Permanent Collection 2nd term 2024

In 2024, the Takamatsu Art Museum will celebrate the 100th anniversary of the birth of Akutagawa (Madokoro) Saori (1924‒1966). As part of the project “Museum to Museums:Journey to Reflect on the Path of Akutagawa (Madokoro) Saori,” the museum will exhibit its collection of　Akutagawa's works alongside those from ten other national museums that also hold her　artworks.

In 1942, Saori entered the vocal music department of Tokyo Music University (now Tokyo　University of the Arts) and married the composer Akutagawa Yasushi, a classmate, shortly after the war in 1948. However,as she later mentioned in an interview, “My husband always　complained whenever I sang, so I turned to　'soundless' paintings.” She gave up music and　from the early 1950s onwards, she began　studying oil painting under Inokuma Genichiro and dyeing under Noguchi Michikata, immersing　herself in the world of painting. The most　significant of her works is her “Women” series,which can be considered self-portraits or reflections on her views of women. These　figures express intense emotions of joy , anger,　sorrow, and pleasure on the canvas. Drawing inspiration from myths like the K ojiki (Records of　Ancient Matters), her depictions of women in the　“Women” series are magnified and enriched by her free-spirited imagination and unique　interpretations, as seen in our museum's　collection piece “Myth, Birth of Gods” (1956).Around this time, she divorced Yasushi andmoved to the United States in 1959, where she　married Madokoro Yukio and lived with him in　America. Having shifted from semi-figurative to abstract painting before her move, she　suddenly passed away at the age of 41, just as her career was starting to flourish.

This exhibition showcases works by other artists of Saori's era, such as Fukushima Hideko and Tanaka Atsuko, who were active at　a time when it was rare for women to gain recognition in the art world. It also highlights the diverse achievements of female artists who　have had solo or group exhibitions at our　museum since its renovation in 2016.Additionally, the exhibition includes works by　Fujikawa Eiko and Yoda Junko (based in New York),Western-style painters associated with Takamatsu.Saori's tribute to pioneering female　artists of the past,alongside the strong artworks and presence of determined womenwho have navigated their times, inspires usacross generations and offers a positive future.

Image：Akutagawa （Madokoro） Saori《Myth, Birth of Gods》 1956

The predecessor of the Takamatsu Art Museum was the former Takamatsu Municipal Museum of　Art (located in Ritsurin Park) , which opened in 1949.From its early days, two appointed curators were involved in the operation of the museum.
One was Akashi Bokke i (1911-1992), a lacquer artist who returned from the battlefield and actively contributed to the opening of the art　museum in his hometown of Takamatsu, aiming　to restore cultural activities. The other was Kamo Masao (1906 - 2000) , a metalworker who
joined the newly established craft group Shojinsha in 1947, alongside young and　mid-career craft artists, such as Akashi and Otomaru Kodo.

Kamo, like his older brother Kamo Kotaro,　attended the metalworking department at Tokyo　School of Fine Arts (now Tokyo University of the　Arts) . In　1927, he participated in the establishment of　Kojinsha, an organization led by Kitahara　Senroku, the pioneering figure in the local craft　community, also from T akamatsu, along with　Osuga Takashi, Nobuta Yo, and Yamawaki Yoji,　and others. In that year , the 8th Imperial Art　Academy Exhibition introduced a Fourth　Section, “Fine Art Crafts,” which marked a new　era in modern craft history. Kamo explored and　refined expressions that departed from　conventional metalworking practices until then.

Akashi, who is five years younger than Kamo,　studied under the lacquer artist Isoi Joshin at　Kagawa Prefectural Takamatsu Technical High　School (now Takamatsu Kogei High School) . In 1934, he　graduated from the design department of Tokyo　School of Fine Arts, and after working at the　Lacquerware Division of the Wakayama　Industrial Testing Grounds, he returned to　Takamatsu. In 1947, he co-founded the Kogei　Shichisai-kai, which later formed the basis for the　Urumi-kai, with Kashima Nobuo, Kubota Ryoji,　Manago Jitsuya, and others. The group, united　by the slogan “We have gathered to dig a new　fountain. [...] Let's create a bright, new craft,”　carried this spirit forward when it was renamed　the Urumi-kai in 1949.

Both Akashi and Kamo embraced the new　trends in the craft world before and after the　war.Sometimes taking the lead themselves, they　continually contributed to the growth and　prosperity of the craft industry.In this exhibition, we will showcase 29 pieces by 13　artists, including representative works by both　of them. It aims to introduce the vibrant craft movement that began in the early Showa period and the industrious works of Kagawa's enthusiastic craftsmen during the post-war decade.

Image：Akashi Bokkei《Box with Narcissus Design, Kinma》 1947