{"id":125001,"date":"2022-03-18T16:02:34","date_gmt":"2022-03-18T07:02:34","guid":{"rendered":"https:\/\/www.momat.go.jp\/exhibitions\/r2-3"},"modified":"2023-06-12T11:41:49","modified_gmt":"2023-06-12T02:41:49","slug":"r2-3","status":"publish","type":"exhibition","link":"https:\/\/www.momat.go.jp\/en\/exhibitions\/r2-3","title":{"rendered":"2021- 3 MOMAT Collection\u3000"},"content":{"rendered":"    <div class=\"momat-anchors\" aria-label=\"Anchor link\">\n        <button id=\"button-block_f1fede371fd766f3e944c7024cbad327\"\n                aria-controls=\"nav-block_f1fede371fd766f3e944c7024cbad327\"\n                class=\"momat-anchors__sp-header\">\n            <span class=\"heading\">Table of Contents<\/span>\n            <span class=\"text open\" aria-hidden=\"false\">Open<\/span>\n            <span class=\"text close\" aria-hidden=\"true\">Close<\/span>\n            <span class=\"icon\"><\/span>\n        <\/button>\n        <div id=\"nav-block_f1fede371fd766f3e944c7024cbad327\"\n             class=\"momat-anchors__navigation\">\n            <div class=\"momat-anchors__inner\">\n                                    <a href=\"#section1-1\"\n                       title=\"Scroll to Highlights\"\n                       class=\"momat-anchors__link\">\n                        Highlights                    <\/a>\n                                    <a href=\"#section1-2\"\n                       title=\"Scroll to About the Sections\"\n                       class=\"momat-anchors__link\">\n                        About the Sections                    <\/a>\n                                    <a href=\"#section1-6\"\n                       title=\"Scroll to About the Exhibition\"\n                       class=\"momat-anchors__link\">\n                        About the Exhibition                    <\/a>\n                            <\/div>\n        <\/div>\n    <\/div>\n\n\n\n<div id=\"section1-1\" class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<h2 class=\"wp-block-heading\">The collection exhibition from March 18 to May 8, 2022<\/h2>\n\n\n\n<figure class=\"wp-block-image size-full is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/1416ee70128df12cba32693f65fba822.jpg\" alt=\"\" class=\"wp-image-1730\" width=\"216\" height=\"169\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/1416ee70128df12cba32693f65fba822.jpg 767w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/1416ee70128df12cba32693f65fba822-200x156.jpg 200w\" sizes=\"(max-width: 216px) 100vw, 216px\" \/><figcaption class=\"wp-element-caption\">Ikeda Tatsuo,&nbsp;<em>Sea of Anger<\/em>, 1953<\/figcaption><\/figure>\n\n\n\n<p>Welcome to the MOMAT Collection! Once again, the time of year approaches when the cherry blossoms of Chidorigafuchi burst beautifully into bloom. To mark this season we are pleased to present masterworks depicting cherry blossoms, including Kawai Gyokudo\u2019s&nbsp;<em>Parting Spring<\/em>, an Important Cultural Property, in Room 10 on the third floor.<br>In Rooms 7 and 8 on the third floor, an exhibition entitled&nbsp;<em>White and Black Cartoons&nbsp;<\/em>focuses on relationships between painting and manga in the 1950s to the 1960s. On view here are painters\u2019 diverse approaches to manga, ranging from social satire to representations of popular culture.<br>In&nbsp;<em>New Aquisition &amp; Special Display: Pierre Bonnard\u2019s Landscape in Provence<\/em>, a small-scale exhibit from the collection in Gallery 4 on the second floor, we present Bonnard\u2019s&nbsp;<em>Landscape in Provence<\/em>&nbsp;(1932), which the museum newly acquired in 2020. The painting, overflowing with vivid color, is being shown for the first time in Japan, and relationships between Bonnard and Japanese modern and contemporary art will be highlighted from several perspectives.<br>Once again this year, we are pleased to offer an extensive selection of works from the MOMAT Collection for you to enjoy at your leisure.<\/p>\n\n\n\n<p class=\"has-text-align-right\">Translated by Christopher Stephens<\/p>\n\n\n<div class=\"wp-block-buttons\">\n    <div class=\"momat-button-download\">\n        <a class=\"wp-block-button__link\" href=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2023\/04\/R3-3_MOMAT_CollectionList_e0318.pdf\" target=\"_blank\">\n            MOMAT Collection List (PDF)        <\/a>\n    <\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<h2 class=\"wp-block-heading\">Important Cultural Properties on display<\/h2>\n\n\n\n<p>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&nbsp;<em>Nihon-ga<\/em>&nbsp;(Japanese-style) paintings, five oil paintings, and one sculpture. (One of the&nbsp;<em>Nihon-ga<\/em>&nbsp;paintings and one of the oil paintings are on long-term loan to the museum.)<\/p>\n\n\n\n<p><strong>The following Important Cultural Properties are shown in this period:<\/strong><\/p>\n\n\n\n<ul>\n<li>Harada Naojiro,&nbsp;<em>Kannon Bodhisattva Riding the Dragon<\/em>, 1890, Long term loan (Gokokuji Temple Collection)<\/li>\n\n\n\n<li>Wada Sanzo,&nbsp;<em>South Wind<\/em>, 1907<\/li>\n\n\n\n<li>Kawai Gyokudo,&nbsp;<em>Parting Spring<\/em>, 1916<\/li>\n\n\n\n<li>Nakamura Tsune,<em>&nbsp;Portrait of Vasilii Eroshenko<\/em>, 1920<\/li>\n\n\n\n<li>Please visit the Important Cultural Property section&nbsp;<a href=\"https:\/\/www.momat.go.jp\/en\/masterpieces\">Masterpieces<\/a> for more information about the pieces.<\/li>\n<\/ul>\n<\/div><\/div>\n<\/div><\/div>\n\n\n\n<div id=\"section1-2\" class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<h2 class=\"wp-block-heading\">About the Sections<\/h2>\n\n\n\n<p><small>MOMAT Collection<\/small><small>&nbsp;<\/small>comprises twelve\uff08or thirteen\uff09rooms 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&nbsp;<small>MOMAT Collection<\/small>. The space for relaxation \u201cA Room With a View\u201d is on the fourth floor.<\/p>\n\n\n\n<p>The entrance of the collection exhibition&nbsp;<em>MOMAT Collection<\/em>&nbsp;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.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">4F (Fourth floor)<\/h3>\n\n\n\n<p><strong>Room 1 Highlights&nbsp;<\/strong>* This section presents a consolidation of splendid works from the collection, with a focus on Master Pieces.<br><strong>Room 2\u2013 5 1900s\uff0d1940s<br>From the End of the Meiji Period to the Beginning of the Showa Period<\/strong><\/p>\n\n\n\n<p class=\"has-small-font-size\">A Room With A View<br>Reference Corner is currently out of service.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Room 1 <small><strong>Highlights: Focus on Works Acquired in Our First Year<\/strong><\/small><\/h4>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"469\" height=\"998\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/5fa8af5e7e2c8cc350fffa81fbe246c7.jpg\" alt=\"\" class=\"wp-image-1748\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/5fa8af5e7e2c8cc350fffa81fbe246c7.jpg 469w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/5fa8af5e7e2c8cc350fffa81fbe246c7-94x200.jpg 94w\" sizes=\"(max-width: 469px) 100vw, 469px\" \/><figcaption class=\"wp-element-caption\">Tsuchida Bakusen,&nbsp;<em>Maiko in a Garden<\/em>, 1924<\/figcaption><\/figure>\n\n\n\n<p>The Highlights section is usually devoted to prominent works from the MOMAT collection, including Important Cultural Properties of Japan, but this edition takes a somewhat different direction. As the museum celebrates its 70th anniversary in December of this year, we are taking this opportunity at the year\u2019s outset to look back on the museum\u2019s beginnings and primarily showcase works acquired in our first year of operation. Of course, among these are masterworks including, in the&nbsp;<em>Nihon-ga<\/em>(modern Japanese-style painting) category, Tsuchida Bakusen\u2019s&nbsp;<em>Maiko in a Garden&nbsp;<\/em>(1924), and among Western-style paintings, Yasui Sotaro\u2019s&nbsp;<em>Portrait of Chin-Jung&nbsp;<\/em>(1934).<br>Other highlights include Harada Naojiro\u2019s&nbsp;<em>Kannon Bodhisattva Riding the Dragon&nbsp;<\/em>(1890, entrusted by Gokoku-ji Temple, Important Cultural Property), a much-loved presence in our collection; Kawasaki Shoko\u2019s folding screen&nbsp;<em>Buds are Coming-out in Spring&nbsp;<\/em>(1925), in which female figures are arrayed among various budding flowers, in connection with the Spring Festival in MOMAT held in Room 10; and in connection with the Kaburaki Kiyokata exhibition taking place on the first floor, the works of Kiyokata\u2019s disciples Ito Shinsui and Yamakawa Shuho. Ito\u2019s&nbsp;<em>Portrait of Kaburaki<\/em>&nbsp;<em>Kiyokata&nbsp;<\/em>(1951) was in fact painted the year before the museum opened.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Room 2 <small><strong>1907: Before and After<\/strong><\/small><\/h4>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"798\" height=\"1000\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/1fc3144962e710bdd451d40cdbab5583.jpg\" alt=\"\" class=\"wp-image-1750\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/1fc3144962e710bdd451d40cdbab5583.jpg 798w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/1fc3144962e710bdd451d40cdbab5583-160x200.jpg 160w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/1fc3144962e710bdd451d40cdbab5583-768x962.jpg 768w\" sizes=\"(max-width: 798px) 100vw, 798px\" \/><figcaption class=\"wp-element-caption\">Kuroda Seiki,&nbsp;<em>Dead Leaves<\/em>, 1891<\/figcaption><\/figure>\n\n\n\n<p>Some may wonder why the work of artists described as the \u201cfathers of modern Japanese Western-style painting,\u201d such as Kuroda Seiki or Asai Chu, are not on permanent display at this museum, even though it is a national museum of modern art. This has to do with the year 1907, when Japan\u2019s first official government-sponsored exhibition, the Bunten (sponsored by the Ministry of Education), was launched. It was regarded as an epochal year for Japanese art, and works were reallocated to (i.e. divided between) the Tokyo National Museum and this museum. As a general rule, works from before 1907 went to the Tokyo National Museum, and those from after 1907 to the National Museum of Modern Art, Tokyo (MOMAT). In terms of their role as national institutions, this standard seems to make sense, but a reassessment of acquisition policies is currently underway based on questions such as: Can we really place the origin of Japanese modern art precisely at 1907? Is it possible to revise and update the history of modern art effectively without comparing and examining works from transitional periods, which are difficult to classify as either \u201cpre-modern\u201d or \u201cmodern\u201d?<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Room 3 <small><strong>Regarding the Self \/ Regarding the Other<\/strong><\/small><\/h4>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"697\" height=\"855\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/f7ad1616b7b45a72015b1ee30be9d524.jpg\" alt=\"\" class=\"wp-image-1757\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/f7ad1616b7b45a72015b1ee30be9d524.jpg 697w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/f7ad1616b7b45a72015b1ee30be9d524-163x200.jpg 163w\" sizes=\"(max-width: 697px) 100vw, 697px\" \/><figcaption class=\"wp-element-caption\">Tsubaki Sadao,&nbsp;<em>Self-Portrait with a Mahlstick&nbsp;<\/em>, 1917<\/figcaption><\/figure>\n\n\n\n<p>Last year, the museum acquired Tsubaki Sadao\u2019s&nbsp;<em>Self-Portrait with a Mahlstick&nbsp;<\/em>(1917). Tsubaki was a member of Sodosha (Grass and Soil Society), formed in 1916 with Kishida Ryusei in a leading role, and pursued fine, detailed rendering as a means of penetrating the core of<br>subjects\u2019 existence. His tendencies are amply illustrated by this self-portrait (a mahlstick is a painter\u2019s tool to steady the hand while working on details).<br>Around the same time, many painters besides Tsubaki also painted self-portraits. In this room, we present self-portraits by Sodosha painters such as Kishida Ryusei and Kimura Shohachi; by Osawa Seiichiro and Miyawaki Haru, who were non-members but affiliates; by Umehara Ryuzaburo, who studied under Pierre-Auguste Renoir in France; and by Nakamura Tsune, who remained in Japan but greatly admired Renoir and Rembrandt. As symbolically represented in Umehara\u2019s&nbsp;<em>Narcissus<\/em>, the genre of self-portraiture seems to have encouraged painters to explore the \u201cself,\u201d i.e. the ego, and it is likely that once they had become strongly aware of the self, they were moved to rigorously re-examine relationships between themselves and others.<br>Ryusei portrayed his own daughter as a kind of sacred being, while Sekine Shoji depicted himself, his sister, and his lover lined up in a row, likening them to the three stars of Orion\u2019s belt.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Room 4<small><strong> Max Pechstein, The Lord\u2019s Prayer, 1921<\/strong><\/small><\/h4>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"781\" height=\"1000\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/74bde007c93cb48c55085c68a40bd0db.jpg\" alt=\"\" class=\"wp-image-1758\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/74bde007c93cb48c55085c68a40bd0db.jpg 781w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/74bde007c93cb48c55085c68a40bd0db-156x200.jpg 156w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/74bde007c93cb48c55085c68a40bd0db-768x983.jpg 768w\" sizes=\"(max-width: 781px) 100vw, 781px\" \/><figcaption class=\"wp-element-caption\">Max Pechstein,&nbsp;<em>4. Thy Kingdom Come, Thy Will be Done, on Earth as It is in Heaven from &#8220;The Lord&#8217;s Prayer&#8221;<\/em>, 1921<\/figcaption><\/figure>\n\n\n\n<p>The painter Max Pechstein was deeply involved in Die Br\u00fccke (The Bridge), a group formed in 1905 that played an important role in German Expressionism.&nbsp;<em>The Lord\u2019s Prayer&nbsp;<\/em>is a portfolio of woodblock prints in which each page illustrates a single line from the Lord\u2019s Prayer (Matthew 6:9\u201313, Luke 11:2\u20134), which Jesus taught his disciples as a model of the way to pray, with a combination of words and images. It symbolically expresses the pure heart devoted to prayer and the majestic and powerful presence of God, and is a fine example of Pechstein\u2019s style and masterful command of the decorative. He traveled to the western Pacific in 1914 and was inspired by the fantastic scenery of the primeval forest, the vibrant colors, and the rough and rustic atmosphere, which contributed to the robust compositions and strong expressiveness of his works.<br>His production of prints dealing with religious subjects is profoundly connected to the historical context of the years following World War I and the Russian Revolution of 1917. After the experience of postwar devastation, he arrived at a concise and powerful style that differed from his works of the prewar years, which were full of anxiety and anguish reflecting the sense of crisis as the war loomed. While referencing the framework of religious painting traditions, his stylistic transformation makes these works entirely new.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Room 5 <small><strong>Discovering Children<\/strong><\/small><\/h4>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"1000\" height=\"781\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/cea1bb845d002182d0241eb4d8c8cd6d.jpg\" alt=\"\" class=\"wp-image-1759\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/cea1bb845d002182d0241eb4d8c8cd6d.jpg 1000w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/cea1bb845d002182d0241eb4d8c8cd6d-200x156.jpg 200w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/cea1bb845d002182d0241eb4d8c8cd6d-768x600.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><figcaption class=\"wp-element-caption\">Koga Harue,&nbsp;<em>The Moon and Flowers<\/em>, 1926<\/figcaption><\/figure>\n\n\n\n<p>In some respects, the history of modern art is also the history of artists seeking new modes of expression while incorporating various \u201cother cultures.\u201d Children can perhaps be cited as the most familiar source of \u201ccross-cultural\u201d experience for artists, and images of innocence and freedom from social rules and restrictions are often projected onto children. For example, in endeavoring to free themselves from the conventions of traditional art, the Surrealists referenced various methods and motifs including children\u2019s drawings, as well as dreams, the unconscious, graffiti on walls, and even hallucinations. This trend ran parallel to that of recognizing the value of art brut (raw art), with psychiatrists collecting and documenting the drawings of patients as works of art, and the French artist Jean Dubuffet (1901\u201385) advocating the concept in his 1945 book&nbsp;<em>L\u2019art brut pr\u00e9f\u00e9r\u00e9 aux arts culturels&nbsp;<\/em>(Art Brut Preferred to the Cultural Arts).<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">3F (Third floor)<\/h3>\n\n\n\n<p><strong>Room 6-8 1940s-1960s<br>From the Beginning to the Middle of the Showa Period<br>Room 9 Photography and Video<br>Room 10&nbsp;<em>Nihon-ga<\/em>&nbsp;(Japanese-style Painting)<\/strong><\/p>\n\n\n\n<p>Room to Consider the Building (Sol LeWitt,&nbsp;<em>Wall Drawing#769<\/em>)<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Room 6 <small><strong>Nihon-ga and War<\/strong><\/small><\/h4>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"1000\" height=\"661\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/955d607ac7b817b74329f03c9927ec6e.jpg\" alt=\"\" class=\"wp-image-1761\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/955d607ac7b817b74329f03c9927ec6e.jpg 1000w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/955d607ac7b817b74329f03c9927ec6e-200x132.jpg 200w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/955d607ac7b817b74329f03c9927ec6e-768x508.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><figcaption class=\"wp-element-caption\">Kawabata Ryushi,&nbsp;<em>Japanese Fleet Departing Hainan Island<\/em>, 1944<\/figcaption><\/figure>\n\n\n\n<p>During the Sino-Japanese War and World War II in the Pacific, Japanese painters were asked to support the wartime regime in various ways. Perhaps the best-known example is the production of War Record Paintings commissioned by the Army and Navy, but in comparison to oil painting, well suited to representing three-dimensional effects and the depth of shadows,&nbsp;<em>Nihon-ga&nbsp;<\/em>(modern Japanese-style painting), which tends to be flat and decorative in nature, was not appropriate for the realistic depiction of battle scenes. Under these circumstances, painters such as Yoshioka Kenji and Fukuda Toyoshiro, who were relatively young and had been pursuing new modes of expression in&nbsp;<em>Nihon-ga<\/em>&nbsp;since before the war, sought ways of depicting the war using traditional Japanese painting materials.<br><em>Nihon-ga&nbsp;<\/em>painters also took part in the war effort by selling their works and donating the proceeds to the military. The museum\u2019s collection contains 184 works exhibited in a show held in 1942 for the purpose of raising funds to build fighter planes, five of which are shown here. Yoshioka, Fukuda, and Yamaguchi Hoshun, who also painted War Record Paintings, here deal with traditional bird-and-flower themes.&nbsp;<em>New Year\u2019s Day<\/em>, included in the Kaburaki Kiyokata exhibition on the first floor, was also shown at the same exhibition. At first glance it seems to have nothing to do with the war, but if one\u2019s thoughts turn to the historical context, the work takes on a different appearance and significance.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Room 7 <small><strong>White and Black Cartoons (1)<\/strong><\/small><\/h4>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"685\" height=\"1000\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/0f73c8df4aaef4a4487df9d5027b96d0.jpg\" alt=\"\" class=\"wp-image-1762\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/0f73c8df4aaef4a4487df9d5027b96d0.jpg 685w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/0f73c8df4aaef4a4487df9d5027b96d0-137x200.jpg 137w\" sizes=\"(max-width: 685px) 100vw, 685px\" \/><figcaption class=\"wp-element-caption\">Madokoro Saori,&nbsp;<em>Woman (B)<\/em>, 1955<\/figcaption><\/figure>\n\n\n\n<p>The title of this section is based on the title of a newspaper piece by the art critic Takiguchi Shuzo. Takiguchi described manga (comics or cartoons) in the context of journalism, which were riding the wave of the postwar publishing boom, as \u201cdriven by mass demand for distraction,\u201d and termed them \u201cwhite manga,\u201d meaning that they lacked satirical force.<br>Meanwhile, he termed painting of the time \u201cblack manga.\u201d Painting in those days often addressed themes of society and humanity, and dark, caricature-like expression was on the rise. While conscious of processes by which the genre described as \u201csatire\u201d had been defined and cut off from the mainstream of art history, Takiguchi had high expectations for art\u2019s inherent capacity for social critique, which was emerging amid postwar art trends. With Takiguchi\u2019s perspective, focused on satire and encouraging thought \u201cabout the great destiny of painting,\u201d as a guide, in this room we present satirical works primarily from the 1950s.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Room 8 <small><strong>White and Black Cartoons (2)<\/strong><\/small><\/h4>\n\n\n\n<p>Kawara On contrasted and sought to transcend two trends that emerged in the 1950s, namely abstract painting, which pursued freedom and universality, and thematic painting, which depicted current affairs in an explanatory manner (\u201cAt the Limits of Abstract Painting and Thematic Painting,\u201d&nbsp;<em>Atelier<\/em>, February 1956). Furthermore, Kawara arrived at an approach that combined mass printing and fantastic iconography, aiming to liberate human consciousness while also participating in society. Many artists of this era, including Kawara, experimented with monochromatic, caricature-like expression, and paintings and manga (comics or cartoons) rapidly came to resemble one another. However, the 1960s saw the rise of highly popular weekly magazines for children consisting mostly of cartoons, and the two media drifted apart again. Unlike the 1950s, when paintings and cartoons adopted similar formats for artistic reasons, in the 1960s many paintings quoted from cartoons that had developed independently and stood as a symbol of popular culture. The reason for paintings being \u201ccartoonish\u201d had changed.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Room 9 <small><strong>Gozu Masao, Harry\u2019s Bar<\/strong><\/small><\/h4>\n\n\n\n<p><em>Harry\u2019s Bar&nbsp;<\/em>is a series of photographs of a bar on the Bowery in downtown Manhattan.<br>One summer night, Gozu was on his way home from a photo shoot when he spotted a customer sitting at the window of a bar facing the street, and captured the scene on film.<br>Afterward, he continued shooting this same view of the bar\u2019s front window from time to time.<br>In the spot at the window, various men appear in turn, each standing quietly in a pensive manner. The 20-piece series, shot over the course of about five years, is like a group drama with the bar as a stage.<br>Gozu Masao is an artist who moved to the United States in 1971 and remains based in New York today. Shortly after arriving in the US, he took pictures of residents standing at windows in Chinatown, which led to his&nbsp;<em>Windows&nbsp;<\/em>series with this subject.&nbsp;<em>Harry\u2019s Bar&nbsp;<\/em>is another work that focuses on windows and the dramas they frame. He later developed the window motif into a series of three-dimensional works, in which he removed the actual windows of buildings slated for demolition and reassembled them in other locations.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Room 10 <small><strong>Spring Festival in MOMAT<\/strong><\/small><\/h4>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"1000\" height=\"431\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/86f88b5a8151259d84bc53ebbcfb4464.jpg\" alt=\"\" class=\"wp-image-1764\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/86f88b5a8151259d84bc53ebbcfb4464.jpg 1000w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/86f88b5a8151259d84bc53ebbcfb4464-200x86.jpg 200w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/86f88b5a8151259d84bc53ebbcfb4464-768x331.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><figcaption class=\"wp-element-caption\">Kikuchi Hobun,&nbsp;<em>Fine Rain on Mt. Yoshino<\/em>, 1914, (the left-hand screen of a folding screen)<\/figcaption><\/figure>\n\n\n\n<p>Each year we are pleased to present the Spring Festival in MOMAT. In the space in the rear, visitors can enjoy viewing Kawai Gyokudo\u2019s&nbsp;<em>Parting Spring&nbsp;<\/em>(Important Cultural Property), Atomi Gyokushi\u2019s&nbsp;<em>Scroll of Cherry Blossoms<\/em>, Kikuchi Hobun\u2019s&nbsp;<em>Fine Rain on Mt. Yoshino&nbsp;<\/em>and other seasonal masterworks all at once.&nbsp;<em>Parting Spring&nbsp;<\/em>depicts Nagatoro, Saitama in spring, with the cherry blossoms along the waterside swiftly scattering in a scene that recalls Chidorigafuchi (another famous cherry blossom site, within walking distance from here). A marvelous variety of cherry blossoms is also on view in Atomi Gyokushi\u2019s&nbsp;<em>Scroll of Cherry Blossoms<\/em>, with over 40 rare types of cherry trees appearing in its 25 panels, including weeping, yellow-hued, and Izu Oshima cherry trees like those that burst into bloom one after another along the Kinokunizaka Slope on the way from MOMAT toward Chidorigafuchi. Another highlight of this year\u2019s Festival is a rich variety of crafts such as ceramics, lacquerware, bamboo work and textiles. While sitting and relaxing on Kenmochi Isamu\u2019s rattan stools and Seike Kiyoshi\u2019s mobile tatami mats, visitors are invited to bask in the springtime vistas that unfold in these paintings.<br>In the space in front are exhibited works from the 1990s by artists who work with&nbsp;<em>Nihon-ga&nbsp;<\/em>(modern Japanese-style painting) materials. There is a particular focus on works that explore relationships between the self and nature, with plum and cherry blossoms as motifs.<\/p>\n\n\n<div class=\"wp-block-buttons\">\n    <div class=\"momat-button-arrow\">\n        <a class=\"wp-block-button__link\" href=\"https:\/\/www.momat.go.jp\/extra\/2022\/springfest\/\">\n            Special page        <\/a>\n    <\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\">2F (Second floor)<\/h3>\n\n\n\n<p><strong>Room 11-12 1970s-2010s<br>From the End of the Showa Period to the Present<\/strong><\/p>\n\n\n\n<p><strong>Gallery 4<\/strong><\/p>\n\n\n\n<p><strong><a href=\"https:\/\/www.momat.go.jp\/en\/exhibitions\/r3-3-g4\">New Acquisition &amp; Special Display | Pierre Bonnard,&nbsp;<em>Landscape in Provence<\/em><\/a><\/strong><\/p>\n\n\n\n<p>* 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.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Room 11 <small><strong>The Shapes of Life<\/strong><\/small><\/h4>\n\n\n\n<p>The works presented here are the outcomes of artists\u2019 richly varied efforts to give tangible shape, through a wide range of media, to images of plants, water (or the sea), human beings and their activities, and multifarious fragments of dialogue and interaction among these elements. All of these works delve into relationships between people and the world around them, with plants and water frequently appearing as lodestars for those relationships. What appears may be only a human figure, only a street scene, only a meadow, but through the profound melding of artist and material, the viewer is beckoned on an unexpected journey to another place.<br>What gives a work the power to transcend the artist\u2019s personal expression and appeal to a wide audience? In addition to depicting people and scenery, a work of art \u2013 to put it in slightly lofty terms \u2013 has the power to offer glimpses of something vast lurking in the primal wellspring of life itself. This has been the true value of the artistic activity carried out throughout human history, and it remains so today as much as ever.<\/p>\n<\/div><\/div>\n\n\n\n<div id=\"section1-6\" class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<h2 class=\"wp-block-heading\">About the Exhibition<\/h2>\n\n\n<dl class=\"momat-dl\">\n    \n<div class=\"momat-dl__item\">\n    <dt class=\"momat-dl__heading\">Location<\/dt>\n    <dd class=\"momat-dl__content\">\n        \n\n<p>Collection Gallery, from the fourth to second floors<\/p>\n\n\n    <\/dd>\n<\/div>\n\n\n<div class=\"momat-dl__item\">\n    <dt class=\"momat-dl__heading\">Date<\/dt>\n    <dd class=\"momat-dl__content\">\n        \n\n<p>March 18\u2013May 8, 2022<\/p>\n\n\n    <\/dd>\n<\/div>\n\n\n<div class=\"momat-dl__item\">\n    <dt class=\"momat-dl__heading\">Time<\/dt>\n    <dd class=\"momat-dl__content\">\n        \n\n<p>10:00 AM\u20135:00 PM (Fridays and Saturdays open until 8:00 PM)<br><strong>Extended Opening Hours: 10:00 AM\u20138:00 PM during April 29\u2013May 8<\/strong><br>*Last admission: 30 minutes before closing.<br><em>*Kaburaki Kiyokata: A Retro spective<\/em>&nbsp;opens at 9:30 AM<\/p>\n\n\n    <\/dd>\n<\/div>\n\n\n<div class=\"momat-dl__item\">\n    <dt class=\"momat-dl__heading\">Closed<\/dt>\n    <dd class=\"momat-dl__content\">\n        \n\n<p>Mondays except March 21, 28, and May 2; and March 22<\/p>\n\n\n    <\/dd>\n<\/div>\n\n\n<div class=\"momat-dl__item\">\n    <dt class=\"momat-dl__heading\">Ticket<\/dt>\n    <dd class=\"momat-dl__content\">\n        \n\n<p><strong>Online ticket is recommended to avoid lines forming at the entrance.<\/strong><br>Online purchase:&nbsp;<a href=\"https:\/\/www.e-tix.jp\/momat\/en\/\" target=\"_blank\" rel=\"noreferrer noopener\">\u3010e-tix\u3011<\/a><br>Tickets can be purchased on site at the ticket counters, subject to their availability.<\/p>\n\n\n    <\/dd>\n<\/div>\n\n\n<div class=\"momat-dl__item\">\n    <dt class=\"momat-dl__heading\">Admission<\/dt>\n    <dd class=\"momat-dl__content\">\n        \n\n<p>Adults \u00a5500 (400)<br>College and university students \u00a5250 (200)<br>*The price in brackets is for the group of 20 persons or more. All prices include tax.<br>Free for high school students, under 18, seniors (65 and over), Campus Members, MOMAT passport holder.<br>*Show your Membership Card of the MOMAT Supporters or the MOMAT Members to get free admission (a MOMAT Members Card admits two persons free).<br>*Persons with disability and one person accompanying them are admitted free of charge.<br>*Members of the MOMAT Corporate Partners are admitted free with their staff ID.<\/p>\n\n\n    <\/dd>\n<\/div>\n\n\n<div class=\"momat-dl__item\">\n    <dt class=\"momat-dl__heading\">Discounts<\/dt>\n    <dd class=\"momat-dl__content\">\n        \n\n<p>Evening Discount (From 5:00 PM on Fridays and Saturdays)<br>Adults \u00a5300<br>College and university students \u00a5150<\/p>\n\n\n    <\/dd>\n<\/div>\n\n\n<div class=\"momat-dl__item\">\n    <dt class=\"momat-dl__heading\">Organized by<\/dt>\n    <dd class=\"momat-dl__content\">\n        \n\n<p>The National Museum of Modern Art, Tokyo<\/p>\n\n\n    <\/dd>\n<\/div>\n\n\n<\/dl>\n<\/div><\/div>\n\n\n<div class=\"wp-block-buttons\">\n    <div class=\"momat-button-arrow\">\n        <a class=\"wp-block-button__link\" href=\"15153\" target=\"_blank\">\n            Introduction to the Collection        <\/a>\n    <\/div>\n<\/div>\n","protected":false},"featured_media":6845,"template":"","exhibition_type":[255],"exhibition_year":[291],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>2021- 3 MOMAT Collection\u3000 \uff08\u5c55\u89a7\u4f1a\uff09- \u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.momat.go.jp\/en\/exhibitions\/r2-3\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"2021- 3 MOMAT Collection\u3000 \uff08\u5c55\u89a7\u4f1a\uff09- \u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928\" \/>\n<meta property=\"og:description\" content=\"The collection exhibition from March 18 to May 8, 2022 Welcome to the MOMAT Collection! Once again, the time of year approaches when the cherry blossoms of Chidorigafuchi burst beautifully into bloom. To mark this season we are pleased to present masterworks depicting cherry blossoms, including Kawai Gyokudo\u2019s&nbsp;Parting Spring, an Important Cultural Property, in Room 10 on the third floor.In Rooms 7 and 8 on the third floor, an exhibition entitled&nbsp;White and Black Cartoons&nbsp;focuses on relationships between painting and manga in the 1950s to the 1960s. On view here are painters\u2019 diverse approaches to manga, ranging from social satire to representations of popular culture.In&nbsp;New Aquisition &amp; Special Display: Pierre Bonnard\u2019s [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.momat.go.jp\/en\/exhibitions\/r2-3\" \/>\n<meta property=\"og:site_name\" content=\"\u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/momat.pr\" \/>\n<meta property=\"article:modified_time\" content=\"2023-06-12T02:41:49+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/a09a9623b986d5a69e25a4f5a4d2a230.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"545\" \/>\n\t<meta property=\"og:image:height\" content=\"795\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@MOMAT_museum\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"46 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.momat.go.jp\/en\/exhibitions\/r2-3\",\"url\":\"https:\/\/www.momat.go.jp\/en\/exhibitions\/r2-3\",\"name\":\"2021- 3 MOMAT Collection\u3000 \uff08\u5c55\u89a7\u4f1a\uff09- \u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928\",\"isPartOf\":{\"@id\":\"https:\/\/www.momat.go.jp\/#website\"},\"datePublished\":\"2022-03-18T07:02:34+00:00\",\"dateModified\":\"2023-06-12T02:41:49+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/www.momat.go.jp\/en\/exhibitions\/r2-3#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.momat.go.jp\/en\/exhibitions\/r2-3\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.momat.go.jp\/en\/exhibitions\/r2-3#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.momat.go.jp\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"\u5c55\u89a7\u4f1a\",\"item\":\"https:\/\/www.momat.go.jp\/exhibitions\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"2021- 3 MOMAT Collection\u3000\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.momat.go.jp\/#website\",\"url\":\"https:\/\/www.momat.go.jp\/\",\"name\":\"\u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928\",\"description\":\"\u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928\u306f\u3001\u6771\u4eac\u306e\u4e2d\u5fc3\u90e8\u3001\u7687\u5c45\u3001\u5317\u306e\u4e38\u516c\u5712\u3001\u5343\u9ce5\u30f6\u6df5\u306a\u3069\u3001\u65e5\u672c\u6587\u5316\u3084\u81ea\u7136\u8c4a\u304b\u306a\u74b0\u5883\u306b\u4f4d\u7f6e\u3059\u308b\u65e5\u672c\u3067\u6700\u521d\u306e\u56fd\u7acb\u7f8e\u8853\u9928\u3067\u3059\u3002\",\"publisher\":{\"@id\":\"https:\/\/www.momat.go.jp\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.momat.go.jp\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.momat.go.jp\/#organization\",\"name\":\"\u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928\",\"url\":\"https:\/\/www.momat.go.jp\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.momat.go.jp\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/12\/og-ag.png\",\"contentUrl\":\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/12\/og-ag.png\",\"width\":1200,\"height\":630,\"caption\":\"\u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928\"},\"image\":{\"@id\":\"https:\/\/www.momat.go.jp\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/momat.pr\",\"https:\/\/twitter.com\/MOMAT_museum\"]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"2021- 3 MOMAT Collection\u3000 \uff08\u5c55\u89a7\u4f1a\uff09- \u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.momat.go.jp\/en\/exhibitions\/r2-3","og_locale":"en_US","og_type":"article","og_title":"2021- 3 MOMAT Collection\u3000 \uff08\u5c55\u89a7\u4f1a\uff09- \u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928","og_description":"The collection exhibition from March 18 to May 8, 2022 Welcome to the MOMAT Collection! 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