TOKYO STATION GALLERYThe Japanese commentary on the works are available at the venue next to the exhibits. This English
handout, also available onsite is for the non-Japanese speakers.

PASTORAL REDEMPTION, GLIMPSES OF PERFECTIONANDRÉ BAUCHANT + FOUJITA RYUJI
Commentary on the works

FOUJITA RYUJI------------------------------------------------------------------F-3 Epoch
This work looks like an abstract painting, but the fine lines drawn on thesurface of the paint represent the stems and roots of the plant. The raised
horizontal long rod-shaped morphology may be the ears of foxtails. Red
undercoats can be seen in places on the screen, but it seems that there is a
black undercoat underneath. The black pigment rubbed on the surface of thescreen is soot received from a nearby bathhouse.
F-8 Foxtail Grass
It is no exaggeration to say that foxtail is a leitmotif of Foujita’s life. Fromhis early years to his later years, it is depicted in most of his works. In thiswork, it is expressed by raising the ears of foxtail, but it is a technique thatis not often used after this period. Foujita uses a mixture of powder cleanser
and glue in the raised part.
F-15 Heaving Mountains
The ground is rushing from left to right like a living thing. This creaturedoes not take the slight uplift of the original ground, but overcomes it andintegrates with the clouds. The foxtail is pushed by this creature and there
is no way to do it. It is a work that makes you feel strongly related to theseries of Onogoro Island, which was painted around 1970 and is based on“Kojiki”. Foujita painted this work in May of this year when he collapsed
due to his first stroke and was rehabilitating hard. He had a second stroke
the following year and at one point abandoned his career as a painter.

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F-16 “Hey, Stray Dog!”In the large field, from the foreground, fish plant, foxtail, and Canada
goldenrod are growing in clusters. All of these are common weeds that canbe seen here and there. A meandering path through the field leads to aresidential area in the distance. A white dog walks slowly toward the viewer,
looking toward a girl calling out from the lower right corner of the painting.
It is a lonely scene, filled with a sense of desolation. This image was used as
the cover of Ayako Sono’s novel Yume ni Junzu (Martyrdom for a Dream).
F-18 An Old Tree Remains
Buildings are lined up to the top of the hill due to residential landdevelopment. No one can be seen on the bus street or in the windows of thehouses. At the hem of the hill, there is an untouched vacant lot surrounded
by a white wall in the foreground and a bank in the back. An old tree is left
behind in the overgrown Canada goldenrod, under which a girl in red isletting her dog play. The place could be suggesting the sanctuary for the oldtree left behind from development.
F-19 The Day the Insects Awaken
Jingzhe, which is the third of spring in the 24 solar terms, is the time when
the insects in the winter cage crawl out of the soil and make us feel the signsof spring. A person with a white dog is walking along a road drawn by
undulating hills. Insects crawl out of the holes in the ground and fly into theair. The pink clouds floating in the air and the foxtail swaying the green ears
seem to feel the new dynamics of life. After two strokes, the joy of drawing
by the painter who changed his brush to his left hand is transmitted.
F-22 Yamato River, No.1
The Yamato River is a first-class river that flows westward from around
Sakurai City in Nara Prefecture, passes between Osaka City and Sakai City,and flows into Osaka Bay. It is heavily polluted by domestic wastewater andis one of the worst water quality regulars in first-class rivers. Regarding thispainting, Foujita explained that all the herons were facing to the left
(upstream side) because they were aiming for the food flowing from the pig
pen in the upstream. A fish can be seen in the river drawn in black. It makes
you feel the vitality of animals that live robustly in any environment.

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F-27 Hidden Path
It’s a strange picture. A bus stop sign placed on a road where buses cannot
enter. Moreover, the sign has an arrow indicating a U-turn and the number“237”. The road leads to the entrance to the building, but the doorway is
pitch black, with a white dog half-body inside. There is one girl in front of
the brick wall and one behind the green fence, but they are looking in adifferent direction from this road. Only the dog might be looking into theabyss of this world.
F-31 Public Lavatory
This work may have been inspired by Yuzo Saeki’s Public Lavatory (1928,
Nakanoshima Museum of Art, Osaka). The painting depicts a public
restroom in a small park in a corner of the city. At the far left is a motel,
with a couple holding hands beneath it. The building is shabby and dirty,
and the gutter is torn off. Even so, Foujita has done his best to create the
combination of white walls and green gutters, as well as the subtle shadingof the roof tiles, to create a work that is well worth seeing. The telegraphpoles that look like crosses and the arched windows make this crude
building look like a cathedral.
F-32 Overpass
The location depicted in this work is the intersection of the Nankai Koya
Line and the Hankai Denki Uemachi Line. The Koya Line runs below, andKaminoki Station on the Uemachi Line can be seen above. The green stationbuilding on the overpass is actually further to the right and is not green.
Also, the stairs on the bank are not in this position. Even though Foujita’s
works are based on real landscapes, many parts of them have been alteredto create his own unique world.
F-35 “ Gunkan [Warship]” Apartment Block, Osaka
Osaka Municipal Shimodera Housing, built in 1931 near Nipponbashi in
Osaka, was a state-of-the-art apartment complex at the time, made ofreinforced concrete and equipped with water, sewer, and flush toilets. It
came to be known as the Gunkan (warship) Apartments because of its
towering appearance. Foujita lived here for a time in the early 1950s when
he was a student at the Osaka Municipal Art Institute. He worked hard on
his works in this somewhat dilapidated apartment and exhibited them at
the Shinseisaku (New Creation Society) exhibitions. The actual building

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was three stories high, but in this work, which is based on his memory, it isfour stories high.
F-42 Even the School of Theology Takes a Winter BreakFoujita went from the old Doshisha Junior High School to the old Doshisha
Technical College (now Doshisha University Faculty of Engineering). The
Doshisha University campus was clearly the model for this work. The
building in the back center is probably the Clark Memorial Hall. The details
are different, but the overall appearance is very similar. The building on theleft must be the Faculty of Engineering, since it says “ENGINEERING”
above the entrance. The campus, less popular during the winter break, isfilled with a relaxed atmosphere, and several bagworms hanging from tree
branches are swaying.
F-47 Ouzu Village, No.1
Ouzu, located in present-day Kinokawa City, Wakayama Prefecture, iswhere Foujita’s family home is located. Foujita was born in Kyoto, but lived
temporarily in Ouzu after the war. His parents used to run an oil shop.
Foujita’s father, Yoshihiko, served as a student affairs officer at Doshisha
University before becoming the mayor of Ouzu village. The white warehousewith a truck parked in the lower left corner is the family home. The whitehouse depicted in the upper right was also owned by the Foujita family, andthey were called the upper house and the lower house.
F-48 Quier Town
At first glance, it appears to be a Western town, but the telegraph poles
beyond the roofs suggest that this painting is also a town in Foujita’s
imagination. The girl in the pointy hat sitting in the doorway of the central
building, the white dog watching her, and the foxtail in the foreground arefamiliar motifs in Foujita’s work. The trees standing in various positions andthe clouds floating in the sky are also important supporting characters inFoujita’s world. An easel can be seen from the window of the house on thelower left. This could be Foujita’s studio.
F-56 Yamatogawa Station
Foujita often depicts railroads in his works. Yamatogawa Station [F-56] is astation on the Hankai Electric Railway’s Hankai Line, located on the bankof the Yamatogawa River that flows between Osaka City and Sakai City. It

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is a flat place, completely different from the landscape depicted in thepainting, and as is usual in Foujita’s works, the real landscape and theimaginary scene are blended together.
F-61 Mountain Range (13)This work was Foujita’s last to be exhibited at BIJYUTSU BUNKA ART
ASSOCIATION’s exhibition. A man with a walking stick stands at the top ofa mountain in the foreground of a multi-tiered mountain range. A white dog
is running to the man along a meandering mountain path. The undulating
and rising mountains remind us of Foujita’s early works based on the motifof Onogoro Island, as well as his Heaving Mountains [F-15]. The man withthe cane may be Foujita himself. Perhaps he is expressing the sentimentthat he has walked a long way as a painter, even though he had to live witha crippled body in a small area in terms of space for the latter half of his life.

TOKYO STATION GALLERYANDRÉ BAUCHANT------------------------------------------------------------B-1 Hanging Gardens of Babylon
The Hanging Gardens of Babylon is a structure said to have been built in
the ancient city of Babylon, but whether it actually existed is disputed. The
Hanging Gardens were not floating in the air, but rather were gardens built
on top of multi-tiered buildings and planted with a variety of trees. In thiswork by Bauchant, the horizontal aspect is emphasized rather than thevertical, perhaps due to the horizontal format, but the trees growing on topof the buildings are depicted in great detail.
B-3 Joan of Arc Bids Farewell to Her Family
Bauchant has other works depicting Jeanne d’Arc [B-47]. This work depicts
an early episode of Jeanne’s life. Born to a farmer in Orléans, Jeanne hears
the voice of God telling her at the age of 12 to “defeat the English army andenthrone the Dauphin at Rheims.” At the time, France was in the midst of
the Hundred Years War with England and was helpless in the face of the
English offensive. The scene depicted in this painting is that of Jeanneleaving her house to go to battle. Jeanne, standing in the center facing thefront, and her family are bidding farewell to each other.
B-9 The Proclamation of American Independence
Bauchant painted at least three works on the subject of the American
Declaration of Independence in 1776, and this is one of them. Standing in
the center of the three men in military uniforms emerging from the campcurtain in the background, holding the Declaration of Independence, is
probably the first president, George Washington. Art historian Pierre
Cabannes said that they looked as if they had just returned from a notary
public’s office, and this work is a perfect example of Bauchant’s
characteristic of depicting great historical scenes in an unpretentious andsimple manner.
B-10 “Au Père Latuile”
The name of the restaurant is “AU PÈRE LATUILE (Grandpa Latouille’s
store)” written on the wall of the building on the right, which is probably arestaurant or tavern on the outskirts of the village. Some are drinking, someare chatting, some are sitting on wine barrels and playing the cornemuse (aTOKYO STATION GALLERY

kind of bagpipe, a musical instrument from Brittany), and some are dancing
to the music, all enjoying themselves in their own way. Although thecharacters are simple and poorly rendered, the dance steps and otheraspects are skillfully depicted, conveying the liveliness of a Sunday
afternoon.
B-13 Large Tree and the Argonauts
Argo ship is the name of a huge ship in Greek mythology. It was built by
Argos for Iason, the hero of Iolkos, for his journey in search of golden fleece.
Brave men were recruited for this journey, and 50 were gathered, including
Hercules. They adventured in various places to acquire the golden fleece andreturned to Iolcos over a period of four months. This work is supposed to
depict a scene from that adventure, but the correct subject matter is
unknown since Bauchant has two other works with similar compositions,both titled Odysseus and Calypso.
B-17 Honeysuckle with Château de Lavardin BehindChâteau Lavardin is a ruined castle located in the Loir-et-Cher department
next to Beauchamp’s birthplace, Château-Renaud, in the Androux-et-Loire
department. It is the building with the tower depicted in the middle of theleft side of the picture. The main subject of this painting, however, is thehoneysuckle, which is in full bloom. It is a vine shrub with white and red
flowers characterized by sweet nectar. The delicate gracefulness of thehoneysuckle is emphasized in contrast to the rugged appearance of theLavardin castle and the huge tree with its branches cut down.
B-21 Nymphs Dancing
Nymphs are spirits that inhabit and protect various places in nature, suchas oceans, rivers, mountains, and forests. They are traditionally represented
as young women. The nymphs in this work may be the Olyades, spirits oftrees, or the Arseides, spirits of forests. They dance with colorful cloth intheir hands in front of a large tree with a tangle of flowering vines. What isinteresting about the background is that the color of the mountain massifs
differs from one tree to another, so that together with the appearance of thenymphs, we feel as if we have wandered into another world, or even anotherdimension.

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B-28 The Birth of JupiterZeus, the omniscient and omnipotent god, is the son of Cronos and Rhea, but
his father Cronos, fearing that his children would take away his dominion,
swallows one child after another that Lair bears. So when Zeus was born,
Rhea made Cronos drink the stone wrapped in her maternity clothes andhid Zeus in a cave to be raised by the nymphs. In this work, Bauchantdepicted Zeus lying in a hammock among the trees, not in a cave. The
nymphs are beating their round shields so that Cronos cannot hear Zeus’
cries.
B-30 Expansive View of Touraine
This work depicts the flowing Loire River seen through a row of large trees.
In contrast to the magnificent branches of the trees and the majestic flow of
the Loire, the rocky surface of the mountains, the rows of houses on the hills,
and the green foliage are painted in fine detail. While the trees in theforeground are backlit and somewhat dark, the background is bathed inbright sunlight and is free from fading. There is no sign of wind, no people
or animals in this static scene, and only the flow of the Loire River gives theimpression of movement. The contrast of several elements, such as boldness
and delicacy, light and dark, and stillness and motion, are blended without
failure in this work.
B-31 Portrait of the Artist’s Wife
This is a portrait of his first wife, Alphonsine, in her final years. While
Bauchant was in the military, she became mentally ill, unable to bear thepressures of the plantation’s bankruptcy and other problems. Bauchantcontinued to paint and care her for more than 20 years, from 1919, when he
was discharged from the army, until Alfonsine’s death in 1943.
B-33 Under Snow
Bauchant has several works depicting snowy landscapes. In all of theseworks, the colors are naturally restrained. In this work, which depicts aranch at the foot of a mountain, white snow covers the limited colors of darkbrown of the buildings and fences, dark green of the trees, and gray of themountains and riverbanks. Although the landscape is cold, a slight red isused effectively in the sky at the edge of the mountains, softening the overallharsh impression.

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B-36 Charlatan of Tours Touting His Potions
In a square in the city of Tours, lined with half-timbered buildings withstucco walls filling the spaces between the wooden frames, a medicine manon a pedestal makes a gestural speech, and the people gathered around him
listen attentively. It is a French version of the Toad’s Oil Peddler. The white
tower beyond the roof is probably Charlemagne’s Tower, the remains of the
Church of St. Martin the Councillor, which was destroyed in the French
Revolution.
B-38 The Return of Telemachus
This is the scene where Telemachos, who set out on a journey in search of
his father Odysseas, who had gone off to the Trojan War and never returned,
returns after being told on his journey that his father has returned home.
The figure in blue on the boat is Telemachos, and the gray-haired old man
is probably the prophet Theoklyumenos, who has come along for the ride.
For some reason, three half-naked women welcome them on the shore. The
heavy black and brown colors of the land and the clouds in the sky, which
are painted in the same tone as the land, surround the boat, giving theviewer a strong sense of entrapment. Which maybe an allusion to thedifficult situation in which Telemachos finds himself, with the arduous taskof eliminating the suitors who plague his mother.
B-40 The Cellar at Château-Renault
The room on the hill at the far right is a wine cellar. The people gathered in
the foreground are workers at the winery, and since wine is being poured
into cups on the table, it is likely that they are tasting freshly made wine.
Bauchant’s figures appear to be expressionless at first glance, but closer
inspection reveals subtle differences in facial expression. The man standingon the far left, his gaze wandering in the air as if searching for words, iswatched by the four men and women around the table with expectant eyes.
The expressions on each person’s face are unexpectedly rich.
B-45 Madonna of the Artists
Behind the Virgin and Child, on the ground to the right are five paintersand sculptors at work, and above them, on a cloud, are two painters, also atwork, and a poet, perhaps, seated with a sheet of paper spread out aroundhim. They may represent artists from the past to the present. Above theclouds on the left side of the painting are three white structures. If so,

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Bauchant may have intended to include the nameless craftsmen involved in
the construction of the church in the line of artists.
B-47 Joan of Arc Recognizing Charles VII at Château de Chinon
This is the scene where Jeanne d’Arc, having heard the voice of God, meets
Charles VII at the Château de Chinon. Jeanne, who had gained the king’s
trust here, inspires the French army to launch a counterattack against the
English army. Jeanne is kneeling in the center of the painting as if she isclinging to Charles VII. As is usual in Bauchant’s historical paintings, thefaces of the figures are lacking in expression, but the compassionate gaze ofCharles VII is striking. The depiction of the interior of the castle ismonotonous and lacks the animated feeling of Bauchant’s paintings ofnature.
B-50 Cleopatra Arriving in Tarsus to Meet Mark Antony
The painting depicts a scene from the story of Cleopatra and Antonius, also
known as Shakespeare’s play, based on ancient Roman history. After
Caesar’s death, Antonius, one of the three heads of government, orders
Cleopatra to appear before him. Cleopatra is glamorously dressed and rides
to Tarsus in an incense-filled boat to entangle Antonius. Standing in frontof the palace on the right, Cleopatra, wearing a yellow and red border, walks
up to Antonius, who is dressed in a yellow and brown cloak. This work wasprobably inspired by French painter Claude Lorrain’s “Cleopatra’s Landingat Tarsus” [1642-43, Louvre].
B-52 The Three Graces
The Three Beauties are goddesses in Greek and Roman mythology, who areoften depicted with different characteristics one by one, such as “beauty,”“love,” and “chastity,” although they vary from period to period. In this work,
Bauchant dresses the three goddesses in red, orange, and blue, respectively,
but the characteristics of each are not obvious. They appear to be talking infront of rouge, blue, and white flowers, and their unadorned appearance
could be described as three sisters of a gardener discussing the timing offlower shipments.

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