lnformation on NPO Art Wa-no-kai Association l. Objectives of EstabIishment (Prospectus) The main objectives 0f this organization are to promote and support activities related to the exhibition and effective utilization of works of art for the benefit of the general public as well tO promote the discovery and recognition of hitherto unknown works ofart based on collaboration with art collectors and their watakushi museums ( 、、 watakushi" in 」 apanese means 、 1 ' ' 0 「、、 my", and the term 、、 watakushi museums" refers to private museums personally organized by Art Wa-no-kai members, usually at home). and through these activities to contribute to the further popularization ofart. Ⅱ . The Content of Specific Activities 1 ) Exhibiting high-qualitycollections. and promoting and commending activitiesaimed at the popularization Ofart: We organize one circulating exhibition each year, and we present an award to one individual each year. 2 ) HoIdingIectures: We organize one or tWO lectures each year. 3 ) Discovering, honoring and popularizing unknown artists: Each collector and his/her watakushi museum practice these activities. 4 ) Publicizing these activities through our homepage: We update our homepage with the latest information once or twice a month. 5 ) Holding meeting parties to show our members' works and facilitate communication: We organize a meeting four times each year. This is a fun event f0 「 the members. 6 ) PubIishing the organization's Bulletin and books: We publish four issues ofthe Bulletin each year and ou 「 first book. Ⅳ + no 畩 a / no Me (Eyes Ⅳå - no - 燔 / ハ 550C / a 加 n ). was published in 2012. 7 ) Projects necessary to achieve the objectives stated above: We provide our members with a report once each month. Ⅲ . EstabIishment: The organization was registered on August 1 乙 2010. (*lts forerunner, the Association of Watakushi Museums was founded in May 2003. So, the organization's history comprises 14 years in tOtal.) Ⅳ . Members 1 ) Numberofmembers:73 peopleand 15watakushi museums(asof 」 anuary2017). 2 ) Membership composition:The membership comprises 15 watakushi museums and 5() collectors, as well as artists, art galleries, art lovers, art researchers, restorers. people attempting tO popularize art, and 3 people preparing to establish their own watakushi museums. Ⅵ Enrollment Conditions ofenrollment:The submission ofa membership application form is required. *For details, please contact us by letter or email. PIease refer to our homepage (only in 」 apanese) as well. The secretariat: c/O Kashiwa Watakushi Museum ト 358 Wakashiba, Kashiwa-shi, Chiba 2 〃 -0871 」 apan E-maiI: ryokeihori@yahoo.co.jp Ⅵ . Fee EnroIIment fee: IO,OOO yen AnnuaI fee: 1 0,OOO yen ()n the case that enrollment commences in or after November, the annualfeeforthefirst earistobe5000 en asa halftermfee. XII

are many painters whO made their names by taking advantage Of opportunities to hold exhibitions at his gallery. Sunouchi was also known as a fine writer, and his series Of essays Kimag11/ ・ e bijutsukan (literally meaning 。℃ apricious Museum") have become a must-read for art fans. He was 引 so known by the nickname Of 、 'the art dealer who would not sell" and he kept many important favorite works on hand. These works are now permanently exhibited as the Sunouchi CoIIection at the Miyagi Museum of Art, and enthusiastic fans from the all over the country enJOY visiting this collection. The former office worker and art collector Umeno Takashi ran an art research institute named Geirin in TOkYO's Kyobashi district after his retirement. Umeno's father was Umeno Mitsuo, whO had been a friend of the famous painter AOki Shigeru and came intO the possession Of most Of his works after AOki's early death. During his time at Geirin, Umeno brought to public attention a number 0f forgotten painters and broadly pointed out their value regardless 0f profit. The reevaluation Of such able painters as lmanishi Chutsu, ltO Kyuzaburo, Sugano Keisuke, Yoshida Takashi and others, who were seldom subjects of discussion in the art world at that time, might never have happened without Umeno's efforts. His collection is now exhibited at the Umeno Memorial Picture Gallery in Tomi City of Nagano Prefecture. My first impression upon viewing the Sunouchi Collection and the Umeno Collection was of the strong passion and love that these two men must have felt towards the art they collected. The scale 0f both collections is extremely modest when compared tO the above-mentioned great collections. However, while the individual works in their collections are restrained, they each have the power tO gradually affect the hearts 0f their viewers. These collections also suggest a real notation that art is a mental activity after all. Whenever ー visit either collection, ー somehow gain confirmation Of the important basics Of art. Many of the members 0f Art Wa-no-kai have been instructed and influenced by both Sunouchi and Umeno. The spirit and attitude of both of these men toward art has directly contributed t0 the atmosphere 0f this group. This can be easily realized by browsing this book, which is the second volume in the Wa-no-kai no me (Eyes Ofthe Wa-no-kai Association) series. Here we cannot view any Of the great master works that grand collectors Often have. AISO there are no works exclusively intended for sale by popular artists. All the works are gems brought to fruition by their respective creators only with a great deal Of effort. Moreover, the comments the collectors have written about their beloved art pieces, Of which they can be justly proud, are things that neither critics nor museum curators could have possibly written. All the comments are literally bursting with affection for the works. lsincerely hope that the publication 0f this b00k. which has been long awaited, will broaden the circle 0f ordinary collectors wh0 love art. Hijikata Meiji Art Critic and Vice Director Of the Hiratsuka Museum Of Art

For the publication of the art b00k Wa-no-kai no me 〃 (Eyes 0f the Wa-no-kai Association 〃 ) Hijikata Meiji ln 2015 , an exhibition featuring the collections of the members of the Art Wa- no-kai Association was held at the Hiratsuka Museum of Art. The subtitle of the exhibition was 、 'CJnknown perfect gems collected by the salaried worker collectors". Art Wa-no-kai is a friendly association bringing together art collectors working in various professions including Office workers, public employees, dOCtors and others. The items in their collections are the very opposite of ostentatious things, but each one is a hidden perfect gem that embodies a discrete charm like that of oxidized silver. Overall, the 146 works exhibited at the museum revealed the personalities and attractiveness Of their respective painters and sculptors tO perfection, and each one exuded an unforgettable impression although they are relatively small works. The reason why such splendid works have been collected can only be because this group of collectors have poured their passion and tenderness intO art and hunted around for these works while gathering related information without sparing effort 0 「 time. ln previous ages, works 0f art were collected by the rich and powerfu し and it was mainly after the advent Of the modern era that they became objects Of collection by ordinary people.ln Japan, the well-known collectors were capitalists affiliated with financial combines. These individuals built up luxurious collections based on their abundant funds. Many Of their collections are now housed in nationally important private museums where the general public can view them. The main private museums are Sankeien founded by Hara Zenzaburo and Hara Sankei, Okura Shukokan (the Okura Museum 0fArt) founded by Okura Kihachiro, the Nezu Museum housing the collection of Nezu Kaichiro, Seikado Bunk0 Art Museum founded by lwasaki Yanosuke and Koyata, the Ohara Museum of Art housing the collection of Ohara Magosaburo, the Bridgestone Museum Of Art founded by lshibashi Sh0jiro, the G0t0h Museum housing the collection of Gotoh Keita and the ldemitsu Museum of Art founded by ldemitsu Sazo. Among the museums of contemporary art, the Hara Museum founded by the banker Hara Rokuro is well known. 川 so , the billionaire art lover Fukutake Soichiro has transformed the small island of Naoshima in the Seto lnland Sea into an internationally famous "art island". The above-mentioned art museums are well known bOth inside and outside Of the country and they house rich collections in comparison with which the poor local public museums cannot compete. On the other hand, there have been otherless wealthy collectors who have gathered their collections step by step by making superb use of their limited funds, their exceptional eye for quality and their intuition to finally establish notable collections. Art dealer Sunouchi Toru and collector Umeno Takashi stand out as representatives of this keen-eyed group. These two men influenced me personally. From them, llearned to earnestly play serious games with works Of art using only my own eyes and brain, and this is something one cannotlearn through academic study alone. Sunouchi Toru was running Gendai GaIIery, which has become a legendary gallery since that time, and was supporting nameless but promising painters. There Ⅸ

Foreword Nohara Hiroshi The book entitled Wa-no-kai no me (Eyes the Wa-no-kai Association) -The Quiet Passion 0f CO 〃 ec [ 0 was published in June 2012 as one of the tenth anniversary memorial projects Of the Art Wa-no-kai Association ("Wa" in Japanese has various meanings such as a circle, harmony and peace, and "VVa-no-kai was established as an association with the aim Of achieving a harmonious collaboration among art collectors and their private museums). The present volume Wa-no-kai no me ″ (Eyes of the Wa-no-kai ハ ssoc / a 行 on 川一 works 0 「 ハ Capture ) わⅢ・ Heart is its sequel edition. A non-profit organization, Art Wa-no- kai consists of a group of small collectors and it was originally established as a group called 、、 The Collectors Create 、 My Museums'!" At the present time, our association consists Of approximately 73 members whO mainly collect works executed by deceased Japanese painters Of Western-style art. We are promoting activities that are aimed at popularizing art by exhibiting artistic works and by excavating and honoring relatively unknown artists. As you can see by browsing this bOOk the works introduced in its pages are, despite being neither famous nor expensive, in many instances perfect gems. Our members from all over the country have expended their best efforts over many years tO collect these works. The works appearing here comprise 1 70 pieces by 145 artists and they were produced over a period 0f 1 33 years from 1 881 tO 2014. The vast majority are Oil paintings but the collection alSO includes watercolors, prints, Japanese traditional paintings and three-dimensional works. From 201 5 to 201 6 , most of the works published in the previous volume were exhibited at the Hiratsuka Museum of Art and at the Umeno MemoriaI Picture GalIery in Tomi City, where they proved extremely popular with the visitors.lt was quite a rare event for the collections Of small private collectors tO be exhibited together as an official exhibition in a serious manner at tWO public museums, and it was alSO an immense pleasure for us as art collectors. These works, which we are used tO seeing in the familiar surroundings Of our own homes, tOOk on a remarkable new attractiveness thanks tO the use of full-scale lighting technology and we were deeply moved as if we were watching the proudest moment in the lives Of ou 「 own children. lt is ou 「 sincere hope that the works included in the present volume will likewise experience their proudest moment if the opportunity for a similar exhibition arises. Please ok through the collection fo 「 your favorite pieces. l'm sure you can find at least one. And please take your time to enjoy viewing and appreciate the beauty Of these art works. We welcome you all as friends and fellow art enthusiasts. Nohara Hiroshi Director of NPO Art Wa-no-kai Association

『わの会の眼Ⅱ心を射抜く作品たち』 発行 企画編集 校正 発行日 連絡先 印刷 写真撮影 表紙 裏表紙 NPO 法人あーと・わの会 NPO 法人あーと・わの会書籍プロジェクト 野原宏 平園賢一 堀良慶 鈴木正道 中山ゆかり 斉藤博美 理事長 プロジェクト・リーダー 企画 会計 編集 編集デザイン テイム・グロヴズ翻訳 佐々木征鈴木正道野口勉和田孝明 2017 年 6 月 25 日 NPO 法人あーと・わの会書籍プロジェクト事務局 〒 277 ー 0871 千葉県柏市若柴 1-358 柏わたくし美術館内 Tel : 04 ー 7 134-8293 E-mail : ryokeihori@yahoo.co.jp 株式会社総北海 M G M 橘正人富野事務所 広幡憲《浮標》 1948 年 靉嘔《ハート》 1976 年 ◎ NPO 法人あーと・わの会 2017 ( * 作家、遺族等著作権者の方々には、極力作品掲載のご許諾をいただくよう努めましたが、 一部ご叫各先のイ印月な作品がありました。お心たりの方は「わの会」事務局にお知らせください ) レ - no - 燔 / no Me II(Eyes 0 科怕 - no - 燔 / ハ ssoc / a ″ on ″ ) ーいわ s of/ キれ 0 CaptureYourHeatt Publisher N PO Alt Wa-n&kai Association Planning & editing NPOArtWa-no-kai Association B00k Project Proofreading PubIishingdate Contact Printi ng Photogr 叩 hy Cover design Nohara H irosh し Director Hirazono Kenichi. Pr0JectLeader Hori Ryokei. Administrator Suzuki NakayamaYukari. Editor Saito Hiromi. Editor & Designer Tm Groves,Translator Sasaki Sei, Suzuki Masamich i. Noguchi Tsutomu, VVada Takaaki June 25 ′ 2017 The 0f N PO A1t Wa-no-kai Association Book prqect c/o KashiwaWatakushi Museum 1 -358 Wakashiba. Kashiwa-shi, Chiba 277 ー 0871 Japan Sohokkai Co.. Ltd. MGM, Tachibana Masato ′ Tomino Office Hirohata Ken, ハ Buoy, 1948 / Ay - O , 日田応 , 1976 0 NPOAltWa-no-kai Association 2017 (*The publishers have attempted t0 0btain the 叩 proval 0f the anists anc レ Or the owners 0f the reproduction rights to the works reprcxlucerlin this VOlume. However. in some instances. we have unable tO contact the individuals concernerl. contact us ifyou have any information concerning the holders ofrights t0 these published images. )

草光信成《西の空》 油彩・キャン八ス 33.0 x 24.0cm 1930 年 Kusamitsu N0bushige The 5 々 y the West 草光信成 ( くさみつ・のぶしげ / 1892 ー 1972 年 ) 島根県出雲生れ。 1916 年東京美術学校西洋画科卒。 27 、 28 、 30 年帝展 て特選。 38 年従軍画家として戦地へ赴く。 55 年新世紀美術協会創立に参加。 70 年没、 80 歳。 22 /

川上邦世《春風駘蕩》 木彫・木 71.0 x 20.5 x 24.5cm 1916 年 Kawakami Kuniyo The Tranquility the Spring Wind 川上邦世 ( かわかみ・くによ / 1886 ー 1925 年 ) 東京生れの彫刻家。 1906 年東京美術学校卒。高村光雲に師事。 07 年第 1 回 文展に出品。 16 年院展に初入選し、戸張孤雁、中原悌ニ郎とともに院友推挙。 18 年院展試作展にて奨励賞。 25 年没、 39 歳。弟子に中平四郎などがいる。 73

野見山暁治《ほほづえ》 油彩・キャンバス 33.5 x 45.2cm 1951 年頃 Nomiyama Gyoji Resting the Chin on the Hands 野見山暁治 ( のみやま・ぎようじ / 1920 ー ) 福岡県生れ。 1943 年東京美術学校洋画科卒。 52 年渡仏。 58 年安井賞受賞。 64 年帰国。 68 年東京藝術大学助教授、後に教授となる。 81 年藝大を辞職。 97 年「無言館」設立に尽力。 2000 年文化功労賞、 14 年文化勲章を受章。 259

荻須高徳《赤いひさしのある家》 油彩・キャンバス 53. Ox 71.5cm 1930 年代 Oguiss Takanori The House ⅲ the Red Eaves 荻須高徳 ( おぎす・たかのり / 1901 ー 1986 年 ) 愛知県生れ。 1926 年東京美術学校西洋画科卒。卒業後渡仏し、 40 年まて 滞在。 40 年新制作派協会会員。 48 年再渡仏。 55 年神奈川県立近代美術館 て回顧展を開催。バリて没、 84 歳。没後、文化勲章を授与される。 1 63

龍駿介《海内第一の山》 油彩・キャンノ ( ス 50.0 x 61. Ocm 1939 年 Ryu Shunsuke The 日 [ Mountain in the Ⅳわ 0 / e Country 龍駿介 ( りゅう・しゅんすけ / 1889 ー 1988 年 ) 福岡県生れ、龍清六。遠山五郎、山本森之助、南薫造に師事。川端画学校に学ふ。 1927 、 29 、 30 、 37 年光風会展、 29 年白日会展入選。 31 年伝習館と柳川高 女て個展。 35 年改名。 38 年以降、富士山を専門に描く。東京で没、 99 歳。 97