投稿者: wpmaster

須田国太郎
烈日下の鳳凰堂（平等院）
1936（昭和11）年　油彩･カンヴァス　52.0×64.0cm

Kunitaro Suda
Phoenix Hall (Byodo-in) Under the Scorching Sun
1936 (Showa 11), Oil on canvas, 52.0 × 64.0 cm

ある暑い夏の日、須田は京都の雷雨を避けて、宇治へ制作に出かけました。本作はそのときの取材にもとづく作品です。平等院鳳凰堂の中堂が南側廊下のやや高所、現在の六角堂辺りから描かれています。鳳凰堂は夏の烈しい日に晒され、屋根や地面が白く輝くことで、かえって暗い堂内の涼やかな空気との対比が浮かび上がってくるかのようです。

On a hot summer day, Suda went to Uji to work, avoiding the thunderstorms in Kyoto. This piece is based on the research conducted during that time. The central hall of Byodoin Phoenix Hall is depicted from a slightly elevated position on the southern corridor, around the current Rokkakudo area. The Phoenix Hall is exposed to the intense summer sun, making the roof and ground shine white, which in turn highlights the contrast with the cool air inside the dark hall.

須田国太郎
鳥と花
1942（昭和17）年頃　油彩･カンヴァス　37.0×45.0cm

Kunitaro Suda
Bird and Flower
Around 1942 (Showa 17) Oil on canvas 37.0 × 45.0 cm

須田は、｢果たして自己の表現様式を油絵に求めなければならないだけの必然性をもったか｣と常に問いながら油彩画の制作を行なっていました。西洋の古典芸術への探求を深く進めつつも、東洋の芸術を意識した須田の制作は、結果として東洋と西洋の枠を脱した独自の絵画を実現させたといえます。

本作では薄く溶いた油絵具を塗り重ねるヴェネツィア派のような深い諧調をたたえた描写により、重厚ながら透明感のある色彩を放っていいます。また、遠近法を捨て去った東洋的な奥行との組み合わせが、須田独特の花鳥画の世界を作り上げています。

Suda constantly questioned himself, asking, "Is there truly a necessity to seek my mode of expression in oil painting?" as he worked on his oil paintings. While delving deeply into the study of Western classical art, he remained conscious of Eastern art. As a result, his work transcended the boundaries of both East and West, achieving a unique style of painting.

In this piece, the depiction features deep gradations reminiscent of the Venetian school, achieved by layering thinly diluted oil paints, resulting in colors that are both rich and transparent. Additionally, the combination with Eastern-style depth, which abandons perspective, creates Suda's distinctive world of bird-and-flower painting.

須田国太郎
八幡平（焼山）
1954（昭和29）年　油彩･カンヴァス　80.0×65.0cm

Kunitaro Suda
Hachimantai (Yakeyama)
1954 (Showa 29) Oil on canvas 80.0 × 65.0 cm

1954（昭和29）年7月、須田は全日本観光連盟の依頼を受けて、岩手･秋田県にまたがる八幡平へ足を運びました。須田は盛岡から電車、バスを乗り継ぎ登山、雪渓を渡り八幡平に辿り着きます。当初は｢どうもこの辺より八幡平を代表する場所なき如し 頗る平凡ながら着手する｣（7月16日付日記）と記しています。しかし、翌々日に峠に出て、焼山を見渡す風景を目の当たりにするとその眺めに魅了されます。｢毛せん峠に出る 実に美わしい 両側の山並は美事也（略）しゃくなげの白花さきみだれる 焼山にかかる｣（7月18日付日記）。その後、京都に戻った須田は、祇園祭にも行かず再びこの作品に取り組みました。深い緑の中に白いシャクナゲが咲き誇り、遠くには雲の湧く焼山があらわれる本作は、東北の緑深い夏山の偉容を見事にあらわしています。

In July 1954, Suda, at the request of the All Japan Tourism Federation, traveled to Hachimantai, which spans Iwate and Akita prefectures. Suda took a train and bus from Morioka, hiked, and crossed snowfields to reach Hachimantai. Initially, he wrote in his diary on July 16th, "It seems there is no place here that represents Hachimantai. It is rather ordinary, but I will start." However, two days later, when he reached the pass and saw the view overlooking Yakeyama, he was captivated by the scenery. "I reached Kesen Pass. It is truly beautiful. The mountain ranges on both sides are magnificent... White rhododendrons are in full bloom, covering Yakeyama" (July 18th diary entry). After returning to Kyoto, Suda worked on this piece again, even skipping the Gion Festival. This work, with white rhododendrons blooming in the deep green and Yakeyama appearing in the distance with clouds rising, beautifully captures the grandeur of the lush summer mountains of Tohoku.

須田国太郎
下田
1956（昭和31）年頃　コンテ･紙　27.0×36.5cm

Kunitaro Suda
Shimoda
c. 1956 (Showa 31) Conte on paper 27.0 × 36.5 cm

1954（昭和29）年6月、伊豆風景を描くために招かれた須田国太郎は、一週間の写生旅行をしました。韮山、古奈、下田、石廊崎、松崎、三島などに立ち寄り、各所でスケッチをしながら伊豆を廻ったようです。日記には、｢バスで下田へ向かう 割合平凡 天城山横断は流石によし 市中あるく なまこ壁眼につく ここでかくつもりにする｣と記されています。

また、数年後には下田港から武山（寝姿山）を望むスケッチ《下田》を描いています。前景に堤防が見え、なまこ壁が並ぶ街の手前には多くの船がひしめいており、当時造船業で栄えた下田の賑わいが垣間見えます。ここでは手前にみえる船よりも、遠景にある2階建てのなまこ壁の倉庫をつぶさに描いており、旅行中須田がよく眼についたというなまこ壁への関心があらわれています。

In June 1954, Kunitaro Suda was invited to paint the landscapes of Izu and embarked on a week-long sketching trip. He visited places such as Nirayama, Kona, Shimoda, Irozaki, Matsuzaki, and Mishima, sketching at various locations as he traveled around Izu. His diary notes, "Heading to Shimoda by bus. Relatively ordinary. The crossing of Mount Amagi is indeed good. Walking around the town, the namako walls catch my eye. I plan to paint here."

A few years later, he created a sketch titled "Shimoda," depicting the view of Mount Nesugata from Shimoda Port. In the foreground, a breakwater is visible, and many boats crowd the area in front of the town lined with namako walls, reflecting the bustling shipbuilding industry of Shimoda at the time. Here, Suda meticulously depicted the two-story namako-walled warehouses in the background, showing his keen interest in the namako walls that frequently caught his eye during his travels.

岸田劉生
静物
1921（大正10）年　油彩･カンヴァス　38.0×45.5cm

Ryusei Kishida
Still Life
1921 (Taisho 10)　Oil on canvas　38.0 × 45.5 cm

机の上に4つの果物と一つの器が置かれています。それらのモティーフはまるで人物が佇むかのように不思議な存在感を漂わせています。劉生自らのある静物画について次のような詩を残しています。｢君は其處に丁度人のない海岸の砂原に／生れて間もない赤子が二人、默つて靜かに遊んでゐる姿を思はないか／その靜かさ美しさを思はないか／この二つの赤子の運命を思はないか｣。一見、机の上に無造作に並べられた本作のモティーフにも、劉生が見出した｢実在の神秘｣が隠されているかのようです。

Four fruits and a vessel are placed on the table. These motifs exude a mysterious presence, as if they were people standing still. Regarding one of his still life paintings, Ryusei left the following poem: "Do you not think of the scene where two newborn babies are quietly playing on a deserted sandy beach? Do you not think of the quietness and beauty? Do you not think of the fate of these two babies?" It seems that even in the seemingly casually arranged motifs on the table in this work, the "mystery of existence" that Ryusei discovered is hidden.