For painters, to execute magnificent works is a challenge as well as a demonstration of their creative will.
Please sense the thoughts these artists realized through the act of freely drawing and painting on large-scale canvases.
1888 Born in a Kimono business family in Kyoto
1903 Studied under Chu Asai at Kansai Art School
1908 Studied in France in the BASSAE Atelier of Académie Julien
1909 Visited Cagnes to meet Renoir, and studied with him
1934 Visited Taiwan as judge for Taiwan Art Exhibition (～1936)
1944 Professor of Tokyo University of Arts.
1952 Honoured with the Japanese Order of Cultural Merit
Insho DOMOTO (1891-1975)
1891 Born in Kyoto, Japan
1910 Kyoto Municipal Painting College Graduate Course
1961 Honoured with the Japanese Order of Cultural Merit
1963 Honoured with the Knight Commander with Emblem,
the Papal Order of St.Sylvester
1966 Estavlished the Domoto Museum of Fine Art in Kyoto
1959 Group show “Metaphorphismes”, Paris
1960 Group show “Form Structur Bedeutung”,Munchen
1961 Exposition Retrospective, Turin
Wall Screen and Ceiling Paintings: Daitoku-ji, Tofuku-ji, Koyasan,
Kozan-ji etc. (UNESCO World Heritage)
“～D’UN ARTISTE HAUTEMENT CIVILISE” by Michel Tapie
1978 Born in Tomakomai, Hokkaido, Japan
2002 B.F.A. Painting, Tama Art University, Japan
2004 M.F.A. Painting, Tama Art University, Japan
2012 2:46 and Thereafter （Edison Place Gallery, WashingtonD.C., ワシントンDC）
2012 It‘s ART O’CLOCK（CNIT Paris La Défens/ Gallery Coexist Tokyoブース, パリ）
2013 Dandans, a collective of emerging Japanese artists
（Browse & Darby Gallery, ロンドン）
2014 “Thinking of ENERGY” from the experience of FUKUSHIMA
2015 Dandans – Une nouvelle génération d‘artistes Japonais （Galerie BOA, パリ）
2015 日本の次世代アーティストによるパリ展 （パリ日本文化会館, パリ）
2015 －存在と記憶－ アート台北2015（台北世界貿易中心展覧大楼一館, 台北）
2010 成安造形大学 日本画クラス卒業
2011 成安造形大学 研究生修了
1988 Born in Kyoto, Japan
2010 B.F.A. Japanese Painting, Seian University of Arts and Design, Japan
2011 Research student program, Seian University of Arts and Design
2013 M.F.A. Painting, Kyoto University of Arts and Design, Japan
2013 「京都府美術工芸新鋭展 2012京都美術・工芸ビエンナーレ」公募部門大賞
2014 「TERRADA ART AWARD」優秀賞(T-Art Gallery／東京)
Umehara’s legacy as an artist and his rich, fearless artistic expression is once again drawing attention from around the globe as a precious example of modern art of the Far East. From his encounter with Renoir, lifelong friendship with Picasso, and monumental
presence in modern Japanese Western art to his exceptional works of roses, nudes, landscapes of Beijing, Mt. Fuji and Mt. Asama,
Umehara does not cease to fascinate us all.
For this exhibition at Art Taipei, we have selected a painting of splendid roses from his rich collection of later works.
堂本印象 ／ 堂本印象 ／ Insho DOMOTO
Insho Domoto’s experience creating murals and Buddhist paintings for numerous world heritage sites in Kyoto and Koyasan enabled
him to pioneer abstract art with theme and sophistication on top of a traditional foundation. Antoni Tàpies was one to highly praise his work’s exceptional quality. Domoto is also now being noticed for being the first person to take his nephew, Art Informel artist Hisao
Domoto, to Paris.
For this exhibition we have one of his abstract works which are very rare and valuable on the market.
山田啓貴 ／ 山田啟貴 ／ Keiki YAMADA
Yamada’s cumulative exhibitions and positive appraisal at art fairs, galleries and public spaces at home and abroad have empowered
him to take his art substantially further. His unchanging sincerity and deep observation of his subjects is a style he will continue to pursue.
For the first time we will show one of his large works alongside a rich collection of thirty new smaller paintings. It will be interesting to see how he stands up to the splendor of modern master Umehara’s roses.
以此技法所描繪的如1美元紙幣等世界各國的紙幣，作品面積越大，則需要越多1日元硬幣。以1日元硬幣為點，點越多，則紙幣越鮮 明：正如一般貨幣兌換關係之映照。正如山本作品的世界觀：『在錢包中的1日元硬幣，正因為其無處不在，稀疏平常，實際上才會於 萬事萬物相連。』而此系列作品，則因其洗練的黑白畫面而更添趣韻。
Yukyo Yamamoto has gradually gained position now at art fairs, galleries and museums abroad. From his array of styles including his “rice” series and blue sheet series, for this occasion we have chosen to concentrate on his one yen coin frottages. Frottage, where a
piece of paper placed on an uneven surface is rubbed with a utensil such as a pencil, adeptly helps us recall the substance and texture of
the coin. Frottages depicting bank notes such as the US dollar bill require more coins as the picture gets larger, which subsequently means that the more yen coins/dots, the higher the definition. This essentially expresses the correlation of currency, and the artist’s view
of little items in everyday life being connected with numerous things, whether that item be a one yen coin sitting in your wallet.
For the Shihodo Gallery’s first exhibition of Yukyo Yamamoto, we would like you to enjoy the refined gradation of black and white against the black ink of Insho Domoto.
高度の文明をもつ芸術家 ミシェル タピエ ド セレイラン
An artist with advanced civilization by Michel Tapie de Celeyran
In the 20th century, it is exceptionally rare for an artist to create his/her art drawing from a marriage of ingenuity and deep observation of tradition. When these traits are combined, they give birth to new artistic horizons, see the coming of ground-breaking artists, and artistic perfection flourishes in all it’s colourful glory. In the history of art it is commonplace to find such artists, but in these days of devastating confusion, to provide us with the elixir of life as if in the days of better confusion, is truly extraordinary. Mr. Insho Domoto is an exceptional artist who deftly accomplishes all on a worldly scale.
In Mr. Insho’s art, the course of painting itself is not an objective (as is in action painting), and the art is not a final objective in itself but is an example of the many expressive techniques which he is master of. Unlike the tentative ideas of those lacking originality, artists with profound originality are able to levitate their every single experiment to the glory of throne-worthy heights, as do all historical giants carve their legacies in the lines of civilization. Artists of perfection are capable of conveying artistic messages even in decadence, so criticizing the decadence itself would be a show of profound ignorance.
In the Western world, false avant-gardists are creating hideous art (such as the likes of pop art and new realism), whereas in Japan traditional techniques are adequately adapted to modern times, the instigations of false avant-gardists go unheeded, and ‘art with life’ is properly sustained. Artists and their art worthy of the title of ‘art with life’ sustain in their unmoving sincerity their superior positions. There is no doubt about this as we are constantly made to grieve the lack of such substantial artists, and those such artists themselves sit in a place far above the reaches of our dismal cries.
It is now ten years since I started to idolize the characteristically unconventional thoughts of Mr. Insho. At the same time I have learn from his art, and have gained from his teachings many touchstones in the advancement of aesthetics, and I still continue to learn from and idolize him to this day.
First of all, the magic of art -like all other magic- requires deep silence in which to proceed (and sadly many artists forget this critical factor). Secondly, art must be created with total and complete liberty (this also is critical of creation but is not enough on it’s own). Artists must take full control of and manipulate that freedom. Without control, art is reduced to being dependent on the academism of automatism. Last of all, art must have a message with it’s own prospective ingenuity, must accomplish the highest refinement and complete discipline of idee, and must have a voice of it’s own.
Mr. Insho teaches me all of this in his most free and flowing abundance of words. This is the perfection of art – the essence of perfect art itself. (French art critic, January 1965)
Domoto, Shiro. Domoto Insho. Kyoto: Kyoto Shoin. 1965. P.91
*Premium Private View/Special preceding admissionInvited guests only
Wed May 11th 16:00-21:00
Thu May 12th 11:00-14:00
Fri May 13th 11:00-12:00
*Open to the public
Thu May 12th 14:00-21:00
Fri May 13th 12:00-21:00
Sat May 14th 10:30-17:00
※Booth 57 Hall E Tokyo International Forum
3-5-1 Marunouchi Chiyoda-ku,Tokyo,Japan
Mon May 16th – Sun May 29th 10:00 – 19:00
※Fri May 27th 10:00 – 21:00
4F 6-9-4 Ginza Chuo-ku,Tokyo,Japan
-Memories of the Contemporaries- Keiki YAMADAx Modern Artists
Buried deeply in the many layers of our minds, memories we cherish are continuously overwritten by a ceaseless flow of thoughts which arise in the mayhem of modern life. When these long-lost memories are revived, they unfold their music and overwhelm us with unfathomable joy, as though we might be reliving scenes from the bustle and merriment of a once busy marketplace. Anything in our daily life can arouse our memories: from the taste and smell of a random meal to the faint tunes of distant music. In my case, the odd glance at a painting can bring those remembrances back to life.
Buried deeply in the many layers of our minds, memories we cherish are continuously overwritten by a ceaseless flow of thoughts which arise in the mayhem of modern life.
When these long-lost memories are revived, they unfold their music and overwhelm us with unfathomable joy, as though we might be reliving scenes from the bustle and merriment of a once busy marketplace. Anything in our daily life can arouse our memories: from the taste and smell of a random meal to the faint tunes of distant music. In my case, the odd glance at a painting can bring those remembrances back to life.
In their paintings, artist encapsulate moments of their lives.By capturing “moments” and conveying them through “views” we treasure universally, Modern masters have enabled their paintings to continue to shine increasingly brighter throughout the decades. I also am in the process of carefully following in their steps, in the pursuit of Japanese oil painting.