| Research Abstract |
In my research conducted under the auspices of the Scientific Research Grants for 1989-90(A), I comprehensively surveyed fine arts magazines from the 1910s through December of 1921 and constructed a chart of the essays and documents on Cezanne. Under the 1998-2001 Ministry of Education, Culture, Sports, Science and Technology Subsidy for Aiding Scientific Research (CX2) I thoroughly reviewed fine arts magazines dating from January 1922 to January 1947, collected the essays on Cezanne, and then pored over and organized these texts. I classified this body of essays into three blocks : (1) January 1922 - December 1929, (2) January 1930 -December 1939, and (3) January 1940- January 1947. In each I classified the essays based on the points of their arguments and prepared bibliographical notes for each block. In order to grasp Cezanne's reception in a larger context, I prepared a chart showing the history of the reception of French modern art.
As a result of my survey, it became clear that in
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the 1930s and 1940s, "plastique" (zokei) and "realism" (shajitsu) become dominant as keywords in the interpretation of Cezanne in Japan. Until now, this was a point that had been completely unclear, and it is new knowledge that makes the present research original I have composed an essay concerning me rise of both interpretations. During the research period, I planned three lectures related to the theme of the present research : I asked Mr. Atsushi Tanaka, Director of the Second Section of the Art Department at the independent administrative institution National Research Institute for Cultural Properties, Tokyo to speak on the subject "Research Topics in the History of Reception in Japanese Modern Art" on July 21^<th>, 2000 ; I also asked Professor Shigemi Inaga of the International Research Center for Japanese Studies to speak on the topic "Maurice Denis and Japan" on Jury 28^<th>, 2001 ; and I asked Professor Richard Sniff of the Department of Art and Art History at the University of Texas at Austin and Director of the Center for the Study of Modernism to speak on the topic "Digital ; Experience in Modern Art" on September 22^<nd>, 2000. Instead of keeping it to myself, I presented the research to other researchers with interests in similar research topics and created a place for discussion with an eye towards public benefit.
I recorded and published the talks given by these three individuals with a bibliography, chronology and my own essay in a research results report booklet (A4 size, 100 pages) and presented the results of the present research to numerous other researchers. Less
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