The St. Louis Republic., 1904-09-01
JAPANESE DISCOURAGE
LITERAL ACCURACY.


The Japanese artists preparation FOR his
vocation differs materially from ttiat Oh
Western To put it briefly. in learning
technique he is compelled TO foiio" fuS
and traditions with answering ndeh,y'
while in the choice OF subjects for an m
depeudent work he has the full range OF
his fancy. with few limitations OF fact-
As n youth he is trained in the careful
manipulation Of his brushes In the mix
Ing and the handling OF his colors- he
does li.tIe work directly from nature or
the human figure. but is encouraged 10
copy much from the works 0: recognized
masters. Wnen capable OF Individual ei-
fort slight heed for the literal accuracy OF
his Gepictions is required OF him. and fs
follows whittier Imagination ia2c:S-
OF recent years a tendency has appeared
among the Japaaese artists 70 give at
ieast that consideration TO literal truth
aLich eliminates grotesqueries. Tho
-raoo!s. however. stop short Cf encoura-
sina the painting Of landscape direct from
nature or th1 rendition % figures direct
from models. Anatomy Is sometimes con-
.idercd. but not always, and no great M
yOrtance Is attached TO IL.
In other words. the japanese are deci1eG
20 retain the Japanese style in their arr
They think IL Is the best: they think. too.
that having an individual method. IL
should 10 preserved from falling into an
imitation Of Western practices. which
must arl-al to u IS enincatly logical:
for the Beautiful qualities of the japanese
wo-k done h the japanese style no one
viii car- to deny. In this connection. a
nee comparison "a possible. The japanese
fine arts section include Z collection OK
PAINTINGS done by Japs in the European
style: and Il does not take one long 20
come to the conclusion tHat those dols in
the japanese methods are the best
To discuss particular OF the japanese
raintlu-s IS not as easy os 70 talk of par
t.cr.la- western art objects. for there Is
only one thing 10 be said Tney either
are pleasing, CT not pleasing; they appeal
20 your taste or do not. and that Is an end
20 argument. which : a remark OF which
you may have doub:s-T have-as to
whether it IS worth saying. But some OF
them may be discussed IN that they II
!ustrate certain phases ot Japanese paint
ing and AFFORD Information On the subject
that is not embarrassing.
You will find two landscapes. Nos 50 ana
IS. By Hokkai Takasniula, which are rem
ditiOns in the japanese style Of ROCKY
Mountain subjects. Nr. Takssh:rna Is roy
In s. Louis and has studio IN the jap
anese tea garden near the headquarters OK
the japanese Commission He IS rscos-
rlzed as an artist Of ability IN his own
country. ard follows the japanese style.
despite the fact that hs has studied In
Paris.
Both OF these Rocky Mountain themes
are the result Of period spent by tho
artist In studying these mountains But
they were not done direct from nature.
They were painted from memory IN Tokio-
Mr. Takashirna waited. Is the novelist
often waits before using an experience.
until he could view his material in per-
spective, or In retrospect. Then he rem
dered such phases OF the literal land.
scapes. as he remembered them. that ap-
pealed to him rs ot artistic value.
\ pair OF screens upon which two huge
tigers are painted IS one OF the most con-
spicuous displays in this section. They
are a departure in that the artist. Seseh
OhaShi OF Toxic. has made q particular
study Of the tiger. and attempts to be
more exact than is often the case with the
japanese Yet the desirable japanese quail |
tiles are retaine5-delIShtful color harmo-
ny and gracefuineSs OF composition. Tho
delicacy OF the cOlOrinz mus, be appre-
GATED At once by anyone. Nothing could
te more exquisite than the way that the
painted shades blend with the rich tone
Of the silk upon which the artist worked.
Forest and Stream No. -, IS consid-
cred an exceptionally fine and 4 typically
japanese rendering of landscape. Anoth-
er. No. II. done by an imperial court
artist. Winter Morning and Wild Ducks"
while ons OF the simplest. IS deemed by
educated japanese one OF the very best
pictures IN the whole exhibition No. So.
by 4 woman. Nine. Shoyen UyeInura. rep
resenting three japanese women, IS tie
best example OF figure work. AS a study
in line, this work is superb. In fact. the
may be bluntly and safely made
that as n harmony nothing IN any section
OF the art galleries Is superior. II equal.
to II.
No. 6. "Wistaria and Bird IS pointed
out as particularly excellent from the
viewpoint OF n Japanese artist. Here are
involved details Of the Japanese tecf-
nique which are not understood and hence
not appreciated thoroughly by one unfa-
m!liar with japanese workmanship. II
will appear on inspection. however, that
each OF the dropping tendriIs of the plant
Is done with one sweeping stroke OF tho
brush. accented occasionally by second
skilifGi dab" II will appear also that
the leaves, which stand out in such posi-
tive relic: and which are rendered with
startling accuracy. are likewise done with
1 single stroke. You then realize that the
performance is nothing short of marvel
ous. A mastery Of brush work Is hero
n h!ch Is wonderful.