Japanese art and Yorozu Tetsugoro: the endless searcher
Japanese art and Yorozu Tetsugoro: the endless searcher
Lee Jay Walker
Modern Tokyo Times
Japanese art is extremely diverse and during the lifetime of Yorozu Tetsugoro he witnessed many changes (1885-1927) because the Meiji Period opened up Japan to new thought patterns. In the field of art this radically altered the art scene because the encroachment of Western art hit a chord with many up and coming artists in this period of Japan. Therefore, Yorozu Tetsugoro and other Japanese artists had a great opportunity to experiment.
The Suisaiga no Shiori (A Guide to Watercolors) by Oshita Tojiro was read by Yorozu Tetsugoro when he was a teenager. This book inspired him greatly because soon afterwards he began to paint watercolors. The book by Oshita Tojiro appeared to be waiting to be opened by Yorozu Tetsugoro because everything now seemed natural to this developing artist. Also, given the inquisitive nature of Yorozu Tetsugoro, it wasn’t surprising that new ideas would entice him greatly.
In time, the Avant-garde Movement sweeping through the European continent would also inspire him. The earlier impact of painting watercolors which released fresh energy within his art was similarly followed by new creativity from the Avant-garde Movement. However, irrespective of where the inspiration came from Yorozu Tetsugoro was always focused on creating his own style.
Therefore, his artistic work involving still-life paintings, landscapes, self-portraits, and other areas, highlight his individuality and passion. Japanese Fauvism, watercolor landscapes, the Avant-garde Movement, Cubism, Nanga (literati paintings), and other areas of art, would all infringe on Yorozu Tetsugoro but not to the extent of limiting him or putting him in an easy bracket. After all, the inquisitive nature of this amazing artist meant that new thought patterns were only around the corner.
The Iwate Museum of Art comments that “In 1911 he graduated from the Western Painting Faculty of the Tokyo Fine Arts School. His graduation art piece, Nude Beauty, won much acclaim. It is considered to be a pioneering work of Japanese Fauvism. In the same year he participated in a Fyuzankai with Saito Yori and Kishida Ryusei. In the first exhibition he displayed his artwork, including, among others, Head of a Woman (Woman with a Boa). The society was disbanded the following year. At this stage in his career, Yorozu was influenced strongly by the European Avant-garde Movement, and he began to experiment painting in this style.”
“In 1914 Yorozu returned to Tsuchizawa in Iwate Prefecture to apply himself to his paintings. He strived to develop his own personal style through the language of Cubism, painting a variety of self-portraits, landscape and still-life paintings. Five years later he returned to Tokyo. At the 4th Nika Exhibition held in 1917, he displayed Leaning Woman and ‘Still-life with a Brush Stand’, which provoked wide acclaim. During this time he also displayed his still-life works at exhibitions including the Japanese Art Society Exhibition and the Inten Exhibition.”
Sadly in 1919 his health deteriorated because he developed neurasthenia which was caused by insomnia and fatigue. Therefore, he relocated to Kanagawa Prefecture in a place called Chigasaki. It was hoped that the more sedate life would enable Yorozu Tetsugoro to recover and to refresh himself once his health became much better.
Despite everything he remained focused and his inquisitive nature led him to study Nanga in the early 1920s. During the same period he joined the Japan Watercolor Painting Association and helped to establish the Enchokai with other notable individuals. This applies to Hayashi Takeshi, Maeda Kanji, Onchi Kashiro and Kobayashi Tokusaburo.
It will never be known what future direction Yorozu Tetsugoro would have taken because clearly he was always open to new ideas. He passed away at the age of 41 from tuberculosis which was made worse once he developed pneumonia. Therefore, great mystery remains about what would have become of him in later life because he was a rare individual who was always seeking new styles. However, irrespective of the new artistic movement he followed, the greatness of Yorozu Tetsugoro was that he always maintained his own style and flair.
http://www.ima.or.jp/en/encollection/enyorozu.html
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