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In the Little Playground: Hitsuda Nobuya and his surrounding students
Editor's Note
Written by Satoshi KOGANEZAWA   
Published: October 02 2009

This exhibition is held jointly with the Aichi Prefectural Museum of Art, Nagoya and the Nagoya City Art Museum. For your information, the former is the main venue of this exhibition in that only thirteen exhibits are shown using a permanent exhibition room in the Nagoya City Art Museum. You can go from one museum to another on foot or by taking a train for only one stop. Therefore, I recommend you visit both venues if you have enough time. In your spare time, you should try to visit the planned exhibition entitled “Expressionist Movements in Japan”. It would be valuable for you to visit the Nagoya City Art Museum to see the exhibits of this planned exhibition. You may recognize the historical characteristics of Japanese art through these two exhibitions. The “Expressionist Movements in Japan” is a retrospective exhibition which has the basic concept of making viewers think back on art trends from the 1910s to 1920s through various kinds of exhibits, such as paintings, photographs, architectural structures, stages and movies. On the other hand, “In the Little Playground” is held using the theme of Japanese art movements during the period eighty or ninety years after that of the exhibits shown in the “Expressionist Movements in Japan”. For instance, it may be interesting to compare expressions of figures drawn in self-portraits created by Tetsugoro Yorozu and Ryusei Kishida with those in pictures made by Yoshitomo Nara and Kyoko Murase under the theme of figurative human bodies. Indeed, there seem to be great differences between them at first glance, but I suppose they have one thing in common - they reflect the historical characteristics of each period in which they were created. (Translated by Nozomi Nakayama)

Last Updated on November 04 2015
 

Editor's Note by Satoshi KOGANEZAWA


I would like to write in detail about this exhibition in a few days. Here, therefore, let me introduce briefly this well composed exhibition which is of a type rarely seen in recent years. In this exhibition, you can enjoy looking at creations by Nobuya Hitsuda, who taught at Aichi Prefectural University of Fine Arts and Music from 1975 to 2001, and his nineteen students. Needless to say, the relationship between Hitsuda and the students is not that of a master to his apprentices. Nonetheless, from an art-historical perspective, this exhibition is, in fact, held using a “school” as an axis to clarify a certain process. I would like to commend this exhibition in that it has succeeded in focusing on living artists from a historical viewpoint. Reading the above, you may feel this exhibition creates a serious image. Nevertheless, as shown clearly in the printed materials of this exhibition, such as its poster, its basic concept is to make viewers enjoy looking at the exhibits. Some of Hitsuda’s works are displayed next to pieces created by his students, including Yoshitomo Nara, Hiroshi Sugito and Yoshika Kato, which evokes for us a feeling of happiness in that all these works connect and sympathize with each other. I am sorry for writing at length about this exhibition when I intended to introduce it briefly. Were you able to grasp the great significance of this exhibition through this article? (Translated by Nozomi Nakayama)


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