Don't you want to go out in the last few years with a feeling of restlessness and blockage? Let's go on a trip! ! ! ! That said, it's kind of difficult. Then why not take a trip through the works?
Find a ship that was launched on land. Take a walk along the waterways of Edinburgh. See Burgundy villages from the train window. Finding a large tree deep in the forest. Why don't you feel like traveling in the museum?
The beginning of "My Masterpiece" dates back to 2007.
When the founder, Masao Hoki, established the museum, he wanted to create something that would become a distinctive feature of the Hoki Museum. Therefore, we gathered a group of writers and asked them to spend three years creating a masterpiece of over 100 issues that would become ``my masterpiece'' in the future, based on a theme that they had thought of themselves.
When the museum opened in 2010, the completed works were exhibited in a special exhibition room, Gallery 8. Among the exhibition rooms that have mostly white walls, Gallery 8 is the only one with black walls, a black floor, and a black ceiling. Each work will be exhibited one by one in a 6 meter space separated by glass.
He expended a tremendous amount of energy to create his own masterpiece, and at the same time, he burned his fighting spirit with the works of other artists, and each of them worked to improve each other's works without cutting any corners. Artists do not know what kind of work they will create until it is exhibited. Of course, we will not be informed until the item is delivered. The Hoki Museum of Art currently has around 60 artists in its collection, but the ones that can be exhibited here are the artists who shine the most today. The works will be exhibited continuously for three years. This is the fifth time that the exhibition of ``My Masterpieces'' has been exhibited four times.
This exhibition includes an audio guide where you can listen to the artist's live commentary on the work. Please use the QR code placed next to the work to access the dedicated site.
All works drawn over three years by a total of 13 artists.
Over 100 major works are brought together in one place, and can be said to be the pride of the author himself.
The forefront of realistic painting depicting his masterpiece
Highlights
The foundation of the Hoki Museum, displaying successive works created through the "My Masterpieces" exhibition
This is the fifth time that the "My Masterpieces" exhibition has been held. Through the past four "My Masterpieces" exhibitions, the number of works that have been housed in the museum has exceeded 50. This time, 13 new works have been added. Please enjoy this exhibition along with some of its past collections, as well as the ``My Masterpieces'' exhibition, which not only forms the basis of the Hoki Museum of Art, but also includes many representative works in the world of realism painting.
A collection of works by a total of 13 artists who can be said to be proud of their masterpieces.
A major feature of the ``My Representative Works'' exhibition is that we ask artists to create works that ``draw what they consider to be their representative works.'' There is nothing more difficult for an artist than being asked to create a ``masterpiece,'' which can be called a masterpiece only after it has been evaluated by many people, and which can be said to be created by viewers. One of the best parts of this exhibition is being able to encounter the challenging and heartfelt works of the exhibiting artists.
It was in 2020 that the museum commissioned the work for the 5th “My Masterpieces” exhibition. The size specification is for large works of size 100 or more. An exhibition that brings together both veteran and new artists is extremely rare and can be said to be unique to the Hoki Museum. All of the drawings will be released for the first time on November 23, 2023.
A spectacular exhibition that brings together over 100 newly drawn works over the past 3 years.
You can listen to an audio guide in the artist's own voice using the QR code next to the work.
You can enjoy the origin and production background of works by unique artists.
Audio guide where the work is narrated by the artist's own voice
FREE Wi-fi has been installed in the building.
Communication is now possible even in basements where there was no signal until now.
*Please refrain from talking on the phone inside the building.
FREE Wi-fi has been installed in the building. Communication is now possible even in basements where there was no signal until now.
*Please refrain from talking on the phone inside the building.
Hiroshi Noda, Toshiro Aoki, Fumihiko Gomi
Masayuki Hara, Minoru Ohata, Osamu Obi
Kenichiro Ishiguro/Atsushi Suwa
Ryo Shioya, Emi Hiroto, Takaya Fujita
Bihiro Yamanashi / Kei Mieno
H I R O S H I N O D A ・ T O S H I R O A O K I ・ F U M I H I K O G O M I
M A S A Y U K I H A R A ・ T O S H I H I R O O H A T A ・ O S A M U O B I
K E N I C H I R O I S H I G U R O・A T S U S H I S U W A
R Y O S H I O T A N I ・ E M I H I R O T O ・ T A K A Y A F U J I T A
T O M O H I R O Y A M A N A S H I ・ K E I M I E N O
Exhibition artist
Artist's comment
Hiroshi Noda
This painting depicts Kaga Otohiko. He is the rare Japanese long-form author who died last year at the age of 93. Kaga and I had various connections. He was my best friend, my friend who I would go out drinking with until very recently. I first met him when there was talk about whether or not I would do the illustrations for his novel Marshland, then being published as a serial in the morning edition of the Asahi Shimbun newspaper. Up until then I knew nothing about Kaga, so in a panic I tried to read his major novel, most difficult novel Conviction. I decided “well I think I should paint them,” yes, I thought, it looks interesting so why not try. But having to paint one picture a day, trying seemed the hardest, the most troublesome, I tried to draw a bird’s nest. So that took two weeks, and I thought that is probably not going to work. So I then thought that I should meet Kaga, apologize for not being able to keep my promise, refuse the job and go home. But then I explained the situation, and that is why it is impossible and said all that. And he said, “That is ok, that is just fine, it is ok,” saying he did not understand. So basically he tricked me into deciding there was nothing I could do but paint the pictures. It was horrible to be conned like that and I was truly troubled to have to paint illustrations from dawn to dusk every day, but in the end, that is how I became close friends with Kaga. Then the same thing happened again when he was 90. What is that place just before Karuizawa, Oiwake? Kaga had his country house there, and it was called the Karuizawa Bungakukan, and for years he was the director. When he turned 90, all sorts of people gathered to congratulate him, and he said, “I think it would be even better if the portrait of me that you paint for me were here.” So once again he did it to me, so once again after decades it was time for “Kaga-speak.” At that point I had not yet been able to do anything. I had been able to sketch Kaga, but had not yet gotten to the stage of painting him. As he got weaker and weaker he then died, but this time, at last, I did it. As Paul Valéry said, “nothing is finished,” and “poems are never finished, just abandoned.” In that sense, it is a painting that I somehow brushed, and here for now it is finished.
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"Noble Being,Op.9"
青木敏郎
私は京都に生まれ育ちました。そして今もアトリエをかまえています。京都は神社仏閣、名所旧跡も多く、描かない手はありません。自分の求める、自分の感性に合った、絵心の沸き起こるような場所を求めてあちこち散策しましたが、残念ながら見つからず困惑していました。
この絵は京都の真ん中を流れる鴨川の川べりの、とある眺望を描いたものです。
この辺りは普段散歩やジョギングに最適なところで多くの人を見かけます。しかし絵心をわき起こしたことはありませんでした。
秋も深くなってきたとある日、久々にここを通りかかったところ、ある地点からの眺望が一変していました。東山を背に川べりの木々の紅葉も半ば散り、それらの様が川面に映り琵琶湖の方からの野鳥も飛来し、この季節にしか見られない、絵を描くには最適と思われる眺めへと変貌していたのです。
「晩秋の川面に映る木々」
Fumihiko Gomi
I wonder when this tree was born, but by the time it had a topknot on its head, it was already the size of a man. When the tree was big enough to overpower the surrounding area, smoke could be seen in the west. It is said that a group of people called the Chogitai fought a battle and lost. Decades later, the earth shook and a huge black smoke billowed up in the western sky for days. Many people died. In another few decades, silver wings, so many that they could be seen as stars, flew high into the sky to the west and turned the city into a sea of fire. Another few decades passed. The northern lands shook, there was a great tsunami and radiation poison was spread. I want to paint a history. But not history paintings. A large tree that has lasted for a hundred or two hundred years lives in good health, has been hit by storms, has been deeply wounded, has thirsted under the sun, knows the soil, knows insects and animals, has been hot and cold, and remembers all of this with its whole body, in the bumps on its trunk, in the branches and leaves, everywhere and everywhere. I can't read them, but I copy them one by one, memorise their shapes, and love them. This is the history of this big tree as I see it.
"A hundred winds, a hundred rains, a hundred suns."
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Masayuki Hara
I was born and raised in Kyoto, and even today my studio is here. Kyoto is filled with many shrines, temples, famous scenery, and historic sites, everyone paints them. I have walked all over, seeking a place that inspires me to paint, one that accords with what I seek, my own feelings. But I am troubled because, unfortunately, I have not found one. This painting shows the banks of the Kamo River that runs right through the middle of Kyoto, and a distant view. This river bank is perfect for walking and jogging, and so normally you can see people along it. But it didn’t evoke in me a desire to paint. One day as autumn deepened, I was passing by this place for the first time in ages, and from one spot on the path that distant view suddenly changed. Set against the Higashiyama hills background, the autumn foliage along the river banks has half-scattered, their forms reflected on the river surface. Wild birds fly in from by Lake Biwa. In that moment, one only possible at that time of year, this scene was transformed into a view I think perfect for painting.
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"Trees Reflected in a Late Autumn River"
大畑稔浩
この作品は、神話の国、出雲大社の近くの「出雲日御碕灯台」と周辺を描いたものです。
現実の風景で、絵巻物のように5つの項目に分けて描き、テーマは、「光」と「祈り」です。作品の右端から、八岐大蛇のようにも見える雲を背景に、鎮座する灯台。その土台になっている流紋岩（りゅうもんがん）と呼ばれる岩場。左に目を進めると突き出た島には太陽の位置を指し示す光と影。さらに左に行くと空と海からなる光のドラマ。そして最後に経文を並べた机に見えることから名付けられた「経島(ふみしま)」。この方角の先には、朝鮮半島や大陸があり、現在、戦争や紛争が伝えられています。一日も早く平和が訪れますようと祈りながら描いたものです。
「出雲風景―日御碕灯台」
小尾修
今回の作品のモデルは、コントーションと呼ばれる身体表現をしているパフォーマーの方です。
芸術性の高い身体表現を達成するために鍛え上げられた肉体はそれ自体が美しいんですよね。この作品はその美しさをシンプルに画面に描き留めたいという風に思ったところから始まっています。
ここに描かれたのはいわゆるコントーションの動きの中のポーズじゃなくて、むしろまるで動かない、彫像みたいに椅子に腰かけて静止している、いわば静的な姿なんですけど、例えば頭部から膝にかけての優美な曲線の流れ、それに対して膝を抱えた手とか、引き伸ばされた腕の筋肉の張りつめた緊張感。後ろに半分倒れた上半身とバランスを取ろうとするために、左足のつま先までピンと神経が行き届いた感じだとか、静的なポーズの中に潜む動的な躍動感をなんとか感じさせたいなと考えながら書きました。
モデルがメインの作品であるにもかかわらず、作品の中では彼女を取り巻く空間を比較的広くとっています。これはここから広がっていくであろう彼女の身体の動きの広がりを想像させるに十分な空間を、私自身が欲したからなのかもしれません。
「鼓動」
石黒賢一郎
2047年。AI技術は人間の意識を再現できるようになった。
日本内閣府は、各省庁を横断した「1496」委員会を秘密裏に組織したが、傘下の生理学研究所で重大な事件が発生した。研究員の一人が人間の意思をコントロールできるウイルスを作り上げて逃亡。その後テロ組織と結託し、強力なウイルス兵器を開発してしまったのだった。
このウイルスに感染した人間は意思をハッキングされ、怪物の身体へと変貌する。
世界中が混沌に包まれる中、研究所所長の黒木教授とその娘・ユウキもウイルスに感染してしまった。
ユウキはウイルスの増殖を抑えるため細胞融合増殖抑制装置に入ることとなった。
「細胞融合増殖抑制装置(Injection Devices)」
諏訪 敦
諏訪先生コメント諏訪先生コメント諏訪先生コメント諏訪先生コメント諏訪先生コメント諏訪先生コメント諏訪先生コメント諏訪先生コメント諏訪先生コメント諏訪先生コメント諏訪先生コメント諏訪先生コメント諏訪先生コメント諏訪先生コメント諏訪先生コメント諏訪先生コメント諏訪先生コメント諏訪先生コメント諏訪先生コメント諏訪先生コメント諏訪先生コメント諏訪先生コメント諏訪先生コメント諏訪先生コメント諏訪先生コメント諏訪先生コメント
「Utsushiomi」
塩谷 亮
モデルは15年前イタリア留学中に知り合ったシモーネという青年で、当時12歳の少年でした。
これまで継続的にモデルを依頼して、彼の成長を絵画として表現してきました。
背後のレリーフ像はもともとパルテノン神殿にあった作品で、現在はルーブル美術館が所蔵しており、私もかつて現場でデッサンをしたことがあります。
このギリシャ神話におけるケンタウロスとラピテス族の争いは多面的な解釈が可能ですが、神話の様々なエピソードは西欧文化のバックボーンにもなっています。レリーフの造形的な美しさは言うに及びませんが、私には現代社会を映す鏡のように人間の愚かしさも込められていると感じられてなりません。
レリーフの下方には西洋における直接的な死と生のアレゴリーを配し、今という時代を生きる青年を象徴的に表現しました。
「Simone con la mitologia」
Emi Hiroto
A somewhat dilapidated wooden sofa. My son, sitting right in the middle of it, looking out at us. Next to him is his favorite soft stuffed toy. Light pours in through the thin curtain. For me, just my son being there I see this world as a complete place. That space too, Illuminated by the light shining in from the window, Feels powerful, beautiful. I wanted to convey how the small world around me Is special, complete. I painted this picture with the thought that it might help in weaving “his tale” to come.
"A Tiny Tale"
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少し古びた木製のソファ。そこにちょこんと座ってこちらを見つめる息子。となりには彼が大切にしているふわふわのぬいぐるみ。薄いカーテンから溢れる光。私にとっては、息子がそこにいるだけで、この世界が完璧なものに見えます。
窓から差し込む光に照らし出されたこの空間も、力強く、美しいと感じます。身の回りに広がる小さな世界が特別で、完全なものであることを伝えたいのです。
これから綴られる「彼の物語」にとってこの絵がわずかでも支えになればと思って描きました。
藤田貴也
この人物画は私の家族です。現在5歳の長女のナツカを描きました。説明はいらないと思いますが私との関係はとても密接であり、大切な家族です。単に人物を描いた人物画というより、もっとプライベートな意味があります。
一方、人体模型はその人物画の意味を相殺してくれる装置になっています。
具体的に言いますと、人体模型を見せることで人物画は人体としての感覚を持たせ、人間としてだけではなく、人体として見せたかったからです。人物がそこに存在していることが単に居る、ということでは片付けられない膨大な情報があると感じているからです。
人間としての営みの中で人とは何かという問いをもつことは人として自然なことで、その様な様々な問いを制作を通してアンサーを探っていく事が私にとっての絵を描く意味です。
人は遅かれ早かれいつかは死を迎えます。
「anatomical model / figure」
山梨備広
物質と欲望、科学を世の中の中心に据えた世界は、今飽和状態を迎え、崩壊寸前の様相を呈しております。この最後の光はきちがいじみた騒々しさと不気味な静けさとを湛え、怪しくも強烈に世界を照らしています。
僕たちは今、それぞれの執着と折り合いをつけ、あくせくと高を競い合うことをやめ、この回天の時を迎えなければなりません。
そしてその新しい朝に、世界の中心に据えるべきものは当然、道徳でしょう。
今僕らは修験宗のように、午後の最後の光の中で有終のイデアを看破しなければなりません。
「午後の最後の光」
三重野 慶
絵を描いていると、書き手の感情が絵に表れてしまう、ということがあります。
この3年間は自由に外に出られない閉塞感や、不安や、恐れに包まれていたと思います。その抑圧された状況を、何とか打破しようとしながら絵を描いてきました。
この絵の制作には1年間をかけましたが、その日々の積み重ねが絵にどう表れているのか、なぜ絵にそれが現れるのか、それを考えながら見ていただければと思います。
「完成にはまだ遠い」
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