Uemura Shōen

Infobox Artist
name = Uemura Shōen


imagesize = 150px
caption = Uemura Shōen
birthname = Uemura Tsune
birthdate = 23 April 1875
location = Nihonbashi, Tokyo, Japan
deathdate = 27 August 1949
deathplace =
nationality = Japanese
field = Painter
training =
movement = Nihonga
works =
patrons =
awards = Order of Culturenihongo|Uemura Shōen |上村松園|Uemura Shōen|extra=23 April 1875 - 27 August 1949 was the pseudonym of an important woman artist in Meiji, Taishō and early Showa period Japanese painting. Her real name was Uemura Tsune. Shōen was known primarily for her "bijinga" paintings of beautiful women in the "nihonga" style, although she also produced numerous works on historical themes and traditional subjects.

Early life

Shōen was born in Shimogyō-ku, Kyoto, as the second daughter of a tea merchant. She was born two months after the death of her father and thus grew up together with her mother and aunts in an all female household. Her mother’s tea shop attracted a refined, cultured clientele for the art of Japanese tea ceremony. As a child, Shōen drew pictures and exhibited considerable skill at drawing human figures. She became obsessed with the "ukiyoe" works of Hokusai. Unusually for the times, her mother supported her daughter's decision to pursue art as a career.

Shōen was sent to the Kyoto Prefectural Painting School, where she studied under the Chinese style landscape painter Suzuki Shoen (1849-1918). She also began studying the Kano school and Sesshu schools styles of painting, and Suzuki was so impressed that he gave her his own pseudonym of “Shōen” in recognition of her talent. This was an exceptional breakthrough for the times; however, for a while her reputation was tainted as she was suspected of a liaison with her teacher, which may have been true; soon afterwards she gave birth to an illegitimate son (the future painter Uemura Shoko) whom she raised as a single mother. She later gave birth to a daughter, and likewise never revealed the name of the father.

Early artistic career

In 1894, Shōen became a disciple of Kono Bairei, and later of his successor Takeuchi Seiho. She won her first award for a painting submitted to a 1900 exhibition sponsored by the Japan Fine Arts Academy ("Nihon Bijutsuin") together with the Japan Painting Association ("Nihon Kaiga Kyokai"). She later focused on producing work for display and sale at the government-sponsored "Bunten" exhibitions starting from 1907. The purchase of her painting, "The Beauty of Four Seasons", by the Duke of Connaught on his visit to Japan, raised her to celebrity status.

Shōen drew from her artistic training and her personal interest in woodblock prints and older painting styles to develop new techniques and styles of composition with a broad range of subjects. Themes and elements from the traditional Noh drama frequently appeared in her works, but images of beautiful women "(bijinga)" came to dominate her works. Eventually, her works would combine the themes of both Noh and women together into a single composition. From 1917 to 1922, she entered a slump, and declined to participate in exhibitions for several years.

In 1924, she returned to the art world by exhibiting a painting entitled "楊貴妃" Princess Yohki (Yang Guifei) at the Fourth Exhibition of the Imperial Academy of Fine Arts. The painting is now at the Adachi Art Museum in Tokyo.

Later career

During the 1930s, when Shōen was in her late 50s and early 60s, she began producing very large works. These include "Spring and Autumn" (1930), "Jo-no-mai" (1936), and Soshi-arai Komachi (1937). Many of these works, especially "Jo-no-mai" are now considered her greatest masterpieces. Infobox Painting|

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title= nihongo|"'Noh Dance Prelude|序の舞|Jo-no-mai
artist=Uemura Shōen
year=1936
type=Nihonga watercolor on silk
height= 141 cm
width= 23 cm
height_inch=
width_inch =
city=Tokyo
museum=Tokyo National University of Fine Arts and Music"Jo-no-mai" and "Soshi-arai Komachi" are both inspired by the Noh theater. ("Jo-no-mai" is a dance performed in the introduction to a Noh play, and "Soshi-arai Komachi" is the title of a Noh play about the Heian period poetess Ono no Komachi.) Both paintings are characterized by a strong feeling of majesty, with a large central figure against an empty background. The use of color is carefully planned so that the light surfaces of clothes and other items stand out prominently against the negative space.

In 1941, Shōen became the first woman painter in Japan to be invited to join the Imperial Art Academy. She was also appointed a court painter to the Imperial Household Agency in 1944.

During World War II she supported nationalism in pieces like "Late Autumn" which depicts a beautiful woman doing her part to help the war. Despite her advanced age, she even traveled to the war zone in China at the invitation of the Japanese government for propaganda purposes, to prove to people back home that all was going well. Many of her works from this period, including "Twilight" (1941), "Clear Day" (1941), and "Late Autumn" (1943), depict working women engaged in daily chores, who display a strong sense of vitality. As with her works from the 1930s, Shōen shows a skillful use of negative space, with realistic detail, neat lines and a calm use of color. As the war situation deteriorated, in February 1945, Shōen was evacuated from Kyoto to the suburbs of Nara.

In 1948, she became the first woman to be awarded Japan's prestigious Order of Culture. Her painting Jo no mae was also the first painting by a Japanese woman to be rated as an Important Cultural Property by the Agency of Cultural Affairs.

Philately

Uemura Shōen's works have been selected as the subject of commemorative postage stamps twice by the Japanese government:

* 1965: "Jo no mae", to commemorate the 1965 Philatelic Week
* 1980: "Mother and Child", as part of the Modern Art Series

In the year 2000, Uemura Shōen herself was the subject of a commemorative postage stamp under the Cultural Leaders Series by Japan Post.

References

* Briessen, Fritz van. "The Way of the Brush: Painting Techniques of China and Japan". Tuttle (1999). ISBN 0804831947
* Conant, Ellen P., Rimer, J. Thomas, Owyoung, Stephen. "Nihonga: Transcending the Past: Japanese-Style Painting, 1868-1968". Weatherhill (1996). ISBN 0834803631
* Kato, Ruiko. "Niji o miru: Shoen to sono jidai". Kyoto Shinbunsha (1991). ISBN 4763802798
* Kimura, Ihee. "Four Japanese painters: Taikan Yokoyama, Gyokudo Kawai, Shoen Uemura, Kiyokata Kaburaki" (JPS picture books). Japan Photo Service (1939). ASIN: B000888WYA

External links

* [http://osaka-art.info-museum.net/selection_e/mod/e_mod_09.html Osaka Art Museum with image of "Late Autumn"]
* [http://www.kintetsu.jp/shohaku/index.html Shohaku Art Museum in Nara (Japanese site) where many of her works are displayed]
* [http://www.gallery-sakura.com/search/uemura_shoen.html Artworks and history of Uemura Shoen]