| Description |
1 online resource : illustrations (chiefly color), facsimiles, portraits |
| Series |
Japanese visual culture, 2210-2868 ; volume 18 |
|
Japanese visual culture ; 18.
|
| Contents |
Introduction: The Bunten, Bijutsu, and the winds of change. Japanese modernism and the early Avant-garde. Expanding the scope of Shirakaba studies -- The art magazine: Emergence of the art magazine. Coterie magazines and the birth of Shirakaba. The materiality of Shirakaba. Shirakaba ideology: artistic autonomy and the cult of the individual -- Conversations with European modernism: Paul Cézanne. Vincent van Gogh and Paul Gauguin. Heinrich Vogeler and Auguste Rodin -- Shirakaba and modernism in Japan: The "conventions of painting" debate. "The revolutionary artist" -- Revolutionary art, revolutionary artists: Takamura Kōtarō, Umehara Ryūzaburō, and Kishida Ryūsei -- From the Avant-garde to the institution: the evolving exhibition practices of Shirakaba: Alternative exhibition spaces. Shirakaba-sponsored art exhibtions. Envisioning a Shirakaba Museum -- The legacy of Shirakaba |
| Summary |
Shirakaba and Japanese Modernism examines the most significant Japanese art and literary magazine of the early twentieth century, Shirakaba (White Birch, 1910-1923). In this volume Erin Schoneveld explores the fluid relationship that existed between different types of modern visual media, exhibition formats, and artistic practices embraced by the Shirakaba-ha (White Birch Society). Schoneveld provides a new comparative framework for understanding how the avant-garde pursuit of individuality during Japan's Taishō period stood in opposition to state-sponsored modernism and how this played out in the emerging media of art magazines. This book analyzes key moments in modern Japanese art and intellectual history by focusing on the artists most closely affiliated with Shirakaba, including Takamura Kōtarō, Umehara Ryūzaburō, and Kishida Ryūsei, who selectively engaged with and transformed modernist idioms of individualism and self-expression to create a new artistic style that gave visual form to their own subjective reality. Drawing upon archival research that includes numerous articles, images, and exhibitions reviews from Shirakaba, as well as a complete translation of Yanagi Sōetsu's seminal essay, "The Revolutionary Artist" (Kakumei no gaka), Schoneveld demonstrates that, contrary to the received narrative that posits Japanese modernism as merely derivative, the debate around modernism among Japan's early avant-garde was lively, contested, and self-reflexive |
| Bibliography |
Includes bibliographical references (pages 243-256) and index |
| Subject |
Takamura, Kōtarō, 1883-1956.
|
|
Umehara, Ryūzaburō, 1888-1986.
|
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Kishida, Ryūsei, 1891-1929.
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| SUBJECT |
Umehara, Ryūzaburō, 1888-1986. fast (OCoLC)fst00146350 |
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Takamura, Kōtarō, 1883-1956. fast (OCoLC)fst00049779 |
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Kishida, Ryūsei, 1891-1929. fast (OCoLC)fst00041828 |
|
Takamura, Kōtarō, 1883-1956. fast |
| Subject |
Shirakaba School.
|
|
Avant-garde (Aesthetics) -- Japan
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Modernism (Art) -- Japan
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Art, Japanese -- 20th century.
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Shirakaba School.
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Modernism (Art)
|
|
Avant-garde (Aesthetics)
|
|
Art, Japanese.
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|
Artists.
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Japanese literature.
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|
Japan.
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| Form |
Electronic book
|
| Author |
Yanagi, Muneyoshi, 1889-1961.
|
| LC no. |
2018469223 |
| ISBN |
9004393633 |
|
900439060X |
|
9789004390607 |
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9789004393639 |
|
