{"id":125136,"date":"2021-10-05T17:24:03","date_gmt":"2021-10-05T08:24:03","guid":{"rendered":"https:\/\/www.momat.go.jp\/exhibitions\/r2-2"},"modified":"2023-06-12T11:43:21","modified_gmt":"2023-06-12T02:43:21","slug":"r2-2","status":"publish","type":"exhibition","link":"https:\/\/www.momat.go.jp\/en\/exhibitions\/r2-2","title":{"rendered":"2021-2 MOMAT Collection\u3000"},"content":{"rendered":"    <div class=\"momat-anchors\" aria-label=\"Anchor link\">\n        <button id=\"button-block_21e094fedadd5b93f4fb0ec48d7018bf\"\n                aria-controls=\"nav-block_21e094fedadd5b93f4fb0ec48d7018bf\"\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_21e094fedadd5b93f4fb0ec48d7018bf\"\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=\"#section1-7\"\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 October 5, 2021 to February 13, 2022<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/4d220ac261a9004a5da7c38bda05f519-1024x660.jpg\" alt=\"\" class=\"wp-image-2049\" width=\"585\" height=\"377\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/4d220ac261a9004a5da7c38bda05f519-1024x660.jpg 1024w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/4d220ac261a9004a5da7c38bda05f519-200x129.jpg 200w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/4d220ac261a9004a5da7c38bda05f519-768x495.jpg 768w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/4d220ac261a9004a5da7c38bda05f519.jpg 1200w\" sizes=\"(max-width: 585px) 100vw, 585px\" \/><figcaption class=\"wp-element-caption\">Saeki Yuzo,&nbsp;<em>Gas Lamp and Advertisements<\/em>, 1927<\/figcaption><\/figure>\n\n\n\n<p>Welcome to the MOMAT Collection! In this exhibition, we introduce currents in Japanese modern and contemporary art from the end of the 19th century to the present day, along with a variety of works from other countries.<br>Room 1 on the 4th floor, in which viewers can enjoy an assortment of masterworks selected from the museum collection, has been recast as \u201cHighlights, Newly Indexed,\u201d featuring a lineup of outstanding art as always, but arranged with a somewhat different approach. Room 3 presents works by painters associated with the influential journal&nbsp;<em>Shirakaba<\/em>, in which Yanagi Muneyoshi (Soetsu), founder of the Mingei movement, was a key participant, in conjunction with the exhibition&nbsp;<em>100 Years of Mingei: The Folk&nbsp;<\/em><em>Crafts Movement<\/em>&nbsp;on view on the 1st floor from October 26. In Rooms 7 and 8 on the 3rd floor, we focus on postwar artists whose practice straddles boundaries between painting and graphic design. Meanwhile, in Room 11 on the 2nd floor, we are pleased to present a new edition of the video<em>&nbsp;A Pottery&nbsp;<\/em><em>Produced by Five Potters at Once (Silent Attempt)<\/em>&nbsp;directed by Tanaka Koki (2013), with Japanese sign language and captions. The National Museum of Modern Art, Tokyo produced it in 2021 in an endeavor to broaden opportunities for art appreciation, and it is viewable for free online for a period of one year.<br>Once again this term, we invite you to enjoy a wide range of selections from the MOMAT Collection 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\/R3-2MOMATCollection_list_e02.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>Yorozu Tetsugoro,&nbsp;<em>Nude Beauty<\/em>, 1912<\/li>\n\n\n\n<li>Kishida Ryusei,&nbsp;<em>Road Cut through a Hill<\/em>, 1915<\/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 class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\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<\/div><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<h4 class=\"wp-block-heading\">Room 1 <small><strong>Highlights, Newly Indexed<\/strong><\/small><\/h4>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/4f7f9dc670cbf12679baac9c8ae9ac11-1024x827.jpg\" alt=\"\" class=\"wp-image-2093\" width=\"585\" height=\"508\"\/><figcaption class=\"wp-element-caption\">Paul C\u00e9zanne,&nbsp;<em>Grand Bouquet of Flowers<\/em>, c.1892-95<\/figcaption><\/figure>\n\n\n\n<p>Room 1 is where we always present some of the museum\u2019s most prized masterworks, but this term we are taking a somewhat different approach. We aim to make the room an introductory microcosm of our collection, keeping the following two criteria in mind when selecting works. One is to have the room serve as an index for the entirety of the MOMAT Collection selections exhibited this term. Rooms 2 through 12 feature works organized with a specific theme for each room. As a preview, several works related to these themes are featured in Room 1. At the end of the commentary we have added a guide to related rooms, so viewers can go on to see the rooms that interest them for further in-depth viewing.<br>The other criterion is to showcase the breadth of our entire collection. The oldest works in our collection are photographs from the 1840s, and the newest are Western paintings (entrusted to the museum) and prints from 2020. In Room 1, works produced over more than 130 years from the 1880s to 2019 are on view, with&nbsp;<em>Nihon-ga<\/em>&nbsp;(modern Japanese-style paintings) in glass cases in increments of about 25 years, and framed works on the dark blue walls in increments of about 15 years. Recently, our contemporary art holdings have been progressively enriched as well.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<h4 class=\"wp-block-heading\">Room 2 <small><strong>East and West, Collision and Fusion<\/strong><\/small><\/h4>\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\/OI0004_001-1.jpg\" alt=\"\" class=\"wp-image-2095\" width=\"585\" height=\"485\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/OI0004_001-1.jpg 893w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/OI0004_001-1-200x166.jpg 200w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/OI0004_001-1-768x637.jpg 768w\" sizes=\"(max-width: 585px) 100vw, 585px\" \/><figcaption class=\"wp-element-caption\">Wada Sanzo,&nbsp;<em>South Wind<\/em>, 1907, Important Cultural Property<\/figcaption><\/figure>\n\n\n\n<p>The room before this one contains Harada Naojiro\u2019s&nbsp;<em>Kannon Bodhisattva Riding the Dragon<\/em>. Its mode of Japanese Western-style painting, using a Western technique (oil painting) to depict an East Asian Buddhist subject, may seem incongruous today, but it is precisely this incongruity that conveys the first stirrings of an important new movement. Amid the wave of Westernization swiftly sweeping the nation since the fall of the Tokugawa Shogunate in the mid-19th century, artists sought to forge an intrinsically Japanese painting style while incorporating techniques from the West. This can be called the dawn of modernism in Japanese art.<br>During an era of conflicting currents of European influence and Japanese nativist ideals, the Bunten exhibition (sponsored by the Ministry of Education) was established in 1907, modeled on the official salons of France. The Bunten, which established the categories of&nbsp;<em>Nihon-ga&nbsp;<\/em>(modern Japanese-stylenpainting),&nbsp;<em>Yo-ga<\/em>&nbsp;(Japanese Western-style painting), and sculpture, stabilized the development of styles and formats in Japanese art. With the exception of the works of Kume Keiichiro, everything in this room was originally exhibited at the Bunten. In Wada Sanzo\u2019s idealized (Western-style) rendering of the human figure, the realism of Kume\u2019s (Western-style) depiction of color in shadows, Kosugi Misei (Houan)\u2019s (East Asian-style) curtailment of oiliness of the painting surface, and Wada Eisaku\u2019s serene (East Asian-style) composition featuring stark contrast between foreground and the distant background, we see the process of Japanese and Western styles clashing and then colliding, blending, and finally harmoniously fusing.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<h4 class=\"wp-block-heading\">Room 3 <small><strong>Irrepressible&nbsp;<em>Freiheit<\/em>: Shirakaba and Youth<\/strong><\/small><\/h4>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/4146be915d6948fe91b6cbd581fd06bf-770x1024.jpg\" alt=\"\" class=\"wp-image-2096\" width=\"385\" height=\"512\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/4146be915d6948fe91b6cbd581fd06bf-770x1024.jpg 770w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/4146be915d6948fe91b6cbd581fd06bf-150x200.jpg 150w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/4146be915d6948fe91b6cbd581fd06bf-768x1022.jpg 768w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/4146be915d6948fe91b6cbd581fd06bf.jpg 902w\" sizes=\"(max-width: 385px) 100vw, 385px\" \/><figcaption class=\"wp-element-caption\">Kishida Ryusei,&nbsp;<em>Portrait of Bernard Leach<\/em>, 1913<\/figcaption><\/figure>\n\n\n\n<p>In this section, in conjunction with the exhibition&nbsp;<em>100 Years of Mingei<\/em>&nbsp;on view on the 1st floor from October 26, we primarily present works related to the Shirakaba group, which was closely affiliated with the Mingei (folk crafts) movement. The literary magazine&nbsp;<em>Shirakaba<\/em>, launched in 1910 by Yanagi Muneyoshi (Soetsu) and others, contained forward-looking discourse that encouraged originality, and was an inspiration to young artists. Takamura Kotaro\u2019s treatise&nbsp;<em>A Green Sun<\/em>, published the same year as&nbsp;<em>Shirakaba<\/em>\u2019s establishment, vividly conveyed the mood of the day: \u201cI seek absolute&nbsp;<em>Freiheit<\/em>&nbsp;[German for \u2018freedom\u2019] in the art world.\u201d Even if someone paints a green sun, you can\u2019t say it is wrong. This was not only a declaration of reverence for individuality, but also an affirmation of introspection (as the sun indeed glows green when the eyes are closed), and a paean to life itself.<br>The sculptures of Ogiwara Morie, which undulate as if imbued with the romantic yearnings of their creator, and the intense palette of Yorozu Tetsugoro, a provocateur to the previous generation, can be said to embody this era.&nbsp;<em>Shirakaba<\/em>&nbsp;actively presented modern art from the West in its pages, and had a direct, formative influence on the styles of its day. The viewer will notice that styles have changed dramatically from the mildness of the previous room. Cezanne\u2019s stripped-down deconstruction of landscape, Van Gogh\u2019s passionate brushwork, and Rodin\u2019s sculptural rendering of muscular tension are all currents flowing through these works.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<h4 class=\"wp-block-heading\">Room 4 <small><strong>Life Carved in Wood: Modern Japanese Woodblock Prints<\/strong><\/small><\/h4>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/4b04548dfb69f5ab5226cad19e191681-792x1024.jpg\" alt=\"\" class=\"wp-image-2097\" width=\"396\" height=\"512\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/4b04548dfb69f5ab5226cad19e191681-792x1024.jpg 792w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/4b04548dfb69f5ab5226cad19e191681-155x200.jpg 155w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/4b04548dfb69f5ab5226cad19e191681-768x993.jpg 768w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/4b04548dfb69f5ab5226cad19e191681.jpg 928w\" sizes=\"(max-width: 396px) 100vw, 396px\" \/><figcaption class=\"wp-element-caption\">Yamamoto Kanae,&nbsp;<em>Breton Woman<\/em>, 1920<\/figcaption><\/figure>\n\n\n\n<p>In the late Meiji (1868\u20131912) and Taisho (1912\u20131926) eras, amid increasingly modern perceptions of the self and originality in art stimulated by the introduction of new artistic movements from the West, there was rising momentum toward establishing&nbsp;<em>hanga<\/em>&nbsp;(Japanese printmaking) as not merely a duplicative technology but a full-fledged art form in its own right. In the context of advances in printing technologies and a backlash against the division of labor in ukiyo-e printmaking, the practice of&nbsp;<em>sosaku hanga<\/em>&nbsp;(creative prints) was championed. This entailed a single artist completing every step of the process, from the original drawing through the printing of the finished product, and the Nihon Sosaku Hanga Kyokai (Japan Creative Print Association) was formed in 1918. Woodblock printmaking, involving the direct carving of wood blocks, played a central role. In this we can see the spirit of emphasis on hand-crafting crucial to Mingei (folk crafts). Munakata Shiko was a woodblock printmaker closely involved in the Mingei movement. While early&nbsp;<em>sosaku hanga<\/em>&nbsp;tended to draw directly on the artist\u2019s inner life and emotions, there was a subsequent move toward exploration of the intrinsic properties of the woodcut medium, including simple forms, stark black and white contrasts, and forceful lines, and a wide range of highly original works were produced.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<h4 class=\"wp-block-heading\">Room 5 <small><strong>Under Paris Skies<\/strong><\/small><\/h4>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/635a851cd7e022cb1bdf8e486c40d996-686x1024.jpg\" alt=\"\" class=\"wp-image-2100\" width=\"343\" height=\"512\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/635a851cd7e022cb1bdf8e486c40d996-686x1024.jpg 686w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/635a851cd7e022cb1bdf8e486c40d996-134x200.jpg 134w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/635a851cd7e022cb1bdf8e486c40d996-768x1146.jpg 768w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/635a851cd7e022cb1bdf8e486c40d996.jpg 804w\" sizes=\"(max-width: 343px) 100vw, 343px\" \/><figcaption class=\"wp-element-caption\">Henri Rousseau,&nbsp;<em>Liberty Inviting Artists to Take Part in the 22nd Exhibition of the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants<\/em>, 1905-06<\/figcaption><\/figure>\n\n\n\n<p>A popular chanson by Hubert Giraud contains the lyrics \u201cStranger beware, there\u2019s love in the air, under Paris skies\u2026\u201d but according to Henri Rousseau, there was also a goddess in the Paris skies who led artists onward. Beckoned by the goddess\u2019s bugle, artists gathered at galleries with their works in hand. Open salons where artists could exhibit their work without undergoing screenings meant respect for the unique character of each artist. This mentality came to influence Japanese artists around 1910, and an enormous number of Japanese artists, seeking the world capital of art, set sail for Paris, especially during the interwar period. They painted Paris scenes from wide-ranging perspectives, but when we look over their works in the MOMAT collection, we see fewer tourist attractions and spectacular views than works that shed light on the overlooked and neglected: back streets, lonely caf\u00e9s, blue-collar workers. For those coming to live in Paris as foreigners from a faraway land, these may have seemed like quite sympathetic subjects.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\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, Wall Drawing#769)<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<h4 class=\"wp-block-heading\">Room 6 <small><strong>A Turbulent Era<\/strong><\/small><\/h4>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/1d12b88616754e22f68ef01450c2383f-591x1024.jpg\" alt=\"\" class=\"wp-image-2102\" width=\"296\" height=\"512\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/1d12b88616754e22f68ef01450c2383f-591x1024.jpg 591w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/1d12b88616754e22f68ef01450c2383f-116x200.jpg 116w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/1d12b88616754e22f68ef01450c2383f.jpg 693w\" sizes=\"(max-width: 296px) 100vw, 296px\" \/><figcaption class=\"wp-element-caption\">AI-MITSU,&nbsp;<em>Self-Portrait<\/em>, 1944<\/figcaption><\/figure>\n\n\n\n<p>This room brings together diverse depictions of the human figure dating from 1937, when the Second Sino-Japanese War began, through 1949 after the end of World War II. Strictly speaking, AI-MITSU\u2019s&nbsp;<em>Landscape with an Eye<\/em>&nbsp;may not be a human figure, but the eye in this painting certainly makes an impression. Whose is this disembodied eye, and what is it seeing? As you move through the room, you may notice its similarity to the urgent gaze of Aso Saburo\u2019s&nbsp;<em>Self-Portrait<\/em>. So, could the eye in&nbsp;<em>Landscape with an Eye<\/em>&nbsp;be AI-MITSU\u2019s own? However, a look at his own&nbsp;<em>Self-Portrait<\/em>&nbsp;painted just before going off to war reveals eyes that make a completely different impression.<br>These painters seem to have captured on canvas the presences of irreplaceable people close to them during these turbulent years. Aso repeatedly portrayed his wife and young daughter, and Wakita Kazu\u2019s&nbsp;<em>Children in the Studio<\/em>&nbsp;depicts his two sons. When he painted it, he was just about to depart for the Philippines on an army commission to produce war record paintings. What was going through his mind as he worked on this painting?<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<h4 class=\"wp-block-heading\">Room 7 <small><strong>Fine Art and Advertising Art, Part I<\/strong><\/small><\/h4>\n\n\n\n<p>Japan Advertising Art Club (Nissenbi) was founded in 1951 as the nation\u2019s first professional organization of graphic designers. Reading texts written by the association\u2019s members at the time of its establishment, one does not encounter the now-common loan word&nbsp;<em>dezain<\/em>&nbsp;(design), but rather the term&nbsp;<em>senden bijutsu<\/em>&nbsp;(advertising art). These writings convey the sense that they were dissatisfied with the lack of independence characterizing advertising art as a field, and sought to place value on artistic quality and authorship.<br>Some members of Nissenbi were also active in fine art circles. For example, Hayakawa Yoshio and Yamashiro Ryuichi were members of the Democrato Artists Association, led by EI-KYU, and similarities in their styles can be seen. Yamaguchi Masaki, a designer for Yamaha pianos and a Sankyo camera, also exhibited abstract paintings. It is apparent that the boundary between art and design was not as clearly defined as it is today.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<h4 class=\"wp-block-heading\">Room 8 <small><strong>Fine Art and Advertising Art, Part II<\/strong><\/small><\/h4>\n\n\n\n<p>The process of abstraction in art and design isolates and gives shape to certain elements and properties of objects. Artists and designers communicate with viewers by skillfully modulating the degree of abstraction in their works. For example, in advertising posters, an appropriate degree of abstraction may make it easier to communicate information. In painting and sculpture, sometimes avoiding realistic depictions more effectively conveys sensory images.<br>In the 1950s and 1960s, abstraction often featured loose, curving forms. These organic morphologies, somehow reminiscent of living things, are described as biomorphic, and their influence was also seen in furniture design.<br>In this section, please enjoy comparing the paintings and sculptures of Sugai Kumi, Koiso Ryohei, and Kitadai Shozo with posters these artists designed. Koiso belonged to the association Shinseisaku, and Kitadai was a member Jikken Kobo (Experimental Workshop). Works by some of their associates are also exhibited.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<h4 class=\"wp-block-heading\">Room 9 <small><strong>Ishimoto Yasuhiro:&nbsp;<em>Leaves<\/em>,&nbsp;<em>Cans<\/em>,&nbsp;<em>Clouds<\/em>&nbsp;and&nbsp;<em>Snow Steps<\/em><\/strong><\/small><\/h4>\n\n\n\n<p>To commemorate the 100th anniversary of the photographer Ishimoto Yasuhiro\u2019s birth, we present a special exhibit of four series dealing with ephemeral things, which he produced between the late 1980s and the mid-90s.<br>The series began with images of rain-washed, decaying fallen leaves on the pavement, and a leaflet for a solo exhibition featuring two of them,&nbsp;<em>Clouds<\/em>&nbsp;and&nbsp;<em>Snow Steps<\/em>, quoted a passage from the medieval Japanese text&nbsp;<em>Hojoki<\/em>&nbsp;(The Ten-Foot Square Hut): \u201cThe flow of the river is ceaseless and its water is never the same. The bubbles that float in the pools, now vanishing, now forming, are not of long duration: so in the world are man and his dwellings.\u201d<br>These series take the passage of time as their subject, and were later collected with several other series into a photobook,&nbsp;<em>Moment<\/em>&nbsp;(published in 2004).<br>Ishimoto was known as a true modernist who studied at the IIT Institute of Design (known as the New Bauhaus) in Chicago, but in these series he awakened to a quintessentially Japanese sense of time as a looping spiral, and is said to have realized this Japanese sensibility was alive and well within him.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<h4 class=\"wp-block-heading\">Room 10 <small><strong>Seeing Sounds (First half: October 5\u2013December 5, 2021)<\/strong><\/small><\/h4>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"326\" height=\"500\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/f6ace023fa9901e5bf30e77f4c7ded71.jpg\" alt=\"\" class=\"wp-image-2104\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/f6ace023fa9901e5bf30e77f4c7ded71.jpg 326w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/f6ace023fa9901e5bf30e77f4c7ded71-130x200.jpg 130w\" sizes=\"(max-width: 326px) 100vw, 326px\" \/><figcaption class=\"wp-element-caption\">Nakamura Daizaburo,&nbsp;<em>The Noh Play<\/em>&nbsp;<em>Miidera<\/em>, 1939<br>(Exhibit Dates: October 5\u2013December 5, 2021)<\/figcaption><\/figure>\n\n\n\n<p>When we look at a picture, our minds rely on information obtained through the eyes, such as color, shape, and composition. However,&nbsp; his does not mean the visual arts are wholly unrelated to sound. On the contrary, expressing invisible sound in visible form has long been a vital concern for many painters.<br>Wassily Kandinsky and Hans Richter applied the structure of music \u2013 in which melody and rhythm are generated simply by combining sounds \u2013 to painting. Rather than using colors and forms to represent something from the world around, they sought to create a new mode of expression in which colors and forms themselves purely resonate on the canvas.<br>In the room farthest in the rear we present works, primarily Japanese paintings and prints, that seem to convey sounds. The artist\u2019s accomplishments lie in their ability to render things invisible to the eye, dealing not only with musical themes but also with random noise occurring in the course of everyday life and the sounds of animals. Listen: can you hear a symphony of sounds in the quiet gallery? Relax your eyes and ears, and savor sounds that only you can hear.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<h4 class=\"wp-block-heading\">Room 10 <small><strong>The Mecha Aesthetic (Second half: December 7, 2021\u2013February 13, 2022)<\/strong><\/small><\/h4>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/6121d3661dff0135b11367fb70e65ca0-768x1024.jpg\" alt=\"\" class=\"wp-image-2105\" width=\"384\" height=\"512\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/6121d3661dff0135b11367fb70e65ca0-768x1024.jpg 768w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/6121d3661dff0135b11367fb70e65ca0-150x200.jpg 150w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/6121d3661dff0135b11367fb70e65ca0.jpg 900w\" sizes=\"(max-width: 384px) 100vw, 384px\" \/><figcaption class=\"wp-element-caption\">Ota Chou,&nbsp;<em>Women Observing Stars<\/em>, 1936<br>(Exhibit Dates: December 7, 2021\u2013February 13, 2022)<\/figcaption><\/figure>\n\n\n\n<p>The 1920s and 30s was an era of rapid modernization, when urban culture flourished and a new appreciation of the beauty of machines was growing. In&nbsp;<em>Leaning Woman<\/em>, Yorozu Tetsugoro dismantled the human body into components, as if it were a machine, and reconstituted it by combining them with geometric shapes. He was clearly influenced by Cubism, pioneered by Picasso and Braque in France, but the work also conveys a particular vision that equates people and machines.<br>Meanwhile, what was occurring in the world of&nbsp;<em>Nihon-ga<\/em>&nbsp;(modern Japanese-style painting) at the time? Telescopes and cameras were among the motifs that heralded the arrival of a new era, and the hardness and heft of metal contrasted with and complemented the pale, youthful skin and suppleness of female figures. After World War II, members of the Pan-Real Art Association such as Mikami Makoto and Hoshino Shingo pursued&nbsp;<em>Nihon-ga<\/em>&nbsp;that grappled with reality, not in the sense of realistic painting, but in the sense of depicting the truths of present-day society. Their works present vistas of the imagination in which plants and animals appear barely suffused with life while machines seem to possess a will of their own, and the biological and mechanical are fused.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<h3 class=\"wp-block-heading\">2F (Second floor)<\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"1024\" height=\"390\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2023\/04\/391f20d2d97fae621cbf3dcae4ed2acf-1024x390-1.jpg\" alt=\"\" class=\"wp-image-125158\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2023\/04\/391f20d2d97fae621cbf3dcae4ed2acf-1024x390-1.jpg 1024w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2023\/04\/391f20d2d97fae621cbf3dcae4ed2acf-1024x390-1-200x76.jpg 200w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2023\/04\/391f20d2d97fae621cbf3dcae4ed2acf-1024x390-1-768x293.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\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&nbsp;presents&nbsp;<em>100 Years of&nbsp;<\/em>Mingei<em>, a Folk Crafts Movement<\/em>&nbsp;during this period.<\/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<\/div><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<h4 class=\"wp-block-heading\">Room 11 <small><strong>Working Together<\/strong><\/small><\/h4>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/KokiTanakaPRimage-1024x576.jpg\" alt=\"\" class=\"wp-image-2107\" width=\"512\" height=\"288\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/KokiTanakaPRimage-1024x576.jpg 1024w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/KokiTanakaPRimage-200x113.jpg 200w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/KokiTanakaPRimage-768x432.jpg 768w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/KokiTanakaPRimage.jpg 1200w\" sizes=\"(max-width: 512px) 100vw, 512px\" \/><figcaption class=\"wp-element-caption\">Tanaka Koki,&nbsp;<em>A Pottery Produced by Five Potters at Once (Silent Attempt)<\/em>, 2013\/2021<\/figcaption><\/figure>\n\n\n\n<p>In recent years, video works have been shown more frequently at museums, but few are accompanied by captioning or sign-language videos, and for the deaf and hard of hearing, there are significant obstacles to watching video works. In 2021, the National Museum of Modern Art, Tokyo secured the cooperation of the artist Tanaka Koki in producing a new edition of his video&nbsp;<em>A Pottery Produced by Five Potters at Once (Silent Attempt)<\/em>&nbsp;(2013), part of the museum\u2019s collection, with Japanese sign language and subtitles, in an endeavor to broaden opportunities for art appreciation. The theme of this work is \u201ccollaboration\u201d among people of different origins, circumstances, genders, and mentalities, and this edition with sign language and captions was also a collaboration in which people in different positions \u2013 the artist, deaf individuals, and museum staff \u2013 came together to create a single work. At times it can be difficult for multiple people to share a single goal, but this process is also a first step toward understanding other people from other walks of life.<br>In this room we present works related to collaboration, alongside this new edition of the video intended for appreciation by a wider audience.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<h4 class=\"wp-block-heading\">Room 12 <small><strong>Territory of the Modern(ism)<\/strong><\/small><\/h4>\n\n\n\n<p>In this room we present works that, with one exception, date from the 1960s through the late 1980s. The word \u201cmodern\u201d in The National Museum of Modern Art, Tokyo, which opened in 1952, has been translated from English and other European languages into Japanese in different ways at different times, with varying nuances such as \u201cof the modern era,\u201d \u201ccontemporary,\u201d \u201crecent,\u201d and \u201ccurrent.\u201d The most common Japanese word for \u201cmodern\u201d is&nbsp;<em>kindai<\/em>, also in this museum\u2019s name, and during the museum-building boom of the 1970s and 1980s, museums with this appellation were constructed all throughout Japan. Both the construction boom and the craze(?) for giving museums names including \u201cmodern\u201d came to a close around the end of the 1980s. This was surely related to the collapse of the economic bubble, and to the extensive discourse on postmodernism during the 1980s.<br>\u201cHas the modern era already ended?\u201d \u201cWhere is the line between modern and contemporary?\u201d \u201cDo museum names even matter?\u201d These are serious questions facing \u201cmuseums of modern art,\u201d which have continued handling art of the present day since the 1990s. With the above concerns in mind, we decided to make the end of the 1980s, which marked a turning point for the \u201cmodern,\u201d the cutoff point for this exhibit, while also hoping to share these concerns with you, the viewer.<\/p>\n<\/div><\/div>\n<\/div><\/div>\n\n\n\n<div id=\"section1-7\" 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>October 5, 2021\u2013February 13, 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>10:00-17:00 (Fridays and Saturdays open until 20:00)<br>*Last admission : 30 minutes before closing.<\/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 January 10, 2022), from December 27 to January 1, 2022 and January 11, 2022<\/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>Advance 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 17:00 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\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<\/div><\/div>\n","protected":false},"featured_media":62368,"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>2021-2 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\/r2-2\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"2021-2 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 October 5, 2021 to February 13, 2022 Welcome to the MOMAT Collection! In this exhibition, we introduce currents in Japanese modern and contemporary art from the end of the 19th century to the present day, along with a variety of works from other countries.Room 1 on the 4th floor, in which viewers can enjoy an assortment of masterworks selected from the museum collection, has been recast as \u201cHighlights, Newly Indexed,\u201d featuring a lineup of outstanding art as always, but arranged with a somewhat different approach. Room 3 presents works by painters associated with the influential journal&nbsp;Shirakaba, in which Yanagi Muneyoshi (Soetsu), founder of the Mingei movement, [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.momat.go.jp\/en\/exhibitions\/r2-2\" \/>\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=\"2023-06-12T02:43:21+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2023\/02\/O00849_0001.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"800\" \/>\n\t<meta property=\"og:image:height\" content=\"517\" \/>\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=\"53 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\/r2-2\",\"url\":\"https:\/\/www.momat.go.jp\/en\/exhibitions\/r2-2\",\"name\":\"2021-2 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\":\"2021-10-05T08:24:03+00:00\",\"dateModified\":\"2023-06-12T02:43:21+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/www.momat.go.jp\/en\/exhibitions\/r2-2#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.momat.go.jp\/en\/exhibitions\/r2-2\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.momat.go.jp\/en\/exhibitions\/r2-2#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\":\"2021-2 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":"2021-2 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\/r2-2","og_locale":"en_US","og_type":"article","og_title":"2021-2 MOMAT Collection\u3000 \uff08\u5c55\u89a7\u4f1a\uff09- \u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928","og_description":"The collection exhibition from October 5, 2021 to February 13, 2022 Welcome to the MOMAT Collection! In this exhibition, we introduce currents in Japanese modern and contemporary art from the end of the 19th century to the present day, along with a variety of works from other countries.Room 1 on the 4th floor, in which viewers can enjoy an assortment of masterworks selected from the museum collection, has been recast as \u201cHighlights, Newly Indexed,\u201d featuring a lineup of outstanding art as always, but arranged with a somewhat different approach. Room 3 presents works by painters associated with the influential journal&nbsp;Shirakaba, in which Yanagi Muneyoshi (Soetsu), founder of the Mingei movement, [&hellip;]","og_url":"https:\/\/www.momat.go.jp\/en\/exhibitions\/r2-2","og_site_name":"\u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928","article_publisher":"https:\/\/www.facebook.com\/momat.pr","article_modified_time":"2023-06-12T02:43:21+00:00","og_image":[{"width":800,"height":517,"url":"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2023\/02\/O00849_0001.jpg","type":"image\/jpeg"}],"twitter_card":"summary_large_image","twitter_site":"@MOMAT_museum","twitter_misc":{"Est. reading time":"53 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/www.momat.go.jp\/en\/exhibitions\/r2-2","url":"https:\/\/www.momat.go.jp\/en\/exhibitions\/r2-2","name":"2021-2 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":"2021-10-05T08:24:03+00:00","dateModified":"2023-06-12T02:43:21+00:00","breadcrumb":{"@id":"https:\/\/www.momat.go.jp\/en\/exhibitions\/r2-2#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.momat.go.jp\/en\/exhibitions\/r2-2"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/www.momat.go.jp\/en\/exhibitions\/r2-2#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":"2021-2 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"]}]}},"_links":{"self":[{"href":"https:\/\/www.momat.go.jp\/en\/wp-json\/wp\/v2\/exhibition\/125136"}],"collection":[{"href":"https:\/\/www.momat.go.jp\/en\/wp-json\/wp\/v2\/exhibition"}],"about":[{"href":"https:\/\/www.momat.go.jp\/en\/wp-json\/wp\/v2\/types\/exhibition"}],"version-history":[{"count":17,"href":"https:\/\/www.momat.go.jp\/en\/wp-json\/wp\/v2\/exhibition\/125136\/revisions"}],"predecessor-version":[{"id":144779,"href":"https:\/\/www.momat.go.jp\/en\/wp-json\/wp\/v2\/exhibition\/125136\/revisions\/144779"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.momat.go.jp\/en\/wp-json\/wp\/v2\/media\/62368"}],"wp:attachment":[{"href":"https:\/\/www.momat.go.jp\/en\/wp-json\/wp\/v2\/media?parent=125136"}],"wp:term":[{"taxonomy":"exhibition_type","embeddable":true,"href":"https:\/\/www.momat.go.jp\/en\/wp-json\/wp\/v2\/exhibition_type?post=125136"},{"taxonomy":"exhibition_year","embeddable":true,"href":"https:\/\/www.momat.go.jp\/en\/wp-json\/wp\/v2\/exhibition_year?post=125136"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}