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Giant (National Museum of Modern Art, Tokyo sponsorship) of Seiho Takeuchi exhibition modern Japanese painting

Date From Tuesday, September 3, 2013 to Monday, October 14
From 10:00 to 17:00 (on Friday from 10:00 to 20:00)
※Until 30 minutes before admission closing each
Closed days Monday (opened on September 16, 23rd, October 14), Tuesday, September 17, 24th Tuesday
Place National Museum of Modern Art, Tokyo (Kitanomaru-koen Park 3-1)
Plan exhibition gallery

Tozai Line "Takebashi Station" 1b exit, a 3-minute walk

Viewing charges The public: 1,300 yen (1,100 yen /900 Japanese yen)
University student: 900 yen (800 yen /600 Japanese yen)
High school student: 400 yen (300 yen /200 Japanese yen)
※() Group rate where is higher than inner ha booking /20 name. All include consumption tax.
Sponsorship National Museum of Modern Art, Tokyo, Nihon Keizai Shimbun, Inc., NHK, NHK promotion
Reference National Museum of Modern Art, Tokyo
TEL: 03-5777-8600 (hello dial)

Event contents

The writing brush is beyond limit.

Seiho Takeuchi (1864-1942) of Japanese painter was born in Kyoto and learned from Bairei Kono (kounobairei) of Article 4 group and affected much next generation including Bakusen Tsuchida (soil) as standard-bearer of the modernization of Kyoto painting circles.
Home Otori adopted brush handling of other groups to image positively and denied that we succeeded to fixed form motif and the how to depict formally again and was going to break old custom of painting circles. There was visit to Europe for Paris World Exposition inspection of 1900 (Meiji 33) in the background. We touched many art locally and realized importance of observing the real thing well.
However, area of field of vision of home Otori was in place where we did not adopt technique of Western art at random. Real thing observation of angry Maruyama group, grasp of target essence by Shijo group to be followed by and expression by generous manner of handling a brush became formal in Kyoto where was in the middle of the Edo era by the late Tokugawa period, and only brush handling to describe motif and it which we formulated has remained. Home Otori was going to dig up basic idea of these tradition pictures for spirit to say to produce art that the West and shoulders were displayed based on technique of Western art called real thing observation.
We can learn in sense that seems to touch the object directly, but it is well often that described thing is far apart from the real thing when we stand before work of home Otori when we see. It expresses that the purpose was to just catch target essence not external form sketch while performing careful real thing observation.
tsukan does painting of home Otori with approximately 60 points of documents such as masterpiece of home Otori, important product, work approximately 110 points which has not been exhibited at exhibition for a long time, rough sketch, and book exhibition shows foundation of Japanese painting which we built in the times when home Otori is new.
※During session, it is display spare gaarimasu

Here is the highlight
◎Retrospective show the largest ever!
These more than 100 points of images which is exhibited at this exhibition. It is large scale exhibition since retrospective show held in 1957. Besides, we cover all major works, important works as much as possible.

◎As for the exhibition first to go out product work!
A product that there were few opportunities to watch the real thing of thing known for << Fuji figure >> (is unknown the production year Homma Museum of Art), old plate including << to flower storehouse >> (1934, personal storehouse) appears for exhibition including first exhibition and votive tablet << figure of ryushintogo >> (1887) to be since we were dedicated to Shinsen-en of Kyoto. All works persuade into variety of painting of home Otori.

◎We pay attention to dispatch to foreign countries!
Furthermore, printed velvet by the Yuzen process << month of Venice >> (1907, the British Museum) produced based on the original picture (Takashimaya historical materials building) of home Otori product from foreign countries comes over. We were concerned with production of art dyeing and weaving that Kyoto raised its city in home Otori at the time of the Meiji period, and reclaimed market to the world. Of producer who gives the original picture which not only create the original picture of yuzen by oneself, but also have nothing to do with according to one of Japanese painting, foreign film, and other painters described in advice worked. From this work, trace of study of home Otori what is with Japan art used without measuring by the modernization of picture abroad in Japan is indicated. In addition, in late years art dyeing and weaving of Kyoto of Meiji attracts attention among experts, but there are few things that both original picture and dyeing and weaving works exist, and this work is extremely valuable.



National Museum of Modern Art, Tokyo MAP