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Hokkaido University Collection of Scholarly and Academic Papers >
Graduate School of Humanities and Human Sciences / Faculty of Humanities and Human Sciences >
北方人文研究 = Journal of the Center for Northern Humanities >
第6号 = No.6 >
北海道の油彩画史における動物モチーフの問題 ： 油彩画の移入期から1940年代前半までを中心に
| Title: | 北海道の油彩画史における動物モチーフの問題 ： 油彩画の移入期から1940年代前半までを中心に |
| Other Titles: | Animal subjects and the history of Hokkaido oil paintings ： From early Meiji-era to 1940s |
| Authors: | 今村, 信隆1 Browse this author |
| Authors(alt): | IMAMURA, Nobutaka1 |
| Keywords: | 北海道 | | 油彩画史 | | 動物モチーフ | | 油彩画 | | 移入期 | | 1940年代前半 |
| Issue Date: | 31-Mar-2013 |
| Publisher: | 北海道大学大学院文学研究科北方研究教育センター |
| Journal Title: | 北方人文研究 |
| Journal Title(alt): | Journal of the Center for Northern Humanities |
| Volume: | 6 |
| Start Page: | 1 |
| End Page: | 27 |
| Abstract: | It is often said that since the modern art theories and oil paintings had been introduced into Japan in the beginning of the Meiji era, animal paintings by Japanese oil painters have been relatively rare. From the 1930s to the early 1940s, however, animal subjects in Japanese oil paintings have exceptionally increased both in quality and quantity. Mainly discussing this period, the argument of this paper shows that for some oil painters who were born in Hokkaido, animal subjects were one of the chief ways to meet the requirement of “local color”. IGUSHI Kaichi (1911-1955), born in the north-east part of Hokkaido prefecture, often painted animals of his homeland. Some of his works in the 1930s, paintings of seals or foxes, were interpreted by his contemporaries as a typical representation of his homeland, and the painter himself referred to his own ambition to depict some “local color”. KUNIMATSU Noboru (1907-1994), one of the most famous animal painters in Hokkaido, also has included animals such as birds and dogs in his works since the 1930s. OGAWARA Shu (1911-2002) started his career as a surrealist. But in the early 1940s, as his style was shifted to more north conscious one, he depicted some animals. In order to paint wild cranes from life, UENOYAMA Kiyotsugu (1889-1960) explored frozen fields in the east coast of Hokkaido from the mid 1930s onward. His Japanese crane paintings show disconnection from traditional crane subjects in Japanese-style paintings. Hokkaido prefecture, the northernmost part of Japan, has not only the unique fauna but also some prominent painters who have frequently depicted animal subjects. |
| Type: | bulletin (article) |
| URI: | http://hdl.handle.net/2115/52610 |
| Appears in Collections: | 北方人文研究 = Journal of the Center for Northern Humanities > 第6号 = No.6
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