Exhibitions

Past Exhibition Collection Exhibition

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

roomaudio guide (En)artisttitle美术家标题작가의 표제dateon view fromon view to
4F UEDA, ShojiKako’s and Mimi’s World植田正治和子和充的世界우에다 쇼지가코와 미미의 세계19492020/06/162020/08/23
4F UEDA, ShojiKen Domon and Ryosuke Ishizu植田正治土门拳和石津良介우에다 쇼지도몬 겐과 이시즈 료스케19492020/08/252020/10/25
1 HISHIDA, ShunsoSparrows on Plum Blossoms菱田春草梅与雀히시다 슌소매화나무와 참새19112020/06/162020/06/21
1 YUKI, SomeiBird Twittering结城素明유키 소메이새소리19112020/06/162020/06/21
1 KIKKAWA, ReikaVirgin at Mt. Hakoya吉川灵华藐姑射之处子깃카와 레이카막고야산의 처녀19182020/06/162020/06/21
1 TOMITA, KeisenPaper Making富田溪仙抄纸도미타 게이센종이 뜨기19282020/06/162020/06/21
10057OGURA, YukiBathing Women小仓游龟浴女 其一오구라 유키목욕하는 여인 그 첫 번째19382020/06/162020/06/21
1 TOMIMOTO, KenkichiOrnamental 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 겐키치다채색 금은채 네잎꽃무늬 팔각 장식함 19552020/06/232020/08/23
1 Hans Coper Spade Form汉斯·库伯黑桃形状한스 코퍼스페이드 폼c.19702020/06/232020/10/25
1 MORINO, HiroakiSea Cobalt森野泰明海碧모리노 히로아키바다와 같은 푸른빛19722020/06/232020/10/25
1 FUKAMI, SueharuPorcelain cylinder, Shin深见陶治“晨”铭陶筒후카미 스에하루원통형 도자기 “신”19912020/06/232020/08/23
1 INAGAKI, ToshijiroKimono, Wind, stencil dyeing on tsumugi silk稻垣稔次郎“风”铭纸型印染信州绸和服이나가키 도시지로신슈명주 바탕 형지염색 기모노 “바람”19532020/06/232020/08/23
1 ISA, ToshihikoLe 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 도시히코드뷔시 작곡 《전주곡 I》의 이미지로부터: 들을 스치는 바람1984-862020/06/232020/08/23
1 ISA, ToshihikoVoiles, 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 도시히코드뷔시 작곡 《전주곡 I》의 이미지로부터: 돛1984-862020/06/232020/08/23
1 KOGA, FumiSash, Hateruma Island, Saga-nishiki type weave古贺文佐贺锦松皮菱纹带 波照间고가 후미사가 비단 소나무 껍질을 닮은 마름모무늬 허리띠 “하테루마 섬”19892020/06/232020/08/23
1 MATSUDA, GonrokuBox, design of chrysanthemum and stream, maki-e松田权六菊水纹盒子마쓰다 곤로쿠국화와 물무늬 장식함19402020/06/232020/08/23
1 OBA, ShogyoOrnamental box, Morning, hyomon and maki-e大场松鱼平脱漆盒 晨오바 쇼교평문 상자 “아침”19692020/06/232020/08/23
1 MATSUDA, GonrokuTwo-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 곤로쿠마키에 나한송과 박새무늬 2단 탁자19722020/06/232020/08/23
1 SHONO, ShounsaiFlower basket with handle, sozen type生野祥云斋白竹制宗全柄花篮쇼노 쇼운사이흰 대나무 손잡이 꽃바구니19692020/06/232020/08/23
1 KATSURA, MorihitoIncense container, Crab桂盛仁盒子  蟹가쓰라 모리히토합자 “게”19802020/06/232020/08/23
1 UGAJIN, YonezoRyokuei宇贺神米藏绿映우가진 요네조푸른빛이 비치다19802020/06/232020/08/23
1 ISHII, KojiReef石井康治이시이 고지암초19922020/06/232020/08/23
1 YANAGIHARA, MutsuoVase, gold and silver designs on a dark blue ground柳原 睦夫绀釉金银彩花瓶야나기하라 무쓰오감색 유약 금은채 꽃병19712020/08/252020/10/25
1 KUMAKURA, JunkichiMusical Thoughts熊仓顺吉乐想구마쿠라 준키치악상19802020/08/252020/10/25
1 MORI, MasahiroShell bowl森正洋贝壳碗모리 마사히로조가비모양 그릇19822020/08/252020/10/25
1 MORI, MasahiroShell plate森正洋贝壳盘모리 마사히로조가비모양 접시19822020/08/252020/10/25
1 MOTONO, ToichiComposed Landscape A本野东一构造的风景 A모토노 도이치구조의 풍경 A19562020/08/252020/10/25
1 MOTONO, ToichiComposed Landscape B本野东一构造的风景 B모토노 도이치구조의 풍경 B19562020/08/252020/10/25
1 SUZUTA, TerujiKimono, 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 데루지요철이 있는 지리멘 바탕 형지염색 기모노 “소나무”19622020/08/252020/10/25
1 MATSUDA, GonrokuLidded bowl, motif of Longevity, maki-e松田权六长生之器마쓰다 곤로쿠장수 모티프 그릇 19402020/08/252020/10/25
1 MATSUDA, GonrokuLow table, cherry blossom and bird design, maki-e松田权六莳绘樱鸟图茶几마쓰다 곤로쿠마키에 벚꽃과 새무늬 낮은 탁자19562020/08/252020/10/25
1 TAGUCHI, YoshikuniOrnamental box, solar eclipse design, maki-e田口善国日食莳绘盒다구치 요시쿠니마키에 일식무늬 장식함19632020/08/252020/10/25
1 MIYAZAKI, ShutaroA 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 슈타로꼬아 엮어 만든 꽃바구니: 원, 삼각, 사각19982020/08/252020/10/25
1 OCHI, KenzoBlack Vase越智 健三黑色花器오치 겐조검은 꽃병19582020/08/252020/10/25
1 FUJITA, KyoheiDecorative casket, Longevity藤田 乔平“天寿”铭饰盒후지타 교헤이장식함 “천수”19842020/08/252020/10/25
10001HARADA, NaojiroKannon Bodhisattva Riding the Dragon原田直次郎骑龙观音하라다 나오지로기룡관음18902020/06/162020/10/25
1 Paul
Cézanne 
Grand Bouquet of Flowers保罗·塞尚大花束폴 세잔큰 꽃다발c.1892-952020/06/162020/10/25
1 Georges BraqueFemale Torso乔治·布拉克女性胴体조르주 브라크여인의 토르소1910-112020/06/162020/10/25
10020KISHIDA, RyuseiRoad Cut through a Hill岸田刘生道路、土堤和围墙(凿开之路的写生)기시다 류세이도로와 제방과 담(언덕길 사생)19152020/06/162020/10/25
10022YOROZU, TetsugoroLeaning Woman万铁五郎倚立者요로즈 데쓰고로기대선 사람19172020/06/162020/10/25
10040KOGA, HarueSea古贺春江고가 하루에바다19292020/06/162020/10/25
1 Georgia O’KeeffeHollyhock 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 오키프접시꽃의 흰색과 녹색, 페더널산19372020/06/162020/10/25
1 KATSURA, Yuki (Yukiko)Work桂雪(雪子)作品가쓰라 유키(유키코)작품19402020/06/162020/10/25
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 인간성19472020/06/162020/10/25
10086Francis BaconSphinx-Portrait of Muriel Belcher弗朗西斯·培根斯芬克斯—缪里尔·贝尔彻肖像프랜시스 베이컨스핑크스–뮤리엘 벨처의 초상19792020/06/162020/10/25
1 Gerhard Richter Sils Maria格哈德·里希特锡尔斯玛利亚게르하르트 리히터실스 마리아20032020/06/162020/10/25
1 NAKADA, SadanosukeHead of Woman仲田定之助女人的头나카다 사다노스케여자의 머리19242020/06/162020/10/25
1 FUNAKOSHI, YasutakeHaranojo Castle舟越保武原之城후나코시 야스타케하라노조 성19712020/06/162020/10/25
2 KUME, KeiichiroAn Island Brehat久米桂一郎布雷阿岛구메 게이이치로브레아섬18912020/06/162020/10/25
20002KURODA, SeikiDead Leaves黑田清辉落叶구로다 세이키낙엽18912020/06/162020/10/25
2 YASUI, SotaroHouse in Spring安井曾太郎春之家야스이 소타로봄철의 집19112020/06/162020/08/23
2 OTA, KijiroSeason on Fresh Green太田喜二郎新绿的时候오타 기지로신록의 계절19112020/06/162020/10/25
2 OTA, KijiroMulberry Picking太田喜二郎采桑오타 기지로뽕잎 따기19162020/06/162020/10/25
2 OTA, KijiroRice-Planting太田喜二郎种田오타 기지로모내기19162020/06/162020/10/25
2 MINAMI, KunzoOne Day in June南薰造六月的一天미나미 군조6월의 하루19122020/06/162020/10/25
2 KAWAKAMI, RyokaRailroad川上凉花铁路가와카미 료카철로19122020/06/162020/10/25
2 SAITO, ToyosakuStream in the Evening Glow斋藤丰作夕阳下的河流사이토 도요사쿠 저녁놀 아래의 강19132020/06/162020/10/25
2 YOSHIDA, HiroshiNear Shokonsha Shrine吉田博招魂社附近요시다 히로시쇼콘샤 신사 부근18952020/06/162020/08/23
2 YOSHIDA, HiroshiNishinohashi Bridge,Yozawa吉田博养泽 西之桥요시다 히로시요자와의 니시노하시 다리18962020/06/162020/08/23
2 YOSHIDA, FujioFuchu on a National Holiday吉田藤远国民节日的府中요시다 후지오국경일의 후추 지역1902-032020/06/162020/08/23
2 YOSHIDA, FujioBarekshire Hill in May吉田藤远伯克郡的五月요시다 후지오버크셔 힐의 5월19052020/06/162020/08/23
2 MARUYAMA, BankaThe Highlands in the Fog丸山晚霞雾之高原마루야마 반카안개 속의 고원c.19052020/06/162020/08/23
2 AKAGI, YasunobuWhite Sand赤城泰舒白沙아카기 야스노부흰 모래19122020/06/162020/08/23
2 KOSAKA, ShidenGreen Dale小坂芝田溪山积翠고사카 시덴초록빛 계곡19112020/08/252020/10/25
30003Henri 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 루소제22회 앙데팡당전에 참가하도록 예술가들을 이끄는 자유의 여신1905-062020/06/162020/10/25
30024Oskar Kokoschka Portrait of Alma Mahler奥斯卡·柯克西卡阿尔玛·马勒的肖像오스카 코코슈카알마 말러의 초상19122020/06/162020/10/25
30017YOROZU, TetsugoroNude Beauty万铁五郎裸体美人요로즈 데쓰고로나체 미인19122020/06/162020/10/25
3 KONO, MichiseiPortrait of Yoshiko河野通势好子像고노 미치세이요시코의 초상19162020/06/162020/10/25
3 OGIWARA, MoriePriest Mongaku荻原守卫文觉오기와라 모리에승려 몬가쿠19082020/06/162020/10/25
30012OGIWARA, MorieWoman荻原守卫女子오기와라 모리에여자19102020/06/162020/10/25
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 코코슈카판화집 『속박된 콜럼버스』 중, 1. 여자의 얼굴19132020/06/162020/08/23
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 코코슈카판화집 『속박된 콜럼버스』 중, 2. 새로운 콜럼버스와 성 게오르기우스 19132020/06/162020/08/23
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 코코슈카판화집 『속박된 콜럼버스』 중, 3. 최후의 심판19132020/06/162020/08/23
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 코코슈카판화집 『속박된 콜럼버스』 중, 4. 무덤으로 향하는 길 19132020/06/162020/08/23
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 코코슈카판화집 『속박된 콜럼버스』 중, 5. 촛불 옆의 두 사람19132020/06/162020/08/23
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 코코슈카판화집 『속박된 콜럼버스』 중, 6. 이브의 사과19132020/06/162020/08/23
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 코코슈카판화집 『속박된 콜럼버스』 중, 7. 갈림길에서 19132020/08/252020/10/25
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 코코슈카판화집 『속박된 콜럼버스』 중, 8.양팔을 든 남자와 죽음의 형상19132020/08/252020/10/25
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 코코슈카판화집 『속박된 콜럼버스』 중, 9. 만남19132020/08/252020/10/25
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 코코슈카판화집 『속박된 콜럼버스』 중, 10. 환영에 덮인 여자 19132020/08/252020/10/25
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 코코슈카판화집 『속박된 콜럼버스』 중, 11. 죽은 자 위에서 승리를 만끽하는 여자 19132020/08/252020/10/25
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 코코슈카판화집 『속박된 콜럼버스』 중, 12. 청아한 얼굴19132020/08/252020/10/25
4 OHARA, Koson (Shoson)[Two Carp]小原古村(祥村)[两条鲤鱼]오하라 고손(쇼손)[잉어 두 마리]1926-19452020/06/162020/08/23
4 OHARA, Koson (Shoson)[Two Goldfish]小原古村(祥村)[两条金鱼]오하라 고손(쇼손)[금붕어 두 마리]1926-19452020/06/162020/08/23
4 OHARA, Koson (Shoson)[Peacock]小原古村(祥村)[孔雀]오하라 고손(쇼손)[공작]1926-19452020/06/162020/08/23
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]1926-19452020/06/162020/08/23
4 OHARA, Koson (Shoson)[Morning Glories]小原古村(祥村)[牵牛花]오하라 고손(쇼손)[나팔꽃]1926-19452020/06/162020/08/23
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]1926-19452020/06/162020/08/23
4 OHARA, Koson (Shoson)[Tiger Lilies and Butterfly]小原古村(祥村)[卷丹与蝶]오하라 고손(쇼손)[참나리와 나비]1926-19452020/06/162020/08/23
4 OHARA, Koson (Shoson)[Hollyhocks and Dragonflies]小原古村(祥村)[蜀葵与蜻蜓]오하라 고손(쇼손)[접시꽃과 잠자리]1926-19452020/06/162020/08/23
4 OHARA, Koson (Shoson)[Eagle in flight]小原古村(祥村)[飞鹫]오하라 고손(쇼손)[날아가는 독수리]1926-19452020/06/162020/08/23
4 OHARA, Koson (Shoson)[Five White Herons]小原古村(祥村)[五只白鹭]오하라 고손(쇼손)[백로 다섯 마리]1926-19452020/06/162020/08/23
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]1926-19452020/06/162020/08/23
4 OHARA, Koson (Shoson)[Hydrangeas]小原古村(祥村)[绣球花]오하라 고손(쇼손)[수국]1926-19452020/06/162020/08/23
4 OHARA, Koson (Shoson)[Rabbits]小原古村(祥村)[两只兔子]오하라 고손(쇼손)[토끼 두 마리]1926-19452020/06/162020/08/23
4 OHARA, Koson (Shoson)[Horned Owl]小原古村(祥村)[雕鸮]오하라 고손(쇼손)[부엉이]1926-19452020/06/162020/08/23
4 OHARA, Koson (Shoson)[Irises]小原古村(祥村)[燕子花]오하라 고손(쇼손)[제비붓꽃]1926-19452020/06/162020/08/23
4 OHARA, Koson (Shoson)[Kingfisher over Irises]小原古村(祥村)[翠鸟与燕子花]오하라 고손(쇼손)[물총새와 제비붓꽃]1926-19452020/06/162020/08/23
4 OHARA, Koson (Shoson)[Nine Ducks]小原古村(祥村)[九只鸭子]오하라 고손(쇼손)[오리 아홉 마리]19312020/08/252020/10/25
4 OHARA, Koson (Shoson)[Three Carp]小原古村(祥村)[三条鲤]오하라 고손(쇼손)[잉어 세 마리]c.19352020/08/252020/10/25
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)]1926-19452020/08/252020/10/25
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]1926-19452020/08/252020/10/25
4 OHARA, Koson (Shoson)[Tits over Begonias]小原古村(祥村)[山雀与秋海棠]오하라 고손(쇼손)[박새와 추해당]1926-19452020/08/252020/10/25
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]1926-19452020/08/252020/10/25
4 OHARA, Koson (Shoson)[Hawk]小原古村(祥村)[鹰]오하라 고손(쇼손)[매]1926-19452020/08/252020/10/25
4 OHARA, Koson (Shoson)[Wild Geese]小原古村(祥村)[雁]오하라 고손(쇼손)[기러기]1926-19452020/08/252020/10/25
4 OHARA, Koson (Shoson)[Snipes]小原古村(祥村)[鹬]오하라 고손(쇼손)[도요새]1926-19452020/08/252020/10/25
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]1926-19452020/08/252020/10/25
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]1926-19452020/08/252020/10/25
4 OHARA, Koson (Shoson)[Bush Warbler and Peony]小原古村(祥村)[树莺与牡丹]오하라 고손(쇼손)[휘파람새와 모란]1926-19452020/08/252020/10/25
4 OHARA, Koson (Shoson)[Herons with Willow Branches]小原古村(祥村)[柳与白鹭]오하라 고손(쇼손)[버드나무와 백로]1926-19452020/08/252020/10/25
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]1926-19452020/08/252020/10/25
4 OHARA, Koson (Shoson)[Swans]小原古村(祥村)[天鹅]오하라 고손(쇼손)[백조]1926-19452020/08/252020/10/25
4 OHARA, Koson (Shoson)[The Moon and Herons]小原古村(祥村)[月与鹭]오하라 고손(쇼손)[달과 해오라기]1926-19452020/08/252020/10/25
5 YABE, TomoeNude矢部友卫裸妇야베 도모에나부19202020/06/162020/10/25
5 KURODA, JutaroWomen of the Harbour黑田重太郎港之女구로다 주타로항구의 여인19222020/06/162020/08/23
5 MAETA, KanjiNude前田宽治裸妇마에타 간지나부19252020/06/162020/10/25
5 Fernand
Léger
Woman and Flower费尔南·莱热女人和花페르낭 레제여자와 꽃19262020/06/162020/10/25
5 TOGO, SeijiStreet Performers东乡青儿流浪艺人도고 세이지유랑 악사19262020/06/162020/10/25
5 YOKOYAMA, JunnosukeNude横山润之助裸妇요코야마 준노스케나부19262020/06/162020/10/25
5 KOJIMA, ZenzaburoWoman with a Mirror儿岛善三郎拿镜子的女人고지마 젠자부로 거울을 든 여자19282020/06/162020/10/25
5 IHARA, UsaburoGroup in a Room伊原宇三郎室内群像이하라 우사부로실내의 군상1928-292020/06/162020/10/25
5 MORI, YoshioWoman Leaning on Her Elbow森芳雄支着肘部的女人모리 요시오팔꿈치를 괸 여자 19362020/06/162020/10/25
5 YABASHI, RokuroRuins矢桥六郎废墟야바시 로쿠로폐허19372020/06/162020/10/25
5 YAMAGUCHI, KaoruTravel to Ancient Rome山口薫古罗马之旅야마구치 가오루고대 로마로의 여행19372020/06/162020/10/25
5 OSAWA, ShosukeMen and Rocks大泽昌助岩与人오사와 쇼스케바위와 사람19402020/06/162020/10/25
5 YASUDA, RyumonHead of Christine保田龙门克里斯蒂娜头像야스다 류몬크리스틴느의 머리c.19232020/06/162020/10/25
5 KANEKO, KuheijiPortrait of Miss C金子九平次C小姐像가네코 구헤이지C양의 초상19252020/06/162020/10/25
5 TAKATA, HiroatsuPortrait of Madame Foulon高田博厚富隆夫人像다카타 히로아쓰풀롱 부인상19312020/06/162020/10/25
6 HASHIMOTO, KansetsuThe Huangpu River on December 8, 1941桥本关雪十二月八日的黄浦江上하시모토 간세쓰12월 8일 황포강 19432020/06/162020/10/25
6 FUJITA, TsuguharuMortal 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 전선19432020/06/162020/10/25
6 MATSUMI, YoshihikoLanding Party Marching into the International Settlement on December 8, 1941松见吉彦十二月八日进驻租界마쓰미 요시히코12월 8일 조계로의 진주c.19422020/06/162020/10/25
6 NAKAMURA, Ken’ichiBattle of the Coral Sea中村研一珊瑚海海战나카무라 겐이치산호해 해전 19432020/06/162020/10/25
6 KOBORI, YasuoNaval Battle off Santa Isabel Island小堀安雄圣伊莎贝尔岛海域的海战고보리 야스오이사벨섬의 해전19432020/06/162020/10/25
6 MIYAMOTO, SaburoSurprise Attack of Naval Paratroops at Manado宫本三郎海军降落伞部队美娜多奇袭미야모토 사부로해군 낙하산부대의 메나도 기습19432020/06/162020/10/25
7 YAMASHITA, KikujiColonial Factory山下菊二殖民地工厂야마시타 기쿠지식민지 공장19512020/06/162020/10/25
7 FURUSAWA, IwamiStarveling古泽岩美饿鬼후루사와 이와미아귀19522020/06/162020/10/25
7 OYAMADA, JiroDining Table小山田二郎餐桌오야마다 지로식탁19552020/06/162020/10/25
70069OKAMOTO, TaroMen Aflame冈本太郎燃烧的人오카모토 다로불타는 사람19552020/06/162020/10/25
7 NAKANO, JunDining Table中野淳餐桌나카노 준식탁19562020/06/162020/10/25
7 KAZUKI, YasuoFarewell香月泰男告别가즈키 야스오고별19582020/06/162020/10/25
7 EBIHARA, KinosukeRainy Day海老原喜之助雨天에비하라 기노스케비오는 날19632020/06/162020/10/25
7 IKEDA, TatsuoAdvertising Balloon池田龙雄广告气球이케다 다쓰오애드벌룬19552020/06/162020/08/23
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 습작19512020/06/162020/08/23
7 HAMADA, ChimeiElegy for a New Conscript: Sentinel滨田知明初年兵哀歌(步哨)하마다 지메이초년병 애가(보초)19512020/06/162020/08/23
7 ISHII, ShigeoMessengers石井茂雄使者이시이 시게오사자19592020/06/162020/08/23
7 ISHII, ShigeoPrisoner石井茂雄虏囚이시이 시게오포로19612020/06/162020/08/23
7 HAMADA, ChimeiLandscape滨田知明风景하마다 지메이풍경19532020/08/252020/10/25
7 HAMADA, ChimeiElegy for a New Conscript: Sentinel滨田知明初年兵哀歌(步哨)하마다 지메이초년병 애가(보초)19542020/08/252020/10/25
7 HAMADA, ChimeiElegy for a New Conscript: Landscape (A Corner)滨田知明初年兵哀歌(一角)하마다 지메이초년병 애가: 풍경(한구석)19542020/08/252020/10/25
7 HAMADA, ChimeiCrowd of the Blind滨田知明群盲하마다 지메이군맹(群盲)19602020/08/252020/10/25
8 ONOSATO, ToshinobuCircles in Black and White小野里利信黑白的圆오노사토 도시노부흑백의 원19402020/06/162020/10/25
8 ONOSATO, ToshinobuWork 100-B小野里利信作品 100-B오노사토 도시노부작품 100-B19632020/06/162020/10/25
8 EI-KYUDawn瑛九黎明에이큐여명19572020/06/162020/10/25
8 EI-KYUSpots among Blue瑛九蓝色中的圆에이큐파랑 속의 원19582020/06/162020/10/25
8 KIKUHATA, MokumaRoulette菊畑茂久马轮盘赌기쿠하타 모쿠마룰렛19632020/06/162020/10/25
8 AI-OAdam and Eve叆呕亚当与夏娃아이오아담과 이브1963-672020/06/162020/10/25
8 TSURUOKA, MasaoBlue Curtain鹤冈政男蓝帘쓰루오카 마사오 푸른 커튼19642020/06/162020/10/25
80078YOSHIHARA, JiroWhite on Black吉原治良黑底白요시하라 지로검정 바탕에 하양19652020/06/162020/10/25
8 TANAKA, AtsukoWork 66-SA田中敦子作品 66-SA다나카 아쓰코작품 66-SA19662020/06/162020/10/25
8 ABE, Nobuya (Yoshibumi)R3 (Study) 1971阿部展也(芳文)R3(习作)1971아베 노부야(요시부미)R3(습작)197119712020/06/162020/10/25
8 SUGAI, KumiFestival W菅井汲节日 W스가이 구미페스티벌 W19712020/06/162020/10/25
9 László Moholy-NagyPhotogram, 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 루치아1922-26 (1973 print)2020/06/162020/08/23
9 László Moholy-NagyPhotogram 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, 포토그램1922-26 (1973 print)2020/06/162020/08/23
9 Herbert Bayer Pont Transbordeur, Marseille赫伯特·拜耶运输桥,马赛헤르베르트 바이어운반교, 마르세이유19282020/06/162020/08/23
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 콜라인포트폴리오 《바우하우스 I/Ⅱ 20점의 사진 1919~1933》 중,  그로피우스의 건축 아틀리에 1927-28 (1985 print)2020/06/162020/08/23
9 Hajo RoseSelf 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 로제포트폴리오 《바우하우스 I/Ⅱ 20점의 사진 1919~1933》 중, 셀프 포트레이트(포토몽타주)1931 (1985 print)2020/06/162020/08/23
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 파이스트포트폴리오 《바우하우스 I/Ⅱ 20점의 사진 1919~1933》 중, 파이프를 문 남자(쿠르트 슈톨프)1929 (1985 print)2020/06/162020/08/23
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 바이어포트폴리오 《바우하우스 I/Ⅱ 20점의 사진 1919~1933》 중, 의안c.1928 (1985 print)2020/06/162020/08/23
9 Gyorgy Kepes Untitled捷尔吉•凯派什无题조르주 케페슈무제c.19382020/06/162020/08/23
9 Harry Callahan Eleanor, Chicago, 1949哈里·卡拉汉 艾莉诺,芝加哥,1949해리 캘러핸엘리노어, 시카고, 194919492020/06/162020/08/23
9 Aaron SiskindJerome, 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 211949 (1979 print)2020/06/162020/08/23
9 Aaron SiskindSt. 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 91955 (1979 print)2020/06/162020/08/23
9 OHTSUJI, KiyojiSendagaya 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)2020/06/162020/08/23
9 OHTSUJI, KiyojiTokyo大辻清司东京오쓰지 기요시도쿄1950s (1998 print)2020/06/162020/08/23
9 OHTSUJI, KiyojiYoshishige Saito’s Work, Yurakucho Asahi Gallery大辻清司斋藤义重作品,有乐町朝日画廊오쓰지 기요시사이토 요시시게의 작품, 유라쿠초 아사히 갤러리 1986 (1998 print)2020/06/162020/08/23
9 ISHIMOTO, YasuhiroFrom Chicago, Chicago石元泰博《芝加哥、芝加哥》系列이시모토 야스히로《시카고, 시카고》 중에서1958-61 (1992 print)2020/06/162020/08/23
9 ISHIMOTO, YasuhiroFrom Chicago, Chicago石元泰博《芝加哥、芝加哥》系列이시모토 야스히로《시카고, 시카고》 중에서1958-61 (1992 print)2020/06/162020/08/23
9 ISHIMOTO, Yasuhiro2. 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 야스히로포트폴리오 《가쓰라》 중 2, 고서원에서 제2실의 남면, 제1실, 화덕이 있는 방을 바라보다 1981-822020/06/162020/08/23
9 László Moholy-NagyPhotogram拉兹洛·莫霍利-纳吉黑影照片라슬로 모홀리 나지 포토그램1923-242020/08/252020/10/25
9 László Moholy-NagyPhotogram 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, 포토그램1922-26 (1973 print)2020/08/252020/10/25
9 Herbert Bayer Metamorphosis赫伯特·拜耶变形헤르베르트 바이어메타모르포제1936 (1968 print)2020/08/252020/10/25
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, 데사우1933 (1985 print)2020/08/252020/10/25
9 Katt BothAtikah 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 시가렛1930-31 (1985 print)2020/08/252020/10/25
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 푼카트포트폴리오 《바우하우스 I/Ⅱ 20점의 사진 1919~1933》 중, 유리 구체, 메탈 페스티벌1929 (1985 print)2020/08/252020/10/25
9 T. Lux Feininger Bauhaus Band from the portfolio BAUHAUS I / II 20 Photographs 1919-1933T•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)2020/08/252020/10/25
9 György Kepes Untitled捷尔吉•凯派什无题조르주 케페슈무제19392020/08/252020/10/25
9 Harry Callahan Eleanor, Chicago, 1947哈里·卡拉汉 埃莉诺,芝加哥,1947해리 캘러핸엘리노어, 시카고, 194719472020/08/252020/10/25
9 Aaron SiskindGloucester 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 1h1944 (1979 print)2020/08/252020/10/25
9 Aaron SiskindFeet 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 1021957 (1979 print)2020/08/252020/10/25
9 OHTSUJI, KiyojiPattern 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 무늬1956 (1997 print)2020/08/252020/10/25
9 OHTSUJI, KiyojiPattern 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 무늬1956 (1997 print)2020/08/252020/10/25
9 OHTSUJI, KiyojiAirplane大辻清司飞机오쓰지 기요시항공기1957 (1998 print)2020/08/252020/10/25
9 ISHIMOTO, Yasuhiro4. 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 야스히로포트폴리오 《가쓰라》 중 4,  고서원 입구의 돌길・돌과 이끼19542020/08/252020/10/25
9 ISHIMOTO, YasuhiroFrom Chicago, Chicago石元泰博《芝加哥、芝加哥》系列이시모토 야스히로《시카고, 시카고》 중에서1958-61 (1992 print)2020/08/252020/10/25
9 ISHIMOTO, YasuhiroFrom Chicago, Chicago石元泰博《芝加哥、芝加哥》系列이시모토 야스히로《시카고, 시카고》 중에서1958-61 (1992 print)2020/08/252020/10/25
9 ISHIMOTO, YasuhiroSnow Steps石元泰博雪的足迹이시모토 야스히로눈 위의 발자국1994-952020/08/252020/10/25
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』19232020/06/162020/10/25
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)19262020/06/162020/10/25
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 바이어파리 장식예술가협회전 『독일 부문』 카탈로그19302020/06/162020/10/25
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』1930-312020/06/162020/10/25
10 Otto Lindig Cocoa pot奥托·林迪希可可壶오토 린디히코코아팟c.1920-242020/06/162020/10/25
10 Theodor Bogler Teapot特奥多尔·伯格勒茶壶테오도르 보글러티팟1925-262020/06/162020/10/25
10 Marcel BreuerClub chair B3 Wassily马歇·布劳耶俱乐部椅 B3“瓦西里”마르셀 브로이어 클럽 체어 B3(바실리)19272020/06/162020/10/25
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 의자19272020/06/162020/10/25
10 Otto Lindig Tea set奥托·林迪希茶具套装오토 린디히티 세트 19282020/06/162020/10/25
10 Erich Dieckmann Chair for a child埃里希·迪克曼儿童用椅子에리히 디크만어린이용 의자19282020/06/162020/10/25
10 Marcel BreuerSide chair B6马歇·布劳耶餐椅 B6마르셀 브로이어 사이드 체어 B619282020/06/162020/10/25
10 Marcel BreuerTea trolley马歇·布劳耶茶具车마르셀 브로이어 티 트롤리19322020/06/162020/10/25
10 YAMAWAKI, IwaoSteel pipe chair at the House of Mine山胁岩钢管椅子(峰邸)야마와키 이와오 스틸 파이프 의자(미네 저택)19342020/06/162020/10/25
10 Wilhelm Wagenfeld Kubus威廉•瓦根菲尔德立方体빌헬름 바겐펠트 큐브19382020/06/162020/10/25
10 TAKAMURA, ToyochikaVase, bronze高村丰周青铜花瓶다카무라 도요치카청동 꽃병c.19262020/06/162020/10/25
10 TAKAMURA, ToyochikaVase, bronze高村丰周青铜花瓶다카무라 도요치카청동 꽃병c.19262020/06/162020/10/25
10 MURAKOSHI, MichimoriFramed panel with a squirrel motif村越道守带框镶板 松鼠무라코시 미치모리다람쥐 장식판1930s2020/06/162020/10/25
10 TOYODA, KatsuakiVase with spiral lines, bronze, casting丰田胜秋铜铸花瓶 B도요다 가쓰아키청동주조 꽃병 “B”19372020/06/162020/10/25
10 YAMAZAKI, KakutaroCigarette case and ash tray with handle山崎觉太郎烟具야마자키 가쿠타로 끽연도구c.19352020/06/162020/10/25
10 YOSHIOKA, KenjiWoman Sitting on a Chair吉冈坚二靠着椅子的女人요시오카 겐지의자에 기댄 여인19312020/06/162020/10/25
10 YOSHIOKA, KenjiA Rest吉冈坚二小憩요시오카 겐지짧은 휴식19332020/06/162020/10/25
10 Paul Klee Small Autumn Landscape保罗·克利小小秋天的风景파울 클레작은 가을 풍경19202020/06/162020/10/25
10 Paul Klee Flower Terrace保罗·克利花的阳台파울 클레꽃의 테라스19372020/06/162020/10/25
100043Wassily Kandinsky The Whole瓦西里·康定斯基全体비실리 칸딘스키전체19402020/06/162020/10/25
10 Paul Klee The Saint of the Inner Light保罗·克利从内面发光的圣女파울 클레내면의 빛을 발하는 성녀19212020/06/162020/08/23
10 Paul Klee Hoffmannesque Fairy-Tale Scene保罗·克利霍夫曼式的故事파울 클레호프만 풍 이야기19212020/06/162020/08/23
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 클레바우하우스전을 위한 그림엽서 “숭고한 면”(1923년)19232020/08/252020/10/25
10 Paul Klee Prickle, the Clown保罗·克利有刺的小丑파울 클레가시 돋친 광대19312020/08/252020/10/25
10 KOGA, HarueCopies 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 하루에P. 클레 작 《마지막 눈》(1927년) 및 《지저귀는 기계》(1922년)의 모사date unknown2020/06/162020/08/23
10 KOGA, HarueCopy 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 하루에P. 클레 작 《카이루안》(1914년)의 모사c.19252020/06/162020/08/23
10 KOGA, HarueCopies 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 하루에P. 클레 작 《식물의 시간 혹은 “시간과 식물”》(1927년) 및 《풍경처럼–인상학적으로》(1923년)의 모사date unknown2020/08/252020/10/25
10 KOGA, HarueCopy 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 하루에P. 클레 작 《만월》(1919년)의 모사date unknown2020/08/252020/10/25
10  Cahiers d’Art, no. 7, 1928.     2020/06/162020/10/25
10  “Exhibition of 20th Century Design.” Gendai No Me, Newsletter of The National
Museum of Modern Art, no. 28, March 1957.
     2020/06/162020/10/25
10  “About Bauhaus Exhibition no. 1.”
Gendai No Me, Newsletter of The National Museum of Modern Art, Tokyo, no. 195, February 1971.
     2020/06/162020/10/25
10  “About Bauhaus Exhibition no. 2.”
Gendai No Me, Newsletter of The National Museum of Modern Art, Tokyo, no. 196, March 1971.
     2020/06/162020/10/25
10  Toyoguchi Katsuhei. Standardized Furniture. Togaku-sha, 1935.     2020/06/162020/10/25
10 Daum FrèresLong-necked vase, trees in the rain design多姆兄弟风雨树林纹鹤颈花瓶돔 형제비바람 속의 숲무늬 긴목 꽃병c.19032020/06/162020/08/23
10 Daum FrèresBowl, trees in the rain design多姆兄弟风雨树林文钵돔 형제비바람 속의 숲무늬 발c.19032020/06/162020/08/23
10 Daum FrèresVase, trees in the rain design多姆兄弟风雨树林纹花瓶돔 형제비바람 속의 숲무늬 꽃병c.19032020/06/162020/08/23
10 Daum FrèresCylindrical vase, trees in the rain design多姆兄弟风雨树林纹圆筒型花瓶돔 형제비바람 속의 숲무늬 원통형 꽃병c.19032020/06/162020/08/23
10 AKATSUKA, JitokuInkstone case, Evergreen, maki-e赤塚自得常绿莳绘砚箱아카쓰카 지토쿠마키에 ‘상록’ 벼루함c.1926-362020/06/162020/08/23
10 AKATSUKA, JitokuPaper case, Evergreen, maki-e赤塚自得常绿莳绘料纸箱아카쓰카 지토쿠마키에 ‘상록’ 종이함 2020/06/162020/08/23
10 NAKASUGI, YososhichiA 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 요소시치황동제 죽림 관음 조각 화병18902020/06/162020/08/23
10 TERASAKI, KogyoHills 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 달19092020/06/162020/08/23
10 KIKUCHI, KeigetsuDragonflies菊池契月铁浆蜻蜓기쿠치 게이게쓰검물잠자리19132020/06/162020/08/23
100034TOKUOKA, ShinsenLotus德冈神泉도쿠오카 신센19252020/06/162020/08/23
10 YOKOYAMA, TaikanAfter Rain, Moonlit Night横山大观雨后·月夜요코야마 다이칸비가 온 뒤, 달밤c.19252020/06/162020/08/23
10 TAKEUCHI, SeihoBirds at Roost竹内栖凤归巢的鸭子和乌鸦다케우치 세이호숙압숙아19262020/06/162020/08/23
10 ISHIYAMA, TaihakuDeep Gorge石山太柏幽溪이시야마 다이하쿠깊은 계곡19272020/06/162020/08/23
10 YAMAMOTO, KyujinEarly Summer Rain山本丘人五月雨야마모토 규진이른 장마19292020/06/162020/08/23
10 KAWAI, GyokudoAutumn Rain川合玉堂彩雨가와이 교쿠도가을비19402020/06/162020/08/23
10 KAWAI, KenjiMisty Rain河合健二雾雨가와이 겐지안개비19472020/06/162020/08/23
10 ISHII, TsuruzoMountains石井鹤三山岳이시이 쓰루조산악c.1912/262020/06/162020/08/23
10 ITO, ShinsuiThe 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 19182020/06/162020/08/23
10 ITO, ShinsuiUkimido 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 불당19182020/06/162020/08/23
10 ITO, ShinsuiThe 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 다리19182020/06/162020/08/23
10 KAWASE, HasuiFields 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 평원19202020/06/162020/08/23
10 KAWASE, HasuiThe Village of Ushibori川濑巴水牛堀가와세 하스이우시보리 마을19302020/06/162020/08/23
10 KAWASE, HasuiImai Bridge in Passing Shower川濑巴水今井桥的骤雨가와세 하스이소나기 속의 이마이 다리 19322020/06/162020/08/23
10 TOBARI, KoganMill in the Mountain户张孤雁山中的水车도바리 고간산속의 물레방아19212020/06/162020/08/23
10 HEMMI, TakashiMorning at the Seaside逸见享海边的早晨헨미 다카시해변의 아침19292020/06/162020/08/23
10 HEMMI, TakashiPark逸见享公园(公园小景)헨미 다카시공원19312020/06/162020/08/23
10 KASAMATSU, ShiroPagoda in Evening Rain (Yanaka, Tokyo)笠松紫浪雨中的塔(东京谷中)가사마쓰 시로빗속의 탑(도쿄 야나카)19322020/06/162020/08/23
10 KASAMATSU, ShiroImai 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 다리19392020/06/162020/08/23
10 KASAMATSU, ShiroSuenaga 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 거리19392020/06/162020/08/23
10 OKUYAMA, GihachiroNagaura 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 가도19432020/06/162020/08/23
10 OKUYAMA, GihachiroGobenden 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 편전19432020/06/162020/08/23
10 OKUYAMA, GihachiroVillage 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 마을19532020/06/162020/08/23
10 KAWANISHI, HideGarden under Snow from Small Works川西英“小品”之 雪景가와니시 히데《소품》 중, 설경date unknown2020/06/162020/08/23
10 KAWANISHI, HideFlowering Cherries from Small Works川西英“小品”之 樱가와니시 히데《소품》 중, 벚꽃date unknown2020/06/162020/08/23
10 IMAMURA, ShikoFlute今村紫红이마무라 시코피리c.19002020/08/252020/10/25
10 TOKUOKA, ShinsenMad Woman德冈神泉狂女도쿠오카 신센광녀c.19192020/08/252020/10/25
10 TOKUOKA, ShinsenBleak and Desolate德冈神泉萧条도쿠오카 신센소조(고요하고 쓸쓸함)19282020/08/252020/10/25
10 YOKOYAMA, TaikanMoonlight横山大观月明요코야마 다이칸달빛c.19352020/08/252020/10/25
10 YOKOYAMA, TaikanA Forlorn Wind Blows over the Cold Yi River横山大观风萧萧兮易水寒요코야마 다이칸바람은 쓸쓸하고 역수는 차가워라19552020/08/252020/10/25
10 OTA, ChouWomen Observing Stars太田听雨观星的女子오타 조우별을 보는 여인19362020/08/252020/10/25
10 NAKAMURA, DaizaburoThe Noh Play Miidera中村大三郎三井寺나카무라 다이자부로미이데라1939 2020/08/252020/10/25
10 KOBAYASHI, KokeiMalangfu, the Goddess of Mercy Incarnate小林古径 马郎妇고바야시 고케이마랑부 여신19432020/08/252020/10/25
10 KODAMA, KiboScrolls of Landscape in France: Sea儿玉希望法兰西山水画卷(海)고다마 기보프랑스의 산수 두루마리 그림(바다)19582020/08/252020/10/25
10 KAYAMA, MatazoThe Milky Way加山又造银河가야마 마타조은하수19682020/08/252020/10/25
10 KONDO, KomeiInfinity近藤弘明无限곤도 고메이무한19972020/08/252020/10/25
3F David Smith Circle IV大卫·史密斯圆 IV데이비드 스미스서클 IV19622020/06/162020/10/25
11 YANAGIHARA, YoshitatsuMilestone, Pigeon柳原义达路标,鸽子야나기하라 요시타쓰이정표, 비둘기19742020/06/162020/10/25
11 MARUYAMA, NaofumiMAS丸山直文MAS마루야마 나오후미MAS19922020/06/162020/10/25
11 AKIOKA, MihoFlow秋冈美帆아키오카 미호흐름19882020/06/162020/10/25
11 AKIOKA, MihoLanguor秋冈美帆아키오카 미호웅덩이19882020/06/162020/10/25
11 AKIOKA, MihoFlutter秋冈美帆아키오카 미호살랑임19882020/06/162020/10/25
11 KODAMA, Yasueambient light – sakura儿玉靖枝ambient light ― sakura고다마 야스에ambient light ― sakura20022020/06/162020/10/25
11 KODAMA, Yasueambient light – sakura儿玉靖枝ambient light ― sakura고다마 야스에ambient light ― sakura20022020/06/162020/10/25
11 KODAMA, Yasueambient light – sakura儿玉靖枝ambient light ― sakura고다마 야스에ambient light ― sakura20022020/06/162020/10/25
11 KODAMA, Yasueambient light – sakura儿玉靖枝ambient light ― sakura고다마 야스에ambient light ― sakura20022020/06/162020/10/25
11 NAKABAYASHI, TadayoshiTransposition ’89-Ground-I中林忠良转位’89-地−I나카바야시 다다요시전위’89–땅–I19892020/06/162020/08/23
11 NAKABAYASHI, TadayoshiTransposition ’89-Ground-III中林忠良转位’89-地−III나카바야시 다다요시전위’89–땅–III19892020/06/162020/08/23
11 NAKABAYASHI, TadayoshiTransposition ’84-Ground-I中林忠良转位’84-地−I나카바야시 다다요시전위’84–땅–I19842020/08/252020/10/25
11 NAKABAYASHI, TadayoshiTransposition ’87-Ground-II中林忠良转位’87-地−II나카바야시 다다요시전위’87–땅–II19872020/08/252020/10/25
11 NOMIYAMA, GyojiWithered Leaves野见山晓治枯叶노미야마 교지마른 잎1971-722020/06/162020/08/23
11 NOMIYAMA, GyojiThe Withered野见山晓治枯萎的东西노미야마 교지마른 것1970-712020/08/252020/10/25
12 Auguste RodinTorso奥古斯特·罗丹胴体오귀스트 로댕토르소date unknown2020/06/162020/10/25
12 Anthony CaroLap安东尼·卡罗Lap앤서니 카로Lap19692020/06/162020/10/25
12 Henry Moore Reclining Figure亨利·摩尔横躺的人物헨리 무어가로누운 인물19772020/06/162020/10/25
12 Sol LewittComplex Forms No.6索尔·勒维特形态的复合 NO.6솔 르윗형태의 복합 No.619872020/06/162020/10/25
12 Tony Cragg The Meter托尼·克拉格计量器토니 크랙미터(계측기)20032020/06/162020/10/25
12 Markus Lupertz Head of Hera马库斯·吕佩尔兹赫拉的头部마르쿠스 뤼페르츠헤라의 머리20032020/06/162020/10/25
12 Bruce NaumanWall-Floor Positions布鲁斯·瑙曼墙与地板间的姿势브루스 나우먼벽과 바닥에서의 자세19682020/06/162020/10/25
12 Robert SmithsonSpiral Jetty罗伯特·史密森Spiral Jetty로버트 스미스슨나선형의 방파제19702020/06/162020/10/25
12 SHIMADA, ShozoEuropa岛田章三欧罗巴시마다 쇼조에우로페19672020/06/162020/10/25
12 KAMIJO, YokoHeaven and Earth (An Omen)上条阳子玄黄(兆)가미조 요코하늘과 땅(징조)19772020/06/162020/10/25
120087KOBAYASHI, MasatoPainting = Sky小林正人绘画=空고바야시 마사토회화=하늘1985-862020/06/162020/10/25
12 TATSUNO, ToekoWork 86-P-1辰野登惠子Work 86-P-1다쓰노 도에코Work 86-P-119862020/06/162020/10/25
12 KOBAYASHI, TakanobuWater Fountain小林孝亘Water Fountain고바야시 다카노부Water Fountain19942020/06/162020/10/25
120089Georg BaselitzSelf-Portrait I格奥尔格·巴泽利茨自画像I게오르그 바젤리츠자화상I19962020/06/162020/10/25
12 SUGITO, Hiroshithe secret tower杉户洋the secret tower스기토 히로시the secret tower19982020/06/162020/10/25
12 Henry Moore Homage to Rodin亨利·摩尔罗丹赞헨리 무어로댕을 기리며 date unknown2020/06/162020/10/25
2F0090Antony Gormley Reflection安东尼·戈姆雷反映/思索안토니 곰리반영/사색20012020/06/162020/10/25
terrace0084Isamu Noguchi Gate野口勇이사무 노구치19692020/06/162020/10/25
outside TADA, MinamiChiaroscuro多田美波Chiaroscuro다다 미나미Chiaroscuro19792020/06/162020/10/25
outside KIMURA, KentaroSeven Prayers木村贤太郎七个祈祷기무라 겐타로일곱 개의 기원19692020/06/162020/10/25
outside Marino Marini The Idea of an Image马里诺·马里尼某个形象的构想마리노 마리니어떤 이미지의 구상1969-702020/06/162020/10/25

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

Koga Harue, Sea, 1929

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

遠くに山。前方にタチアオイの白い花。
Georgia O’Keeffe, Hollyhock White and Green with Pedernal, 1937

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

Ota Kijiro, Rice-Planting, 1916

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

Ogiwara Morie, Woman, 1910
Photo: OTANI Ichiro

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)

Ohara Koson (Shoson), [Hydrangeas], 1926-1945
(Exhibit Dates: June 16–August 23, 2020)

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?

Maeta Kanji, Nude,1925

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

Nakamura Ken’ichi, Battle of the Coral Sea, 1943

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

EI-KYU, Dawn, 1957

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

László Moholy-Nagy, Photogram, 1923-24
(Exhibit Dates: August 25–October 25, 2020)

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

Nakamura Daizaburo, The Noh Play Miidera, 1939

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.

Kitawaki Noboru: To See the Universe in a Seed

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

Collection Gallery, from the fourth to second floors

Date

June 16–October 25, 2020

Time

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

Closed on Mondays (except August 10 and September 21 ), August 11 and September 23, 2020

Ticket

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

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

The National Museum of Modern Art, Tokyo

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