Study of Foujita Tsuguharu's Basic Painting Techniques : Materials and Tools in his Last Studio
| Project/Area Number |
16520091
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
Aesthetics/Art history
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| Research Institution | Kyoto University of Art and Design |
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Principal Investigator |
HAYASHI Yoko Kyoto University of Art and Design, associate professor, 芸術学部, 助教授 (30340524)
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| Co-Investigator(Kenkyū-buntansha) |
小谷野 匡子 (株)絵画保存研究所, 代表取締役
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| Project Period (FY) |
2004 – 2005
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| Project Status |
Completed (Fiscal Year 2005)
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| Budget Amount *help |
¥3,300,000 (Direct Cost: ¥3,300,000)
Fiscal Year 2005: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 2004: ¥2,800,000 (Direct Cost: ¥2,800,000)
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| Keywords | Foujita / Technical Studies / International Exchanges / France / 20^<th> century / Fine Art |
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| Research Abstract |
It is well known that Foujita Tsuguharu (1886-1968) achieved great success in Paris in 1920s by combining Japanese and Western painting materials and techniques, but the details of his technique remain mysterious. Many of the painting materials and tools used by Foujita are still stored in his residence-cum-studio, "Maison-atelier Foujita", in the suburbs of Paris, where he spent his last years in 1960s. In 2002, our research team, along with some French restorers, began to study the Japanese painting materials and tools in the Maison's studio and finished cataloguing half of them. Having received a grant-in-aid for scientific research in 2004-2005, we went to Paris in the summer of 2004 to study the remaining items. After an on-site investigation, we created a list, in Japanese, English and French, of all painting paraphernalia in the Maison and scientifically analyzed some samples from his painting materials. Once we comprehensively examined the list and the results of the scientific analysis, we were able to reveal a relationship between the basic elements in Foujita's paintings and the painting materials left in his studio. It is important to stress that the white color in Foujita's famous "White Ground" (le fond blanc) was created with Western components. The samples of this white color found in his studio are composed of calcium carbonate (not gofun, but Western chalk), gypsum, plaster of Paris, talc, mica and etc. The scientific identification of the materials in the studio including pigment identification will provide restorers, conservators, and art historians with very useful information. In our investigation of Foujita's painting tools, we discovered sumi, traditional Japanese painting brushes, and also many dyeing brushes and dyeing materials. Further research on the relationship between Foujita's works in 1950-60 and these dyeing materials is necessary.
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Report
(3 results)
Research Products
(6 results)
