Hidetaka Ohno --- from gMaterialh to Flowers

Saturday, September 23 - Wednesday, October 25, 1989 @

O Art Museum Juridical Foundation Shinagawa Cultural Promotion Association @

O Art Museum Juridical Foundation Shinagawa Cultural Promotion Association @

Colloquy: Hidetaka Ohno and Shiganobu Kimura Honorary professor of Osaka University 2:00 p. m., on Sunday, September 24

Ohsaki New City

The first and thorough retrospective of Hidetaka Ohno, a revolutionist in postwar Japanese-style painting, who showed a wide range of expressions resulted from incessant self-conquest.

Mr. Ohno was born in Kyoto in 1922 (the eleventh year of Taisho Period) and entered Kyoto Municipal School of Painting (present Kyoto Municipal College of Fine Arts) in 1941 to learn Japanese-style painting. In 1949 soon after the defeat in the War, he participated in the first exhibition of PAN-REAL Art association with the young Japanese-style painters, Makoto Mikami and Ryonosuke Shimomura, and he expressed rebellion against the conventionalism of the Japanese-style painting circles , and aimed at the widening of expressive possibility of Japanese-style painting as the art of glue and colors. After he withdrew from the association, he held many one-man shows in and out of Japan and participated in various international exhibitions and his activity was not limited within the traditional category of Japanese-style painting.

Since his days in the Pan-real group, he experimented a variety of styles, and from 1958 on, he started the series so-called gdongorosh in which jute bags were pasted onto the surface of the painting. Simultaneously, he applied cement mixed with an adhesive agent to the surface of a painting, or he produced a limpid chiaroscuro works using only Sumi ink and Chinese white. Such thorough and unprecedented attempt to re-question the traditional concept and mediums of the Japanese-style painting was more welcomed abroad than in Japan. From 1971 he turned again to the outside world, and particularly concentrated on flower motifs and his style also turned to an extremely subtle, academic style of South Sung. In ten years after that, his flower gradually changed its image from real to unreal, and through the microcosmos of a flower he tried to crystallize life or spirits. It was not a return to the tradition, but his static attitude as a seeker made him combine the first principle of the universe with organic shapes.

This exhibition is the first effort to trace a full picture of the artist, who made such dynamic and various changes in styles, by exhibiting more than 70 representative works, including his unpublished works, together with more than 20 drawings.


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