | TAKAMURA, Toyochika | Vase, bronze | 高村丰周 | 青铜花瓶 | 다카무라 도요치카 | 청동 꽃병 | c.1926 | 2020/06/16 | 2020/10/25 | |
10 | MURAKOSHI, Michimori | Framed panel with a squirrel motif | 村越道守 | 带框镶板 松鼠 | 무라코시 미치모리 | 다람쥐 장식판 | 1930s | 2020/06/16 | 2020/10/25 | |
10 | TOYODA, Katsuaki | Vase with spiral lines, bronze, casting | 丰田胜秋 | 铜铸花瓶 B | 도요다 가쓰아키 | 청동주조 꽃병 “B” | 1937 | 2020/06/16 | 2020/10/25 | |
10 | YAMAZAKI, Kakutaro | Cigarette case and ash tray with handle | 山崎觉太郎 | 烟具 | 야마자키 가쿠타로 | 끽연도구 | c.1935 | 2020/06/16 | 2020/10/25 | |
10 | YOSHIOKA, Kenji | Woman Sitting on a Chair | 吉冈坚二 | 靠着椅子的女人 | 요시오카 겐지 | 의자에 기댄 여인 | 1931 | 2020/06/16 | 2020/10/25 | |
10 | YOSHIOKA, Kenji | A Rest | 吉冈坚二 | 小憩 | 요시오카 겐지 | 짧은 휴식 | 1933 | 2020/06/16 | 2020/10/25 | |
10 | Paul Klee | Small Autumn Landscape | 保罗·克利 | 小小秋天的风景 | 파울 클레 | 작은 가을 풍경 | 1920 | 2020/06/16 | 2020/10/25 | |
10 | Paul Klee | Flower Terrace | 保罗·克利 | 花的阳台 | 파울 클레 | 꽃의 테라스 | 1937 | 2020/06/16 | 2020/10/25 | |
10 | 0043 | Wassily Kandinsky | The Whole | 瓦西里·康定斯基 | 全体 | 비실리 칸딘스키 | 전체 | 1940 | 2020/06/16 | 2020/10/25 |
10 | Paul Klee | The Saint of the Inner Light | 保罗·克利 | 从内面发光的圣女 | 파울 클레 | 내면의 빛을 발하는 성녀 | 1921 | 2020/06/16 | 2020/08/23 | |
10 | Paul Klee | Hoffmannesque Fairy-Tale Scene | 保罗·克利 | 霍夫曼式的故事 | 파울 클레 | 호프만 풍 이야기 | 1921 | 2020/06/16 | 2020/08/23 | |
10 | Paul Klee | Postcard for the Bauhaus Exhibition The Sublime Aspect 1923 | 保罗·克利 | 包豪斯展明信片“崇高的一面”(1932年) | 파울 클레 | 바우하우스전을 위한 그림엽서 “숭고한 면”(1923년) | 1923 | 2020/08/25 | 2020/10/25 | |
10 | Paul Klee | Prickle, the Clown | 保罗·克利 | 有刺的小丑 | 파울 클레 | 가시 돋친 광대 | 1931 | 2020/08/25 | 2020/10/25 | |
10 | KOGA, Harue | Copies after P. Klee’s Last Snow (1927) and The Twittering Machine (1922) | 古贺春江 | 保罗·克利作品《最后的雪》(1927年)与《鸣啭的机械》(1922年)的摹写 | 고가 하루에 | P. 클레 작 《마지막 눈》(1927년) 및 《지저귀는 기계》(1922년)의 모사 | date unknown | 2020/06/16 | 2020/08/23 | |
10 | KOGA, Harue | Copy after P. Klee’s Kairuan (1914) | 古贺春江 | 保罗·克利作品《凯鲁万》(1914年)的摹写 | 고가 하루에 | P. 클레 작 《카이루안》(1914년)의 모사 | c.1925 | 2020/06/16 | 2020/08/23 | |
10 | KOGA, Harue | Copies after P. Klee’s Times of the Plants or ‘Time and Plants (1927) and Scenic – Physiognomic(1923) | 古贺春江 | 保罗·克利作品《植物的时间或“时间与植物”》(1927年)及《像风景一样——观相学式》(1923年)的摹写 | 고가 하루에 | P. 클레 작 《식물의 시간 혹은 “시간과 식물”》(1927년) 및 《풍경처럼–인상학적으로》(1923년)의 모사 | date unknown | 2020/08/25 | 2020/10/25 | |
10 | KOGA, Harue | Copy after P. Klee’s The Full Moon (1919) | 古贺春江 | 保罗·克利作品《满月》(1919年)的摹写 | 고가 하루에 | P. 클레 작 《만월》(1919년)의 모사 | date unknown | 2020/08/25 | 2020/10/25 | |
10 | Cahiers d’Art, no. 7, 1928. | 2020/06/16 | 2020/10/25 | |||||||
10 | “Exhibition of 20th Century Design.” Gendai No Me, Newsletter of The National Museum of Modern Art, no. 28, March 1957. | 2020/06/16 | 2020/10/25 | |||||||
10 | “About Bauhaus Exhibition no. 1.” Gendai No Me, Newsletter of The National Museum of Modern Art, Tokyo, no. 195, February 1971. | 2020/06/16 | 2020/10/25 | |||||||
10 | “About Bauhaus Exhibition no. 2.” Gendai No Me, Newsletter of The National Museum of Modern Art, Tokyo, no. 196, March 1971. | 2020/06/16 | 2020/10/25 | |||||||
10 | Toyoguchi Katsuhei. Standardized Furniture. Togaku-sha, 1935. | 2020/06/16 | 2020/10/25 | |||||||
10 | Daum Frères | Long-necked vase, trees in the rain design | 多姆兄弟 | 风雨树林纹鹤颈花瓶 | 돔 형제 | 비바람 속의 숲무늬 긴목 꽃병 | c.1903 | 2020/06/16 | 2020/08/23 | |
10 | Daum Frères | Bowl, trees in the rain design | 多姆兄弟 | 风雨树林文钵 | 돔 형제 | 비바람 속의 숲무늬 발 | c.1903 | 2020/06/16 | 2020/08/23 | |
10 | Daum Frères | Vase, trees in the rain design | 多姆兄弟 | 风雨树林纹花瓶 | 돔 형제 | 비바람 속의 숲무늬 꽃병 | c.1903 | 2020/06/16 | 2020/08/23 | |
10 | Daum Frères | Cylindrical vase, trees in the rain design | 多姆兄弟 | 风雨树林纹圆筒型花瓶 | 돔 형제 | 비바람 속의 숲무늬 원통형 꽃병 | c.1903 | 2020/06/16 | 2020/08/23 | |
10 | AKATSUKA, Jitoku | Inkstone case, Evergreen, maki-e | 赤塚自得 | 常绿莳绘砚箱 | 아카쓰카 지토쿠 | 마키에 ‘상록’ 벼루함 | c.1926-36 | 2020/06/16 | 2020/08/23 | |
10 | AKATSUKA, Jitoku | Paper case, Evergreen, maki-e | 赤塚自得 | 常绿莳绘料纸箱 | 아카쓰카 지토쿠 | 마키에 ‘상록’ 종이함 | 2020/06/16 | 2020/08/23 | ||
10 | NAKASUGI, Yososhichi | A pair of two brass vases with carved motifs of bamboo and Kannon | 中杉与三七 | 黄铜制竹林观音雕刻花瓶 | 나카즈키 요소시치 | 황동제 죽림 관음 조각 화병 | 1890 | 2020/06/16 | 2020/08/23 | |
10 | TERASAKI, Kogyo | Hills with Clouds, Summer Moon from Four Scenes of Mountain Stream | 寺崎广业 | “溪四题”之 云峰·夏月 | 데라사키 고교 | 《계곡의 네 풍경》 중, 운봉, 여름 달 | 1909 | 2020/06/16 | 2020/08/23 | |
10 | KIKUCHI, Keigetsu | Dragonflies | 菊池契月 | 铁浆蜻蜓 | 기쿠치 게이게쓰 | 검물잠자리 | 1913 | 2020/06/16 | 2020/08/23 | |
10 | 0034 | TOKUOKA, Shinsen | Lotus | 德冈神泉 | 莲 | 도쿠오카 신센 | 연 | 1925 | 2020/06/16 | 2020/08/23 |
10 | YOKOYAMA, Taikan | After Rain, Moonlit Night | 横山大观 | 雨后·月夜 | 요코야마 다이칸 | 비가 온 뒤, 달밤 | c.1925 | 2020/06/16 | 2020/08/23 | |
10 | TAKEUCHI, Seiho | Birds at Roost | 竹内栖凤 | 归巢的鸭子和乌鸦 | 다케우치 세이호 | 숙압숙아 | 1926 | 2020/06/16 | 2020/08/23 | |
10 | ISHIYAMA, Taihaku | Deep Gorge | 石山太柏 | 幽溪 | 이시야마 다이하쿠 | 깊은 계곡 | 1927 | 2020/06/16 | 2020/08/23 | |
10 | YAMAMOTO, Kyujin | Early Summer Rain | 山本丘人 | 五月雨 | 야마모토 규진 | 이른 장마 | 1929 | 2020/06/16 | 2020/08/23 | |
10 | KAWAI, Gyokudo | Autumn Rain | 川合玉堂 | 彩雨 | 가와이 교쿠도 | 가을비 | 1940 | 2020/06/16 | 2020/08/23 | |
10 | KAWAI, Kenji | Misty Rain | 河合健二 | 雾雨 | 가와이 겐지 | 안개비 | 1947 | 2020/06/16 | 2020/08/23 | |
10 | ISHII, Tsuruzo | Mountains | 石井鹤三 | 山岳 | 이시이 쓰루조 | 산악 | c.1912/26 | 2020/06/16 | 2020/08/23 | |
10 | ITO, Shinsui | The Pine of Karasaki from Eight Views of Omi | 伊东深水 | “近江八景”之 唐崎的松树 | 이토 신스이 | 《오미 팔경》 중, 가라사키의 소나무 | 1918 | 2020/06/16 | 2020/08/23 | |
10 | ITO, Shinsui | Ukimido Shrine of Katada from Eight Views of Omi | 伊东深水 | “近江八景”之 坚田浮御堂 | 이토 신스이 | 《오미 팔경》 중, 가타다의 우키미 불당 | 1918 | 2020/06/16 | 2020/08/23 | |
10 | ITO, Shinsui | The Railes Bridge of Seta from Eight Views of Omi | 伊东深水 | “近江八景”之 濑田的唐桥 | 이토 신스이 | 《오미 팔경》 중, 세타의 다리 | 1918 | 2020/06/16 | 2020/08/23 | |
10 | KAWASE, Hasui | Fields of Toyama from Twelve Tokyo Scenes | 川濑巴水 | “东京十二题”之 户山之原 | 가와세 하스이 | 《도쿄의 열두 풍경》 중, 도야마의 평원 | 1920 | 2020/06/16 | 2020/08/23 | |
10 | KAWASE, Hasui | The Village of Ushibori | 川濑巴水 | 牛堀 | 가와세 하스이 | 우시보리 마을 | 1930 | 2020/06/16 | 2020/08/23 | |
10 | KAWASE, Hasui | Imai Bridge in Passing Shower | 川濑巴水 | 今井桥的骤雨 | 가와세 하스이 | 소나기 속의 이마이 다리 | 1932 | 2020/06/16 | 2020/08/23 | |
10 | TOBARI, Kogan | Mill in the Mountain | 户张孤雁 | 山中的水车 | 도바리 고간 | 산속의 물레방아 | 1921 | 2020/06/16 | 2020/08/23 | |
10 | HEMMI, Takashi | Morning at the Seaside | 逸见享 | 海边的早晨 | 헨미 다카시 | 해변의 아침 | 1929 | 2020/06/16 | 2020/08/23 | |
10 | HEMMI, Takashi | Park | 逸见享 | 公园(公园小景) | 헨미 다카시 | 공원 | 1931 | 2020/06/16 | 2020/08/23 | |
10 | KASAMATSU, Shiro | Pagoda in Evening Rain (Yanaka, Tokyo) | 笠松紫浪 | 雨中的塔(东京谷中) | 가사마쓰 시로 | 빗속의 탑(도쿄 야나카) | 1932 | 2020/06/16 | 2020/08/23 | |
10 | KASAMATSU, Shiro | Imai Bridge, Gyotoku, in Late Autumn from Eight Views in the Suburbs of Tokyo | 笠松紫浪 | “东京近郊八景”之行德今井桥的深秋 | 가사마쓰 시로 | 《도쿄 근교 팔경》 중, 늦가을을 맞은 교토쿠의 이마이 다리 | 1939 | 2020/06/16 | 2020/08/23 | |
10 | KASAMATSU, Shiro | Suenaga District in Rain from Eight Views in the Suburbs of Tokyo | 笠松紫浪 | “东京近郊八景”之 末长的雨 | 가사마쓰 시로 | 《도쿄 근교 팔경》 중, 비오는 스에나가 거리 | 1939 | 2020/06/16 | 2020/08/23 | |
10 | OKUYAMA, Gihachiro | Nagaura Highway in Rain from Eight Views of Nanao, Noto, New Series | 奥山仪八郎 | “能登新七尾八景”之 长浦街道的雨 | 오쿠야마 기하치로 | 《신新 노토반도의 나나오 팔경》 중, 비 오는 나가우라 가도 | 1943 | 2020/06/16 | 2020/08/23 | |
10 | OKUYAMA, Gihachiro | Gobenden Viewed from Wakuratogetsukyo Bridge from Eight Views of Nanao, Noto, New Series | 奥山仪八郎 | “能登新七尾八景”之 从和仓渡月桥拜见御便殿 | 오쿠야마 기하치로 | 《신新 노토반도의 나나오 팔경》 중, 와쿠라의 도게쓰 다리에서 바라본 편전 | 1943 | 2020/06/16 | 2020/08/23 | |
10 | OKUYAMA, Gihachiro | Village of Myogi from Japanese Landscape | 奥山仪八郎 | “日本风景版画”之 妙义村 | 오쿠야마 기하치로 | 《일본 풍경 판화》 중, 묘기 마을 | 1953 | 2020/06/16 | 2020/08/23 | |
10 | KAWANISHI, Hide | Garden under Snow from Small Works | 川西英 | “小品”之 雪景 | 가와니시 히데 | 《소품》 중, 설경 | date unknown | 2020/06/16 | 2020/08/23 | |
10 | KAWANISHI, Hide | Flowering Cherries from Small Works | 川西英 | “小品”之 樱 | 가와니시 히데 | 《소품》 중, 벚꽃 | date unknown | 2020/06/16 | 2020/08/23 | |
10 | IMAMURA, Shiko | Flute | 今村紫红 | 笛 | 이마무라 시코 | 피리 | c.1900 | 2020/08/25 | 2020/10/25 | |
10 | TOKUOKA, Shinsen | Mad Woman | 德冈神泉 | 狂女 | 도쿠오카 신센 | 광녀 | c.1919 | 2020/08/25 | 2020/10/25 | |
10 | TOKUOKA, Shinsen | Bleak and Desolate | 德冈神泉 | 萧条 | 도쿠오카 신센 | 소조(고요하고 쓸쓸함) | 1928 | 2020/08/25 | 2020/10/25 | |
10 | YOKOYAMA, Taikan | Moonlight | 横山大观 | 月明 | 요코야마 다이칸 | 달빛 | c.1935 | 2020/08/25 | 2020/10/25 | |
10 | YOKOYAMA, Taikan | A Forlorn Wind Blows over the Cold Yi River | 横山大观 | 风萧萧兮易水寒 | 요코야마 다이칸 | 바람은 쓸쓸하고 역수는 차가워라 | 1955 | 2020/08/25 | 2020/10/25 | |
10 | OTA, Chou | Women Observing Stars | 太田听雨 | 观星的女子 | 오타 조우 | 별을 보는 여인 | 1936 | 2020/08/25 | 2020/10/25 | |
10 | NAKAMURA, Daizaburo | The Noh Play Miidera | 中村大三郎 | 三井寺 | 나카무라 다이자부로 | 미이데라 | 1939 | 2020/08/25 | 2020/10/25 | |
10 | KOBAYASHI, Kokei | Malangfu, the Goddess of Mercy Incarnate | 小林古径 | 马郎妇 | 고바야시 고케이 | 마랑부 여신 | 1943 | 2020/08/25 | 2020/10/25 | |
10 | KODAMA, Kibo | Scrolls of Landscape in France: Sea | 儿玉希望 | 法兰西山水画卷(海) | 고다마 기보 | 프랑스의 산수 두루마리 그림(바다) | 1958 | 2020/08/25 | 2020/10/25 | |
10 | KAYAMA, Matazo | The Milky Way | 加山又造 | 银河 | 가야마 마타조 | 은하수 | 1968 | 2020/08/25 | 2020/10/25 | |
10 | KONDO, Komei | Infinity | 近藤弘明 | 无限 | 곤도 고메이 | 무한 | 1997 | 2020/08/25 | 2020/10/25 | |
3F | David Smith | Circle IV | 大卫·史密斯 | 圆 IV | 데이비드 스미스 | 서클 IV | 1962 | 2020/06/16 | 2020/10/25 | |
11 | YANAGIHARA, Yoshitatsu | Milestone, Pigeon | 柳原义达 | 路标,鸽子 | 야나기하라 요시타쓰 | 이정표, 비둘기 | 1974 | 2020/06/16 | 2020/10/25 | |
11 | MARUYAMA, Naofumi | MAS | 丸山直文 | MAS | 마루야마 나오후미 | MAS | 1992 | 2020/06/16 | 2020/10/25 | |
11 | AKIOKA, Miho | Flow | 秋冈美帆 | 流 | 아키오카 미호 | 흐름 | 1988 | 2020/06/16 | 2020/10/25 | |
11 | AKIOKA, Miho | Languor | 秋冈美帆 | 滞 | 아키오카 미호 | 웅덩이 | 1988 | 2020/06/16 | 2020/10/25 | |
11 | AKIOKA, Miho | Flutter | 秋冈美帆 | 颤 | 아키오카 미호 | 살랑임 | 1988 | 2020/06/16 | 2020/10/25 | |
11 | KODAMA, Yasue | ambient light – sakura | 儿玉靖枝 | ambient light ― sakura | 고다마 야스에 | ambient light ― sakura | 2002 | 2020/06/16 | 2020/10/25 | |
11 | KODAMA, Yasue | ambient light – sakura | 儿玉靖枝 | ambient light ― sakura | 고다마 야스에 | ambient light ― sakura | 2002 | 2020/06/16 | 2020/10/25 | |
11 | KODAMA, Yasue | ambient light – sakura | 儿玉靖枝 | ambient light ― sakura | 고다마 야스에 | ambient light ― sakura | 2002 | 2020/06/16 | 2020/10/25 | |
11 | KODAMA, Yasue | ambient light – sakura | 儿玉靖枝 | ambient light ― sakura | 고다마 야스에 | ambient light ― sakura | 2002 | 2020/06/16 | 2020/10/25 | |
11 | NAKABAYASHI, Tadayoshi | Transposition ’89-Ground-I | 中林忠良 | 转位’89-地−I | 나카바야시 다다요시 | 전위’89–땅–I | 1989 | 2020/06/16 | 2020/08/23 | |
11 | NAKABAYASHI, Tadayoshi | Transposition ’89-Ground-III | 中林忠良 | 转位’89-地−III | 나카바야시 다다요시 | 전위’89–땅–III | 1989 | 2020/06/16 | 2020/08/23 | |
11 | NAKABAYASHI, Tadayoshi | Transposition ’84-Ground-I | 中林忠良 | 转位’84-地−I | 나카바야시 다다요시 | 전위’84–땅–I | 1984 | 2020/08/25 | 2020/10/25 | |
11 | NAKABAYASHI, Tadayoshi | Transposition ’87-Ground-II | 中林忠良 | 转位’87-地−II | 나카바야시 다다요시 | 전위’87–땅–II | 1987 | 2020/08/25 | 2020/10/25 | |
11 | NOMIYAMA, Gyoji | Withered Leaves | 野见山晓治 | 枯叶 | 노미야마 교지 | 마른 잎 | 1971-72 | 2020/06/16 | 2020/08/23 | |
11 | NOMIYAMA, Gyoji | The Withered | 野见山晓治 | 枯萎的东西 | 노미야마 교지 | 마른 것 | 1970-71 | 2020/08/25 | 2020/10/25 | |
12 | Auguste Rodin | Torso | 奥古斯特·罗丹 | 胴体 | 오귀스트 로댕 | 토르소 | date unknown | 2020/06/16 | 2020/10/25 | |
12 | Anthony Caro | Lap | 安东尼·卡罗 | Lap | 앤서니 카로 | Lap | 1969 | 2020/06/16 | 2020/10/25 | |
12 | Henry Moore | Reclining Figure | 亨利·摩尔 | 横躺的人物 | 헨리 무어 | 가로누운 인물 | 1977 | 2020/06/16 | 2020/10/25 | |
12 | Sol Lewitt | Complex Forms No.6 | 索尔·勒维特 | 形态的复合 NO.6 | 솔 르윗 | 형태의 복합 No.6 | 1987 | 2020/06/16 | 2020/10/25 | |
12 | Tony Cragg | The Meter | 托尼·克拉格 | 计量器 | 토니 크랙 | 미터(계측기) | 2003 | 2020/06/16 | 2020/10/25 | |
12 | Markus Lupertz | Head of Hera | 马库斯·吕佩尔兹 | 赫拉的头部 | 마르쿠스 뤼페르츠 | 헤라의 머리 | 2003 | 2020/06/16 | 2020/10/25 | |
12 | Bruce Nauman | Wall-Floor Positions | 布鲁斯·瑙曼 | 墙与地板间的姿势 | 브루스 나우먼 | 벽과 바닥에서의 자세 | 1968 | 2020/06/16 | 2020/10/25 | |
12 | Robert Smithson | Spiral Jetty | 罗伯特·史密森 | Spiral Jetty | 로버트 스미스슨 | 나선형의 방파제 | 1970 | 2020/06/16 | 2020/10/25 | |
12 | SHIMADA, Shozo | Europa | 岛田章三 | 欧罗巴 | 시마다 쇼조 | 에우로페 | 1967 | 2020/06/16 | 2020/10/25 | |
12 | KAMIJO, Yoko | Heaven and Earth (An Omen) | 上条阳子 | 玄黄(兆) | 가미조 요코 | 하늘과 땅(징조) | 1977 | 2020/06/16 | 2020/10/25 | |
12 | 0087 | KOBAYASHI, Masato | Painting = Sky | 小林正人 | 绘画=空 | 고바야시 마사토 | 회화=하늘 | 1985-86 | 2020/06/16 | 2020/10/25 |
12 | TATSUNO, Toeko | Work 86-P-1 | 辰野登惠子 | Work 86-P-1 | 다쓰노 도에코 | Work 86-P-1 | 1986 | 2020/06/16 | 2020/10/25 | |
12 | KOBAYASHI, Takanobu | Water Fountain | 小林孝亘 | Water Fountain | 고바야시 다카노부 | Water Fountain | 1994 | 2020/06/16 | 2020/10/25 | |
12 | 0089 | Georg Baselitz | Self-Portrait I | 格奥尔格·巴泽利茨 | 自画像I | 게오르그 바젤리츠 | 자화상I | 1996 | 2020/06/16 | 2020/10/25 |
12 | SUGITO, Hiroshi | the secret tower | 杉户洋 | the secret tower | 스기토 히로시 | the secret tower | 1998 | 2020/06/16 | 2020/10/25 | |
12 | Henry Moore | Homage to Rodin | 亨利·摩尔 | 罗丹赞 | 헨리 무어 | 로댕을 기리며 | date unknown | 2020/06/16 | 2020/10/25 | |
2F | 0090 | Antony Gormley | Reflection | 安东尼·戈姆雷 | 反映/思索 | 안토니 곰리 | 반영/사색 | 2001 | 2020/06/16 | 2020/10/25 |
terrace | 0084 | Isamu Noguchi | Gate | 野口勇 | 门 | 이사무 노구치 | 문 | 1969 | 2020/06/16 | 2020/10/25 |
outside | TADA, Minami | Chiaroscuro | 多田美波 | Chiaroscuro | 다다 미나미 | Chiaroscuro | 1979 | 2020/06/16 | 2020/10/25 | |
outside | KIMURA, Kentaro | Seven Prayers | 木村贤太郎 | 七个祈祷 | 기무라 겐타로 | 일곱 개의 기원 | 1969 | 2020/06/16 | 2020/10/25 | |
outside | Marino Marini | The Idea of an Image | 马里诺·马里尼 | 某个形象的构想 | 마리노 마리니 | 어떤 이미지의 구상 | 1969-70 | 2020/06/16 | 2020/10/25 |
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)
- Yorozu Tetsugoro, Nude Beauty, 1912
- Kishida Ryusei, Road Cut through a Hill, 1915
- 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 is currently out of service.
Room 1 (Exhibit Dates: June 16–June 21) Highlights
The MOMAT Collection exhibition, drawn from the museum’s holdings, consists of over 200 works displayed over a 3,000-square meter area. The exhibition starts with the “Highlights” section, consisting of some of the collection’s most essential works.
In the Nihon-ga (modern Japanese-style painting) genre, we present Ogura Yuki’s Bathing Women. This is an epoch-making work in that a female artist painted nude figures, which was highly unusual in Nihon-ga at that time.
Oil paintings on view include Harada Naojiro’s Kannon Bodhisattva Riding the Dragon (an Important Cultural Property), Kishida Ryusei’s Road Cut through a Hill, and other works critical to the development of modern Japanese painting. Other highlights include works by female painters such as Katsura Yuki and Maruki Toshi. Paintings by non-Japanese artists include work by Paul Cézanne, purchased in fiscal 2014 with a special budgetary allocation; Francis Bacon, whose paintings in Japanese public collections number only five; and a landscape by Gerhard Richter recently placed on long-term loan to the museum.
Room 1 (Exhibit Dates: June 23–October 25) Highlights
The MOMAT Collection exhibition, drawn from the museum’s holdings, consists of over 200 works displayed over a 3,000-square meter area. The exhibition starts with the “Highlights” section, consisting of some of the collection’s most essential works.
The glass cases contain exhibits, including craft works, relating to the relocation of the Crafts Gallery to Kanazawa, Ishikawa Prefecture. The Crafts Gallery, which after the renovation of the former headquarters of the Imperial Guards in Kitanomaru Park served as an exhibition venue for decorative arts from 1977 until this spring, will open as the National Crafts Museum at its new location in Kanazawa.
Meawhile, in the oil painting area, paintings on view include Kishida Ryusei’s Road Cut through a Hill and other works critical to the development of modern Japanese painting. Other highlights include works by female painters such as Katsura Yuki and Maruki Toshi. Paintings by non-Japanese artists include work by Paul Cézanne, purchased in fiscal 2014 with a special budgetary allocation; Francis Bacon, whose paintings in Japanese public collections number only five; and a landscape by Gerhard Richter recently placed on long-term loan to the museum.
Room 2 Light, Color, and Emotion – Focus on Pointillism
Pointillism is a style in which images are rendered with groups of dots or short brushstrokes, placed side by side or layered. This technique was developed in 19th-century Europe, particularly by Impressionists such as Claude Monet (1840–1926) and Neo-Impressionists such as Georges Seurat (1859–1891) who pursued “divided brushstroke” techniques based on optical theory, as a means of depicting light without losing the true luminosity of colors under sunlight. It was also an effective way for painters to express their emotions through brushwork. Meanwhile, Japanese painters in the late 19th and early 20th centuries were already accustomed to ink painting in which rocks, moss on tree trunks, leaves and so forth are rendered using dots and short strokes of ink. When they encountered the new modern Western styles, they were inspired to focus on pointillistic expression as a means of capturing vivid natural scenery in sunlight and the artist’s subjective impressions. In this room, we present works by painters who employed pointillism and stippling (short brushstrokes) as they sought to convey momentary impressions from, and emotions evoked by, the natural world.
Room 3 Muses Inspiring Artists
In one of Henri Rousseau’s paintings, the goddess of liberty blows a bugle, beckoning painters to take part in the Exhibition of the Society of Independent Artists. Three years after this painting, Rousseau produced another entitled Muse Inspiring the Poet (1909), with which the title of this section paraphrases. The painting depicts the poet Guillaume Apollinaire and the female painter Marie Laurencin, a source of inspiration for him, standing side by side. Around the same time, in Japan the sculptor Ogiwara Morie was expressing his unprofessed feelings for his patron Soma Kokko, the female proprietor of Shinjuku Nakamuraya, in works such as Priest Mongaku and Woman. There are many other examples, especially during this period, of women who were muses to male artists, as Alma Mahler was to Oskar Kokoschka. Today, we are likely to ask the question: “Well, what about the opposite? Who inspired female artists?” Under the keen gazes of the women depicted in these paintings, viewers may be inspired to rethink aspects of gender roles in art.
Room 4 Ohara Koson (Shoson)
Ukiyo-e, popular with city dwellers during the Edo Period (1603-1868), gradually declined from the Meiji Era (1868-1912) onward as new printing techniques from the West, such as lithography and photography, made inroads in Japan. However, there was also a contingent of printmakers that aimed to revitalize the traditions of ukiyo-e. It grew increasingly prominent during the Taisho Era (1912-1926) and came to be known as the Shin-hanga (new prints) movement, producing many works that were exported and prized overseas. Among the best-known figures are Hashiguchi Goyo and Ito Shinsui, who specialized in bijinga (lit. “pictures of beautiful women”), and landscape printmaker Kawase Hasui, but this exhibit focuses on Ohara Koson (a.k.a. Shoson), known for his works in the flower-and-bird genre. He began as a Nihonga (modern Japanese-style painting) artist and went by the name Koson, but in 1926 he adopted the name Shoson and went on to gain popularity with a large number of flower-and-bird prints both realistic and decorative in character, produced at the Shin-hanga printmaking studio Watanabe Hangaten. Thereafter he was largely forgotten in Japan, but there are large collections of his works in the Netherlands and the US, and recently he has been enjoying a critical reappraisal in his home country as well. The MOMAT collection contains works formerly belonging to ukiyo-e scholar Fujikake Shizuya, and here we present 32 of them, divided into a first and a second term.
Room 5 Everything Old Is New Again?
In the world of Yo-ga (Japanese Western-style painting), both the 1920s and the late 1930s saw crazes for classicism, i.e. fascination with the art of Greco-Roman antiquity. The first time, it was in response to the “return to order” taking place in Europe after World War I. The trend may seem regressive or reactionary from the perspective of the avant-garde, which sought the overthrow of old-fashioned values, but at the time the ideal proportions of classical art were seen as connected to the rational aesthetics of modernism, and reappraised in this light. Such qualities are often noted in the work of Kuroda Jutaro and Togo Seiji. Underlying this development was the recovery from the unthinkable devastation of World War I in Europe, and from the 1923 Great Kanto Earthquake in Japan. Later, in the late 1930s, imagery of classical antiquity had overtones of longing for a lost utopia as the stormclouds of World War II gathered. The timing of these classical revivals suggest that people may turn to “classical” ideals when they harbor a sense of crisis.
3F (Third floor)
Room 6-8 1940s-1960s
From the Beginning to the Middle of the Showa Period
Room 9 Photography and Video
Room 10 Nihon-ga (Japanese-style Painting)
Room to Consider the Building
Room 6 1943 The 2nd Great East Asia War Art Exhibition
Military art, also known as war record paintings, was art officially commissioned by the Japanese military to document World War II in the Asia-Pacific region. The military chose themes, painters were dispatched to battle zones to gather material and produce works, and after completion the wartime authorities collected the works and exhibited them in various locations around Japan. Here, we present paintings from the 2nd Great East Asia War Art Exhibition, held at the Tokyo Metropolitan Art Museum in December 1943 and January 1944. This was one of the largest exhibitions of such art during the war, and also traveled to Osaka, Kyoto, Fukuoka, Sasebo, and Nagoya over the course of six months. During 1943 Japan’s situation had worsened, with various setbacks including withdrawal from Guadalcanal, the total annihilation of the forces defending Attu, and the departure of students for the front, while at home people’s living conditions were growing increasingly severe. Nonetheless, according to the Tokyo exhibition’s organizers, the number of attendees exceeded 150,000 in one month.
All of the works in this room were originally shown at the 2nd Great East Asia War Art Exhibition. What did people see, what did they think about, when they viewed the works at that time, and how do they appear to us today?
Room 7 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.
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 8 Circles and the Avant-Garde
Surveying Japanese art of the 1960s and the years immediately before and after, one gets a sense of energy and excitement pervading avant-garde art, like that which propelled movements such as American Abstract Expressionism.
In Japanese abstraction, in terms of motifs, one notices the prevalence of circles. For example, Onosato Toshinobu said that for him, the circle was of vital importance as the “original, primal form of all things.” Meanwhile, both Sugai Kumi and Yoshihara Jiro made not imitating others a personal credo, and it is interesting that both arrived after extensive explorations at the simple geometric figure of the circle. Furthermore, Sugai’s and Yoshihara’s circles are all in primary or other basic colors, and are painted so as to leave a minimum of visible brushstrokes. In this stance we can see a reaction to or backlash against the Art Informel (a French term meaning “non-formal art,” broadly describing a school of gestural abstraction) that arrived on Japanese shores in the 1950s.
Room 9 The Bauhaus and Its Legacy
Established in Germany in 1919, the Bauhaus was a school of art and design that offered comprehensive arts education focusing on architecture, and exerted an enormous and enduring influence on the development of modern design. László Moholy-Nagy, a Hungarian national who began teaching there in 1923, and added photography to the school curriculum. He defined photography as an “art of light,” and opened up new possibilities in photography as a visual medium, including the camera-less technique of photograms and the photomontage.
In 1937 Moholy-Nagy was invited to Chicago, where he opened the New Bauhaus (incorporated into the Illinois Institute of Technology in 1955). He carried on the Bauhaus legacy while pursuing a new design education model that fused art, science and technology. This school is also known as one of the United States’ most forward-looking institutions of photographic education, and its philosophy and practices were absorbed into the Japanese photography world through the activities of Bauhaus graduate Ishimoto Yasuhiro and the writings of Moholy-Nagy.
This special exhibit is in conjunction with the come to bauhaus! exhibition touring five museums in Japan to commemorate the 100th anniversary of the Bauhaus’s foundation. Related exhibits are also on view in Room 10 and in the Art Library.
Room 10 (First half: June 16–August 23) Landscape in Fine and Decorative Arts / Special Bauhaus Exhibit
The exhibit in the rear of this room focuses on how natural phenomena such as rain, wind, snow, clouds, water, and the atmosphere have been rendered in modern Japanese landscape paintings, prints and decorative arts. In the late 19th century, ukiyo-e prints inspired Western artists and contributed to the emergence of new modes of expression. Meanwhile, Japanese painters and artisans were encountering Western styles and transforming their own work. Aspects of this endeavor can be seen in landscape paintings where ink and diluted watercolor are used in combination, and in the blurred, outline-free morotai style developed by Yokoyama Taikan and others.
In the space closer at hand is our Special Bauhaus Exhibit. The Bauhaus was an art and design school that first opened in Weimar, Germany in 1919 and later moved to Dessau and then to Berlin, where it was forced to close in 1933 under Nazi repression. In the 14 years of its short existence, the Bauhaus had some of the greatest artists of the day as teachers, maintained a focus on developments in contemporary society, and offered a unique education aimed at building new relationships between society and art. Its innovative philosophy and practices were transmitted both directly and indirectly to Japan through various people and objects. In this room, we present points of contact between the Bauhaus and Japan circa 1930, when the country was looking to the West for examples of “modernity.”
Room 10 (Second half: August 25–October 25) The Moon on an Autumn Night
In the space closer at hand is our Special Bauhaus Exhibit. The Bauhaus was an art and design school that first opened in Weimar, Germany in 1919 and later moved to Dessau and then to Berlin, where it was forced to close in 1933 under Nazi repression. In the 14 years of its short existence, the Bauhaus had some of the greatest artists of the day as teachers, maintained a focus on developments in contemporary society, and offered a unique education aimed at building new relationships between society and art. Its innovative philosophy and practices were transmitted both directly and indirectly to Japan through various people and objects. In this room, we present points of contact between the Bauhaus and Japan circa 1930, when the country was looking to the West for examples of “modernity.”
The glass case area in the rear of the room contains Nihon-ga (Japanese-style) painters’ works dealing with the moon. The moon is at its most brilliant in autumn, when the air becomes clear and pure. The late Heian Period (794–1185) poet Saigyo wrote a famous ode to the autumn moon: “Gazing at the autumn moon, its clear purity illuminates pain deep in the heart.” Why is it that many people, from ancient times to today, can sympathize with this feeling of sadness or longing when looking up at the moon? Modern artists have tried to unravel the mystery of the moon’s magical power over human beings.
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.
Room 11 The Seeing Eye, the Feeling Heart and Nature
In this room we present work by painters, a printmaker and a sculptor who gaze at the natural world, produce work face-to-face with nature, and in doing so probe into the meaning of creating two- and three-dimensional works of art. Here elements of nature such as trees, leaves, flowers and birds are reinterpreted and emerge as new images through the filter of the artist’s mind. For example, Akioka Miho takes photographs intentionally out of focus, enlarges and prints them, producing spaces with no point of focus and only rays of light intersecting, wavering and shimmering. Nonetheless, they convey the sensation of sitting in a forest where the wind sways the trees and the leaves rustle. In Kodama Yasue’s ambient light – sakura, cherry blossoms appear faintly against brilliant backgrounds glowing with inner luminosity, and by moving their eyes up and down, back and forth over these works, viewers can gain from the subtle discrepancies a sense of blossoms floating in space. Please feel free to view the works dynamically – draw near, step back, look up and down – and experience nature as expressed by the artists.
Room 12 Sculpture or Painting? Figurative or Abstract?
Since the Renaissance, there has been ongoing contention over the relative superiority and inferiority of painting (two-dimensional) and sculpture (three-dimensional). Here sculptures occupy the front half of the room, and paintings the rear half.
The sculptures on view are Western works from the museum’s collection, with Anthony Caro’s Lap as a centerpiece. Lap, assembled from colored steel components, is a vibrant and rewarding work that draws on existing sculptural traditions and connects to various paths along which sculpture subsequently developed.
In conjunction with the exhibition Peter Doig, the paintings presented have figurative leanings, they are primarily by Japanese artists and date from the late 1960s through the 1990s. Like painting and sculpture, figurative and abstract have often been viewed as a dichotomy and their merits compared, especially since the 20th century. Today, it seems unproductive to debate whether figurative art is superior to abstract art or vice versa, but viewing these works in terms of interpretations of figurative/abstract, which vary depending on the artist and the era, may open up intriguing new perspectives.
About the Exhibition
- Location
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Collection Gallery, from the fourth to second floors
- Date
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June 16–October 25, 2020
- Time
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10:00 – 17:00 *Last admission is 30 minutes before closing.
MOMAT Collection and Gallery G4 open until 20:00 on Fridays and Saturdays. - Closed
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Closed on Mondays (except August 10 and September 21 ), August 11 and September 23, 2020
- Ticket
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Advance ticket is recommended to avoid lines forming at the entrance.
Online purchase: 【Tiqets】 【e-tix】
Tickets can be purchased on site at the ticket counters, subject to their availability. - Admission
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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. - Organized by
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The National Museum of Modern Art, Tokyo