美人 BIJIN= 1. 2.
beautiful person beauty
During the Meiji period (1868-1912), a great moment of openness to the world will be happened in Japan. This is westernized, while several manifestations of its culture arrive to Europe, between them the cards – denominated Ukiyos (“Pictures of the floating world”) – which will become in collectibles and inspiration for intellectuals and artists.
express the relationship with Romero de Torres through the work entitled Kami (hair), which deals with the symbolic importance of the feminine hair in the Land of the Rising Sun, at the same time it dialogues with the famous work Viva el pelo. The showing is dedicated to the Japanese hispanist Sizuo Kasai (1895-1989), who the first of February of 1928 visited Córdoba with other Japanese colleagues leaving evidence in the Signatures Book of the Museo de Bellas Artes of Cordoba. It is enrolled in the set of programmed events celebrating the Spain-Japan Dual Year that commemorates the 400 years of relationships between the two countries after the passage through Andalusia of the Keicho embassy.
Principally from Paris, these prints will arrive to Córdoba, and its plastic translation adapted to Modernism will have a good example in the decoration done by Julio Romero de Torres (18741930) towards 1895-1898 for a living room of the old Military Casino of Cordoba, in the palace of the Marquises of Boil, two paintings are known of this decoration. One of them, from a private collection, so far unpublished, and restored for the occasion in the Museo de Bellas Artes of Cordoba, it is for the first time showed to the public.
WORKS:
JULIO ROMERO DE TORRES (1874-1930): Geishas in kimono. 1895-1898 IKEDA TERUKATA (1883-1921): Crossing the bridge under the moon. 1910 Smoking at the tea house. 1910 Hanami. 1910 Under the snow. 1910 KABURAGI KIYOKATA (1878-1972): Koharu. 1911 KAJITA HANKO (1870-1917): Benten Goddess. 1905 Water hyacinth in Yatsubashi. 1911 In the basin of garden. 1901 MISHIMA SHŌSŌ (1856-1928): Preparing mochi. 1897 MIYAGAWA SHUNTEI (1873-1914): Uptown. 1898 Plum tree in winter. 1897 Failed meeting. c. 1900 MIZUNO TOSHIKATA (1866-1908): The tea ceremony. 1893 Contemplating the snowy landscape. 1893 Goddes in front of a bamboo little curtain. 1897 Courtesan. 1900 Kusudama. 1902 OGATA GEKKO (1858-1920): Writing a letter. 1908 SUDO MUNEKATA (active between 1893 and 1913): Lunatic. 1900 TAKEUCHI KEISHŪ (1861-1943): On the beach. 1911 Playing the shamisen. 1914 TERASAKI KOGYO (1866-1919): Goddess bathing in the sea
The painting is accompanied by a painted roll and a collection of twenty-five Japanese cards of various authors which have the woman as protagonist, and they are compared with some Julio Romero de Torres paintings, related by some similarities, either thematic or merely iconographic.
TOMIOKA EISEN (1864-1905): Kesa gozen.1898 UTAGAWA KUNISADA (1786-1865): Utanosuke de Kōshirō. c. 1830 YAMAMOTO EISHUN (active between 1895 and 1920): Conversation. c. 1905 YŌSHŪ CHIKANOBU (1838-1912): Goddess from Tempo era. 1896
The exhibition – curated by David Almazán Tomás – is completed by an installation by Hisae Yanase, a Japanese artist living in Córdoba, who tries to
KABURAGI KIYOKATA (1878 -1972): Moon. 1935 Hisae Yanase. 髪 Kami. 2013
HISAE YANASE (1943): 髪 Kami. 2013