August 30, 201930th Anniversary of the Yokohama Museum of Art /160th Anniversary of the Opening of Yokohama Port

Yokohama Museum of Art Collection
Sep 21, 2019 – Jan 13, 2020

Aspects of Japan’s 160-year Relationship with the WestIn this edition of the collection exhibition,
overlapping with the anniversaries of the YokohamaMuseum of Art and the opening of Yokohama Port, wereexamine the relationship between Japan and the West,which serves as one of the central pillars for Yokohama’s
collection of artworks. Many exhibitions dealing with theopening of Yokohama Port focus on the reception anddevelopment of Western-style expressions in the late Edo(1603-1867) and Meiji Periods (1868-1912) or the activitiesof painters, printmakers, and photographers who came toUTAGAWA Sadahide
Sunday Parade of Foreign Residents of Yokohama
1861
color woodblock print (3 pieces), donated by Ms. Saito Ryu

Japan during this era. However, in this exhibition, which is
not restricted to any one age, we concentrate on several topics related to the way in which different cultures
resonated with each other during the lengthy period that stretched from the opening of Yokohama Port in 1859 tothe post-World War II era.
In post-World War I Paris, a period that corresponds to closely tothe works now on view in the Masterpieces from the Musée de l’Orangerie,Jean Walter and Paul Guillaume Collection exhibition, artists such as Fujita
Tsuguharu and Hasegawa Kiyoshi were pioneering their own forms of creativeexpression. Another figure of the day was Natori Yonosuke, who launched thepropaganda magazine Nippon after absorbing and enacting new theories ofGerman design, including those of Bauhaus. Traces of Japanese and nikkei(Japanese immigrant) artists’ work can also be found in the U.S., which facedwith a certain amount of conflict in regard to the country’s multiethnic society.

HASEGAWA Kiyoshi
Dream1925
Drypoint, 22.0×27.9cm

After World War II, a period which saw a sudden acceleration intransport services and information media, there was an emergence of art
movements that shared a common awareness while exerting a mutual
influence. This is exemplified by the relationships between Art Informel inFrance and Gutai in Japan, and the American Neo-Dada movement and theJapanese Neo Dadaism Organizers. Another keyword here is woodblock
prints, as seen in the display of works by Paul Jacoulet, a Japan-based painterNODA Hideo
Two Children1934
oil on canvas, 75.0×90.2cm

who embraced the ukiyo-e tradition, and Yoshida Hiroshi, who strategicallytargeted foreign audiences with an up-to-date version of Japanese prints.
Tucked in between these various topics, you will find several other displays,
such as “Yokohama Ukiyo-e” and “Meiji Photography,” which include many
new acquisitions. Rather than a single full-length offering, this exhibition ismade of a number of shorter parts, so please relax and enjoy your visit as you
stroll through the galleries.
After leaving the collection exhibition, please make your way
downstairs to Art Gallery 1, where Following the Path of Commodore Perry’s

Jean FAUTRIER
Untitled
1956
gouache and plaster on paper mounted
on canvas
50.0×65.0cm

Arrival through Images will be on view through November 10. This exhibition
focuses on depictions of historical events, centering on the work Commodore
Perry Coming Ashore at Yokohama.
The exchange between Eastern and Western culture that began in 1859 has borne a diverse
range of fruit. These two exhibitions, drawn from the Yokohama Museum of Art collection, provide an opportunity
to reconsider the opening of Yokohama Port as the start of a fertile and vibrant history that continues to this day.

Sections
Prologue: Pacific―Shattered Blue
1． The Paris of Fujita Tsuguharu and Hasegawa Kiyoshi
2． German Modernism and Japan
3． The Japanese Experience in Multiethnic America
4． Okada Kenzo’s Yugen-ism
5． Art Informel and Gutai
6． Neo-Dada
7． Yokohama Ukiyo-e and Exported Crafts
8． Shimomura Kanzan’s Experiences in Europe
9． The Japan of Woodblock Prints
10．Meiji Photography and Japanese Landscapes

TAMAMURA Kozaburo［presumed］
Mt. Fuji, fromTokaido
1880shand-colored albumen silver print
19.3×24.9cm
donated by Ms. Kajikawa MariKUMAZAWA Kitaro［painter & printer］
View of Tagonoura
1892
hand-colored lithograph, 26.3×37.3cm
donated by Mr. Kojima Yutaka (formerly owned byKojima Usui)

SHINOHARA Ushio
Lovely Lovely America (Drink More)1964
fluorescent paint, lacquer, plaster, metal,
Coca-Cola bottle and canvas
64.5×46.7cm

Outline
30th Anniversary of the Yokohama Museum of Art /160th Anniversary of the Opening of Yokohama Port

Yokohama Museum of Art Collection Sep 21, 2019 – Jan 13, 2020

Aspects of Japan’s 160-year Relationship with the West
Venue

Yokohama Museum of Art(3-4-1, Minatomirai, Nishi-ku, Yokohama, 220-0012)
https://yokohama.art.museum/eng/

Dates:

September 21 (Sat.) - January 13 (Mon.), 2020

Open hours:

10:00-18:00*10:00-20:00 on Fridays and Saturdays. / 10:00-21:00 on Sep. 27, 28, Jan. 10, 11, 12.
*Admission until 30 minutes before closing.

Closed:Thursdays (except Dec. 26), Dec. 28, 2019 - Jan. 2, 2020

Organized by:

Yokohama Museum of Art［Yokohama Arts Foundation］

TicketAdults¥500 ( ¥400)

University and High school students¥300 ( ¥240)

Junior high school students¥100 ( 1¥80)Children under 12Free* ( )＝Group of 20 or more (pre-booking required).
* Free Admission on November 3 (Sun.).
* Free Admission for high school and younger student with valid ID on every Saturday.
* Visitors with disabilities and one person accompanying them are admitted free of charge. (Please present a certificate at the entrance.)* Collection gallery is available with a ticket of Special Exhibition for the same day.

ContactFujii (Ms.), Yamamoto (Ms.), Umezawa (Ms.), Kuwahara (Ms.)
Public Relations, Yokohama Museum of Art
3-4-1, Minatomirai, Nishi-ku, Yokohama, 220-0012 JAPAN
TEL:+81(0)45 221 0319

FAX:+81(0)45 221 0317

E-mail: pr-yma@yaf.or.jp