Azuma Makoto Drop Time

Dec. 8(Sat), 2018 - Mar. 17(Sun), 2019

The Pola Museum of Art is collaborating with flower artist Azuma Makoto for exhibition of his botanical sculptures inspired by flowers in paintings in the Museum collection. Azuma has brilliantly and faithfully reproduced with real flowers, in detail down to the exact angles of the petals and stems, the flower motifs of three masterpiece paintings. He also produced videos over several weeks to document the life of the flowers, recording how they wither with time.

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Azuma Makoto, Drop Time ―Chrysanthemums― 2018 video ©AMKK

Artist Comment

Producing works for the Time and Transformation exhibition
I have been engaged since 2015 in a project themed on ‘flowers and master paintings.’ I use real flowers to replicate those in paintings by great artists of the past. The process has allowed me to experience what artists such as Van Gogh, Picasso, Redon, and Renoir might have felt and thought as they painted ephemeral flowers transforming day by day before their eyes.
On the occasion of the Pola Museum of Art Time and Transformation exhibition, I have been given the opportunity to reinterpret three masterpiece paintings from the Museum collection in contemporary style.
Though I have been until now ‘reproducing’ flowers through photographs, I am this time using real flowers to create a breathing image reflective of the movement of time. The flowers move and quiver freely, beautifully blooming or quietly withering. Water eventually becomes murky, flower petals drop, and leaves fade. Flowers are not simply objects. Exactly like us, their lives narrate a story of time.
I came to view the masterpiece paintings anew, as an experience of ‘time.’ Without doubt, the masterpiece artists observed the flower transformations in light of the passage of time. We can understand that rather than being of a single moment, the flowers they painted represent nothing less than the life of flowers lodged in their memory.
Azuma Makoto

Jikkuri 11 Find out

Dec. 8 (Sat),2018- Mar. 17 (Sun), 2019



“Is it difficult to understand a painting?”

No special knowledge is necessary to view a painting. A painting has infinite possibilities, and each person may freely approach a painting in their own way. But what if someone would like guidance on what to observe in a painting and how to observe it? JIKKURI is an exhibition that offers that and a chance to be effortlessly drawn into the world of a painting. We hope you will be able to take some time to be with a painting, and to experience it rather than being concerned with analyzing it.

JIKKURI is a special exhibition with some observing device  in the collection room.

Jikkuri 11 Find out

Paintings contain many elements.
If you take the time to look carefully, you will find many things such as color and shape, various different objects and different painting techniques.
‘Jikkuri’ (taking time to look carefully) gives you a chance to ‘find out.’
We have prepared some questions to help you to think about how to view and more deeply appreciate paintings.
Step 1. Take time to look at the painting carefully and answer the questions displayed on the screen.
Step 2. Write you answer on the paper provided.
Step 3. Compare your answers to the answers of other people.

Time and Transformation: Selected Works from the Collection

Dec. 8(Sat), 2018 - Mar. 17(Sun), 2018

Paintings, static by definition, actually express ‘time’ in various ways. For a painting to present a slice of the living, moving, world in which the artist lives, the artist must capture the scene of a dynamic moment and record the atmosphere and concrete events of trends of the times, such as of city life and modernization.

This exhibition introduces paintings on the theme of time in the collection of the Pola Museum of Art. Viewers will see paintings that express ephemeral fleeting moments as well as works that suggest eternity, and book illustrations that convey the time of an imaginary narrative.

1. The Sense of a Fleeting Moment

The Impressionist painters departed from the mythological and historical themes of traditional academism, seeking instead to complete their canvases with scenes from reality. However, no matter how ardently an artist would try to capture the present moment, it becomes a thing of the past as soon as it is placed on canvas. Artists, therefore, aimed to paint the atmosphere of the moment rather than to record the actual landscape. To avoid clear depiction they would use quick brushstrokes that expressed a sense of color and light on the canvas. Even if the landscapes were of something of the past, traces engraved on the canvas would convey a sense of the vibrancy of the moment.

モネ《ジヴェルニーの積みわら》299 242

Claude Monet, Haystacks at Giverny, 1884

シスレー《ロワン河畔、朝》234 242

Alfred Sisley, Banks of the Loing River, Morning, 1891

高橋由一《鵜飼図》383 242

Takahashi Yuichi, Cormorant Fishermen, 1892

2. Portraits of Modern Life

Artists captured the atmosphere of their time in paintings conveying the liveliness of the period, including depictions of the latest technology, architecture, vehicles, and trendy fashions. When it came to the time of war, war as subject of painting expressed the disturbing social atmosphere and the complex feelings of the people who experienced it. Painters who were evacuated or fled from war zones continued painting despite the alarming situation. This section introduces paintings by 19th and 20th century artists that can well be described as portraits of their time.

ルノワール《レースの帽子の少女》175 211

Pierre Auguste Renoir, Girl in Lace Hat, 1891

マネ《ベンチにて》171 211

Edouard Manet, Woman on a Bench, 1879

モネ《散歩》287 211

Claude Monet、La Promenade, 1875

ルソー《エッフェル塔とトロカデロの眺望》277 211

Henri Rousseau, View of the Eiffel Tower and the Trocadero, 1896-1898

The beauty of flowers has captivated people and been a subject of painting since ancient times. As the Western phrase Carpe diem (Latin: seize the day) indicates, knowing that flowers fade over the course of time, artists sought to emphasize the fragile nature of their fleeting beauty. Regardless of whether following Eastern and Western traditions, painters explored hill and field seeking the myriad expressions of flowers for their paintings. Arrangements of flowers in vases indoors also became important as motif, since painters could place flowers according to compositions and configurations they desired. Through use of color and brushstroke, artists could capture the fragile beauty or sometimes mysterious appearance of flowers.

3. Carpe Diem –Seize the Day

ゴッホ《アザミの花》168 206

Vincent van Gogh, Flower Vase with Thistles, 1890

ボナール《ミモザのある階段》177 206

Pierre Bonnard, Stairs with Mimosa, ca. 1946

モネ《睡蓮の池》214 206

Claude Monet, Water Lily Pond, 1899

中国の花瓶_335 206

Henri Matisse, Chinese Vase, 1922

4. Eternal Beauty - Being and Time

Human lifetime is limited and extremely brief in the context of the long history reaching to ancient times. Paintings, however, can express the eternal continuum of the cycles of nature and the repetition of human activity. Georges Seurat’s Low Tide at Grandcamp depicts a boat on the beach at ebb tide. The artist captured a certain moment that allows us to feel the dynamism of the repetitions of nature. Sugiyama Yasushi’s Water, inspired by scenery the artist encountered in the Middle East, symbolizes the flow of eternal time against the wide spread of an azure river in the daily activity of drawing water.

スーラ《グランカンの干潮》356  285

Georges Seurat, Low Tide at Grandcamp, 1885

5. Imaginary Time - literature and narrative

Historically, images were created to elucidate religious and mythological narratives. Twentieth century painters aimed for creative innovation related to richly imaginative stories and poetry. Georges Rouault took inspiration from Christian Bible stories. Marc Chagall based his ‘symphonic poetry’ world of vibrant color on ancient epic poetry. Painting is an instantaneous expression of the moment, but it is also an art of the infinite and the eternal.

ローランサン『不思議の国のアリス』より414 354

Marie Laurencin, Lewis Carroll, Alice in Wonderland, 1930

【著作権有効】シャガール牧場の春『ダフニスとクロエ』第5図537 354

Marc Chagall, “Printemps au pré”, Daphnis and Chloé, (Longus), 1961, Lithograph on paper © ADAGP, Paris & JASPAR, Tokyo, 2018, Chagall®


Des.8 (sat), 2018 - Mar. 17 (sun), 2019


Major transformations in Japanese fashion and aesthetic ideals started in the Meiji period (1868 – 1912) and continued through the early Showa period (1926 – 1989). Under the fast pace of European influence at the time, traditional Edo-period (1603 – 1868) make-up, hairstyles, and clothing gradually disappeared with the adoption of Western modes. During the Taisho period (1912 – 1926), particularly with the booming economy and social advancement of women following World War I, desire grew for modern chic and new lifestyles and forms of entertainment.
   In this milieu, Western-style painter Okada Saburosuke (1869 – 1939) played a central role in the creation of fashion icons and images of ‘ideal beauty.’ Having been engaged from the late Meiji period in department store work, and also involved in Japan’s first contest of beautiful women, he was sensitive to fashion trends and able to create new standards of beauty. The characteristic large eyes and oval faces of Okada’s female figures featured in department store posters and magazine covers came to be favored and highly admired.
   Okada Saburosuke was an oil painter who well understood women’s lifestyle and sense of beauty. In this exhibition, we trace his influence in the emerging new concept of ‘beauty’ through historical examples of paintings, posters, photographs, textiles, cosmetic utensils, jewelry, and printed materials.


Okada Saburosuke, Kimono with Iris Pattern, 1927

1. Arrival of the Modern: Westernization from late Edo to Meiji

Though Edo period (1603 – 1868) conventions remained strong in the Meiji period (1868 – 1912), Japan’s opening to Western influences brought gradual shifts in hairstyles, make-up, and clothing preferences to Western models. Westernization was an important aspect of Japan’s approach to Western powers as a civilized nation on equal footing. Starting with the Emperor, Western clothing for men was promoted.
Westernization of women’s fashion accelerated with the completion in 1883 of the Rokumeikan (Deer Cry Pavilion), a venue built by the Japanese government for the purpose of socializing with Westerners in the interest of unequal treaty revision. At the Rokumeikan, upper class ladies and gentlemen attended almost nightly parties and balls. The women appeared in beautiful dresses fitted with fashionable bustles. By the late Meiji period, members of the aristocracy and the imperial family set the pace in fashion, replacing the ukiyo-e woodblock print image of the geisha as the standard of beauty. Oil paintings the Meiji Emperor and Empress were commissioned and their portraits were distributed among the general public. The first rendition of the ideal modern woman fit for international society was the figure of the Empress dressed with Manteau de cour (court coat) and magnificent accessories.
Traditional Edo-style make-up practices that were strange to Westerners, such as the blackened teeth for married women or shaved eyebrows for women with children, gradually disappeared. The Bridal Cosmetic Set with the Family Crest of Five and Three Paulownia Blossoms in Maki-e Lacquer made in the Meiji period contained no tools for tooth blackening or eyebrow treatment. The importation of Western style cosmetic sets reflected dramatic change in the appearance of the upper class by the end of the Meiji period.


Yoshu Chikanobu, Horse Races at Shinobazu, Ueno, 1884


Yoshu Chikanobu, Western Clothes from the series An Array of Auspicious Customs of Eastern Japan, 1889


Bridal Cosmetic Set with the Family Crest of Five and Three Paulownia Blossoms in Maki-e Lacquer, Meiji period


Silver Dressing Set with Iris Design, Goldsmith's and Silversmith's, 1903-1907

2. Okada Saburosuke’s Representation of the Modern Beautiful Woman

Though many images of the new modern woman appeared in both nihonga (Japanese-style painting) and Western-style oil paintings, Okada Saburosuke (1869-1939) played a decisive role in the creation of the ideal modern beauty of the time. Okada was born in Saga prefecture and was a major figure in the world of Japanese oil painting. He was also profoundly involved in women’s fashion trends of the time.
A nationwide photo beauty contest, the first such full-scale competition in Japan, was organized in 1907-1908 by the Jiji Shimpo newspaper. Okada was not only selected as a judge for the contest, but he also painted Woman Wearing a Diamond Ring (Fukutomi Taro Collection) for the contest promotion campaign. The image he created came to represent the ideal ‘beauty’ for the new age. It featured a woman with symmetrical oval-shaped face, plump lips, large sparkling eyes and pronounced eyelids. A photograph of Suehiro Hiroko, 16 years old at the time, won the contest. Her features mirrored those of Woman Wearing a Diamond Ring. It was as if she were the real life model for the painting.
Okada often painted female figures with what for Japanese people might have appeared excessively distinct facial features and large eyes. He had studied oil painting in France for around four years. After returning to Japan, he applied Western conventions of white skin and diminutive faces to his paintings of female figures, though his models were Japanese. The “Okada-style beauties” graced the covers and gravure pages of ladies magazines and reached a wide audience. Thus, the convergence of printing technology and new media such as magazines or posters worked in tandem as diverse elements creating a new Japanese ideal of feminine beauty.

Okada Saburosuke, Woman Wearing a Diamond Ring, 1908, Fukutomi Taro Collection


Okada Saburosuke, Portrait of a Girl, ca.1908


Okada Saburosuke, Virginia Creeper, 1909, Sumitomo Collection, Sen-oku Hakukokan Museum, Tokyo

3. Creating Trends: Okada Saburosuke’s Aesthetic Sense and Department Store Promotions

Aside from his affiliation with beauty contests and women’s magazines, Okada Saburosuke was also deeply connected with the world of department stores. With its 1904 Department Store Declaration, Mitsui Gofukuten, renamed Mitsukoshi, became Japan’s first modern department store along the lines of those in Europe and the United States. As Western designs in clothing were still at this time difficult for Japanese people to adopt, department stores such as Mitsukoshi and Takashimaya actively engaged Okada and other Western-style painters to promote their efforts to create fads and sell ‘modern kimonos.’
Okada created paintings for Mitsukoshi posters and signboards at train stations. Mitsukoshi launched a campaign to sell ornate kimono with Okada’s 1907 Portrait of a Lady (Bridgestone Museum of Art, Ishibashi Foundation). The poster became symbolic of a ‘Genroku period’ (1688 – 1704) retro boom. Okada’s emphasis on large eyes was suitable for a new image of beauty for use in modern department store advertisements.
In parallel with his department store activities, Okada painted many portraits of Japanese women dressed in kimono. He was an avid collector of textiles and antique cloth and owned a large number of modern examples of kosode (short sleeve kimono) that he would drape across his models to create decorative effects for his paintings. He aimed to harmonize traditional Japanese decorative and aesthetic ideals, as symbolized by an elegant female figure in kimono, with Western photo-realistic techniques. Considering his role in department store creation of popular culture and social trends, it is more likely that Okada was creating the image of the modern woman rather an expressing traditional ‘Japanese style’ through depictions of kimono.


Okada Saburosuke, Kimono with Iris Pattern, 1927


Kosode with a Design of Irises and a Bridge of Eight Planks in Resist-dyeing on Dark Blue Crepe, Edo period, Matsuzakaya Collection (J. Front Retailing Archives Foundation Inc.)


Okada Saburosuke, Portrait of a Lady, 1907, Bridgestone Museum of Art, Ishibashi Foundation

4. Modern Girls and the Advancement of Urban Style

Westernization of women’s lifestyle advanced in the context of newly emerging department stores, increasing numbers of trend-setting magazines and posters, the post-World War I economic boom, and the changes that followed the 1923 Great Kanto Earthquake. However, in 1925 only 1% of people in Ginza, the trendiest section of Tokyo at the time, dressed in Western apparel, evidence of lingering reluctance to wear Western-style clothing.
The kimono continued to dominate daily wear but, paired with Western-style accessories and wave hairstyles, it also could be identified with the Japanese-style ‘modern girl.’ Women conscious of Western fashions wore colorful meisen silk kimono designs, positioning obi sashes chest high to give the impression of long and slender legs. Japanese cosmetic companies produced Western-style make-up that gained popularity, including convenient compacts for the working woman.


Enomoto Chikatoshi, Spring by a Pond, 1932, Iwami Art Museum


Yamada Kisaku, Spring by a Pond, 1932, Iwami Art Museum


Poster of Nakayama Taiyodo: Katei food, 1928,


Compacts, Taisho-Showa period


Nakayama Taishodo,Club Face Powder (natural skin color), Showa period



Hayami Gyoshu, By the Flowers, 1932, KABUKI-ZA CO., LTD.

5. The Female Image: Style Transformation and Diversity

Distinctive and diverse examples appeared among the many renditions of the ‘beautiful woman’ and modern urban trends. After returning from study in France, Kuroda Seiki (1866 – 1924) introduced the nude, an established subject in Western art, to Japan, opening possibilities for expression of the female figure.
    In the Taisho period (1912 – 1926), with its atmosphere of free expression, painters could explore their unique sensibilities and create their individual expression of the female image. Murayama Kaita (1896-1912)'s portraits of women, composed of overlapping images of several of his lovers, were more eerie than beautiful. Kishida Ryusei (1891 – 1929), in his series of paintings of his daughter Reiko, incorporated a northern Renaissance realistic manner of expression.
Paintings of Japanese women in Chinese dress started to appear after Japan annexed Korea in 1910, and continued through Japan’s establishment of Manchukuo in 1932. Japan dispatched scholars and artists to survey the scene in these territories. Fujishima Takeji (1867 – 1943) and Umehara Ryuzaburo (1888 – 1986), inspired by the local customs and scenery, painted images of exotic women in Chinese dress.
In the atmosphere of impending war, female figures came to symbolize the zeitgeist and Japanese national intentions. This is deeply relevant to us today, given the current complex international situation and concomitant heightened importance of gender issues.


Fujishima Takeji, Profile of a Woman, 1926-1927


Murayama Kaita, Lake and Woman, 1917


Kishida Ryusei, Portrait of Reiko Sitting, 1919


美術をじっくり楽しむプロジェクト 「じっくり 11 みつける」

会場:ポーラ美術館 展示室3



「じっくり/JIKKURI」は、美術をより楽しんでいただくためのプロジェクトです。 美術にはいろいろな楽しみ方があります。 数ある楽しみ方のうちのひとつを提案するために、 鑑賞ツールやディスプレイをひと工夫することで、作品をみる「きっかけ」を用意しました。 知識によって作品を鑑賞するよりも いつのまにか作品の魅力に引き込まれるように鑑賞できるような空間を目指した展示スペースです。

じっくり11 みつける

あなたは、ふだん1枚の絵をどのくらいの時間をかけて見ていますか?10秒?1分?1時間? 人によって「じっくり」の尺度はさまざまです。
Step1 作品をじっくり見ながら限定された時間の中で、手元のディスプレイに映し出される問いに、自分なりの答えを出してみましょう。
Step2 会場に用意された紙の問いに対して、じっくりと考えて答えを出してください。
Step3 他の人たちの答えと、自分の答えを比べてみましょう。


東 信 Drop Time



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東信《Drop Time ー菊ー》2018年 ビデオ ⒸAMKK






ポーラ美術館コレクションによる 「名画の時間」

2018年12月8日(土)-2019年3月17日(日) *会期中無休







第1章 瞬間と感覚


モネ《ジヴェルニーの積みわら》299 242

クロード・モネ 《ジヴェルニーの積みわら》 1884年

シスレー《ロワン河畔、朝》234 242

アルフレッド・シスレー 《ロワン河畔、朝》 1891年

高橋由一《鵜飼図》383 242

高橋由一 《鵜飼図》 1892年

第2章 時代の肖像


ルノワール《レースの帽子の少女》175 211

ピエール・オーギュスト・ルノワール 《レースの帽子の少女》 1891年

マネ《ベンチにて》171 211

エドゥアール・マネ 《ベンチにて》 1879年

モネ《散歩》287 211

クロード・モネ 《散歩》 1875年

ルソー《エッフェル塔とトロカデロの眺望》277 211

アンリ・ルソー 《エッフェル塔とトロカデロ宮殿の眺望》 1896-1898年

第3章 今日の花を摘め


ゴッホ《アザミの花》168 206

フィンセント・ファン・ゴッホ 《アザミの花》 1890年

ボナール《ミモザのある階段》177 206

ピエール・ボナール 《ミモザのある階段》 1946年頃

モネ《睡蓮の池》214 206

クロード・モネ 《睡蓮の池》 1899年

中国の花瓶_335 206

アンリ・マティス 《中国の花瓶》 1922年

第4章 永遠の今―存在と時間


スーラ《グランカンの干潮》356  285

ジョルジュ・スーラ 《グランカンの干潮》 1885年


第5章 想像上の時間―本と物語


ローランサン『不思議の国のアリス』より414 354

マリー・ローランサン 《『不思議の国のアリス』より》 ????年

【著作権有効】シャガール牧場の春『ダフニスとクロエ』第5図537 354

マルク・シャガール 《牧場の春『ダフニスとクロエ』第5図》 1961年
© ADAGP, Paris & JASPAR, Tokyo, 2018, Chagall®

SHIMURAbros―Film Without Film

Dec. 8(Sat.), 2018 - Mar. 17(Sun), 2019

The “Hiraku Project” is conceived as a series of exhibitions introducing contemporary artworks by Pola Art Foundation Grant recipients. The exhibitions are to be held at the Atrium Gallery, recently established to celebrate the 15th anniversary of the Pola Museum of Art. “Hiraku” translates as ‘open,’ in the sense of ‘responsive to new possibilities.’
We are pleased to present SHIMURAbros - Film Without Film as the 7th exhibition in our HIRAKU Project.



Left to Right: Silver Screen, 2012, Image [20 min. / Black and White], Mirror, Projector, PC Installation View: New Art NEXT 2012: Phantasmagoria, Yokohama Civic Art Gallery Film Without Film – Piano / Donky, Pistol / Man, 2012, Resin, Paint, 22.0×22.0×26.0 cm Installation View: New Art NEXT 2012: Phantasmagoria, Yokohama Civic Art Gallery ©SHIMURAbros

SHIMURAbros―Film Without Film 映画なしの映画


ポーラ美術館では2017年の開館15周年を記念して、同年10月に公益財団法人ポーラ美術振興財団の助成を受けた現代美術作家の活動を紹介する「アトリウム ギャラリー」を新設し、芸術表現と美術館の可能性を「ひらく」という趣旨の「HIRAKU PROJECT」を開始しました。
第7回目の展示として、SHIMURAbros「Film Without Film 映画なしの映画」を開催いたします。


本展のタイトルである「映画なしの映画」とは、1920年代のソビエト(ロシア)における実験映画の先駆者、レフ・クレショフが行った伝説的な実験映画の名称に由来しています。それを作品名にもつ《Film Without Film》は、映画の一篇をデータ化し、3Dプリンターによって出力した彫刻作品です。また、2012年に横浜で初めて公開された《Silver Screen》では、スクリーンに映される光がスクリーンそばの鏡に反射し、作品をみる観客、さらに光を投影するプロジェクターを露わにします。



左から:《Silver Screen》2012年、映像(20分/白黒)、鏡、プロジェクター、PC
展示風景:ニューアート展 NEXT 2012 動く絵、描かれる時間:Phantasmagoria、横浜市民ギャラリー
《Film Without Film – Piano / Donky, Pistol / Man》2012年、樹脂、塗料 22.0×22.0×26.0 cm
展示風景:ニューアート展 NEXT 2012 動く絵、描かれる時間:Phantasmagoria、横浜市民ギャラリー

Youki Hirakawa - Nitrate Dreams

Sep. 30(Sun) - Dec. 2(Sun), 2018

The “Hiraku Project” is conceived as a series of exhibitions introducing contemporary artworks by Pola Art Foundation Grant recipients. The exhibitions are to be held at the Atrium Gallery, recently established to celebrate the 15th anniversary of the Pola Museum of Art. “Hiraku” translates as ‘open,’ in the sense of ‘responsive to new possibilities.’
We are pleased to present Youki Hirakawa - Nitrate Dreams as the sixth exhibition in our HIRAKU Project.


Wounded Film_s


Left to Right: Grains of Film - Silver Nitrate / 2017 / Single Channel Video Installation / 4K / 11 min 11 sec Loop / Silent
Wounded Film / 2017 / Double Channel Video / 4K / 3 min Loop / Silent
Three Minutes of Silver / 2017 / Silver 



ポーラ美術館では2017年の開館15周年を記念して、同年10月に公益財団法人ポーラ美術振興財団の助成を受けた現代美術作家の活動を紹介する「アトリウム ギャラリー」を新設し、芸術表現と美術館の可能性を「ひらく」という趣旨の「HIRAKU PROJECT」を開始しました。


「Nitrate Dreams」シリーズの制作の発端は、作家がアンティーク・マーケットで見つけた一片の映画フィルムでした。ひどく傷んだフィルム片はただれ、画像は今にも溶け出してしまいそうな状態でした。平川はそれらの画像を丁寧に水中ではがし取り、銀の粒子を抽出しました。かつてフィルム上で画像を構成していた銀粒子は、映像作品《Grains of Film – Silver Nitrate》(2017年)において、金色に輝く水中を漂い、新たな画像を構成してゆきます。また作家は、その映画フィルムからはがし取った銀粒子を小さな塊へと再鋳造しました。光り輝く銀塊の中に映画のワンシーンを見ることはできませんが、3分間というフィルムの時間尺がおさめられた小さな銀塊《Three Minutes of Silver》(2017年)は、鑑賞者の想像力を掻き立てます。



Wounded Film_s


左から:Grains of Film - Silver Nitrate / 2017 / ビデオインスタレーション / 4K / 11分11秒ループ / サイレント
Wounded Film / 2017 / 2面映像 / オリジナル4K / 3分ループ / サイレント
Three Minutes of Silver / 2017 / 銀

Sebastian Masuda Point-Rhythm World 2018 -Monet's Microcosm-

Jul. 22(Sun)-Dec. 2(Sun), 2018

Point-Rhythm World 2018 -Monet’s Microcosm-

I drew inspiration for this work from Claude Monet’s Water Lilly Pond in the collection of the Pola Museum of Art. My attempts to ‘re-create’ such a universally recognized painting in the space and time of an unrelated culture began in the summer of 2017 at the Pola Museum Annex in Ginza.

The association of Impressionist painter Claude Monet with pop culture artist and art director Sebastian Masuda might seem totally improbable.

In the spring of 2017, when I first had the chance to come face to face with Monet’s 1899 Water Lilly Pond at the Pola Museum at the beginning of the project, I was moved beyond belief at the sight of the beautiful world of Monet’s elegant and delicate Giverny garden.
I felt as if I had been mysteriously transported to a different realm.

I was especially struck by Monet’s brushwork.
Looking closely, the surprisingly rough strokes seemed as if they had actually been hurled at the canvas.
That contradicted the common image of Monet as a painter of soft beauty. Considering the context of his times, might Monet’s pounding the canvas have been an expression of overflowing emotions and a deeply rebellious spirit?
Impressionism. Does the muted surface belie the presence of a radical nonconformist?

The concept of “kawaii” that largely defines my work is also by no means superficial.
“Kawaii” represents one’s own heartfelt personal universe of cherished things that no one else can disturb.
Be it fashion, music, or art, the visions of a million people are revealed in a million different ways.
“Kawaii” is supported by each and every point of view.
Imagining this, I felt I could finally confidently shake hands with Monet.

Point-Rhythm carries the meaning of the ‘pointillist technique’ combined with the action of rhythmically arranging a variety of items and materials.

I usually create my works by gathering and placing existing materials (plastic, accessories, textiles, toys, etc.) on canvas, without applying paint. This time, given my dialogue with Claude Monet’s painting, I developed my original ‘point-rhythm’ technique.

I hope that viewers will enjoy walking around and viewing this installation of roughly two tons of intricately intertwined materials from many perspectives.

The exhibition also enjoys support from digital technology video, audio, and other artists whose collaboration infused my work and allowed me to immerse myself in Monet's painting and expand my view.

Individuality shines more brightly than can be imagined when the world as seen from the universe is brought into closer view. This is nothing else but the Earth.

Welcome to the ever-expanding world of Monet’s Microcosm.

Sebastian Masuda


Glasswork Selections : The Floral Style

Dec. 8(Sat), 2018 - Mar. 17(Sun), 2019

Presented here are exquisite glassworks featuring floral motifs selected from the collection of the Pola Museum of Art.
In the 1890s, a new decorative art movement emerged in France. Taking fresh inspiration from nature, and departing from traditional designs, the decorative works produced by this movement, known as Art Nouveau (“new art”), richly embellished their surroundings with the plant and insect forms they lavishly employed as motifs.
Long favored as motifs in art due to their splendid appearance and expression of the transience of life, flowers were especially prominent in the radical, trend-setting designs of the Art Nouveau movement. Enthusiastically taken up around the world, they would become the signature style of this fin-de-siècle era.
Chosen from among the museum’s approximately 300 Art Nouveau glassworks, the exhibition assembles fine pieces by Emile Gallé (1846-1904), the Daum Brothers (Auguste, 1853-1909; Antonin, 1864-1930), and Louis Comfort Tiffany (1848-1933). To enhance the viewer’s enjoyment, they are displayed alongside outstanding paintings that feature floral motifs.


Vincent van Gogh, Flower Vase with Thistles, 1890


Emile Gallé, Vase with Thistle Design, ca. 1884


Daum Brothers, Vase with Thistle Design, ca. 1897


Daum Brothers, Flower-form Lamp, ca. 1903

ルイス・C. ティファニー《花形花器》1900年頃

Louis Comfort Tiffany, Flower-form Vase, ca. 1900

ルイス・C. ティファニー《花形花器》1900-1905年

Louis Comfort Tiffany, Flower-form Vase, 1900-1905

Special Exhibition on the 50th Anniversary of Léonard Foujita’s Death
Foujita’s Paintings and Drawings for his Lovers, Wives, and Friends

Jul. 22(Sun)-Dec. 2(Sun), 2018

Foujita became the darling of 1920s Paris, nicknamed ‘Fou-Fou’ and engaging in sensational activity and close friendships thereafter in Paris, Tokyo, and other cities. Living to be almost 80 years old, he exhibited many highly appreciated masterpieces but he also presented many works to people close to him. These paintings and drawings for his ‘lovers, wives, and friends’ reflect both bold ideas and delicate technique. They are humorous and full of the heartfelt warmth and charm of a person who values intimate persons and objects.

This exhibition commemorating the 50th anniversary of Foujita’s death includes 26 works newly added to the Pola Museum of Art collection that shed light on Foujita as an artist and also as a person who generously presented his drawings and paintings to people close to him.

foujita2018Left to Right:《À la manière de Maurice Utrillo. Femmes dans la rue》 1926   ©Fondation Foujita / ADAGP, Paris & JASPAR, Tokyo, 2018 E3058
《À la manière de Kees van Dongen. Tête de femme au collier de perles》1926  ©Fondation Foujita / ADAGP, Paris & JASPAR, Tokyo, 2018 E3058
《À la manière de Henri Matisse. Nu assis dans un fauteuil》1926  ©Fondation Foujita / ADAGP, Paris & JASPAR, Tokyo, 2018 E3058
《À la manière de Jean Cocteau. Le profil, l’enfant et la bouteille》 1926  
©Fondation Foujita / ADAGP, Paris & JASPAR, Tokyo, 2018 E3058



会場:ポーラ美術館 展示室2・3
















会場:ポーラ美術館 展示室5


その中でも、とりわけ人気を博したのが花のモティーフです。その生命の儚(はかな)さゆえに、そして咲き誇るそのあざやかな姿ゆえに、花のテーマは古くから愛好されてきたいっぽうで、世紀末を迎えたこの時代に生まれたまったく新しいデザインの数々は、国境を越えて世界の各地で流行しました。今回の名作選では、およそ300点のアール・ヌーヴォー期のガラス工芸コレクションの中から、エミール・ガレ(1846-1904)、ドーム兄弟(オーギュスト:1853-1909, アントナン:1864-1930)、そしてルイス・C. ティファニー(1848-1933)の選りすぐりの作品を、花にまつわる名画とともにご紹介します。









ルイス・C. ティファニー《花形花器》1900年頃

ルイス・C. ティファニー《花形花器》1900年頃

ルイス・C. ティファニー《花形花器》1900-1905年

ルイス・C. ティファニー《花形花器》1900-1905年








増田セバスチャン×クロード・モネ Point-Rhythm World 2018 -モネの小宇宙-

会場:ポーラ美術館 展示室4

本展は2017年の夏、POLA MUSEUM ANNEX(銀座)で開催され大好評で会期を終えた“Point-Rhythm World -モネの小宇宙-”を、2018年の夏、箱根にて新たに構成する展覧会です。
12月までの会期中に、新たな演出が追加され 「モネの小宇宙」 は拡張されていく予定です。ご期待ください。

*“Point-Rhythm ”(ポイントリズム)は、点描表現という意味の「ポインティリズム(pointillism)」と「リズム(rhythm)」をかけた造語です。


Kaoru Hirano - Memory and History

Jul. 22(Sun)-Sep. 24(Mon), 2018

The “Hiraku Project” is conceived as a series of exhibitions introducing contemporary artworks by Pola Art Foundation Grant recipients. The exhibitions are to be held at the Atrium Gallery, recently established to celebrate the 15th anniversary of the Pola Museum of Art. “Hiraku” translates as ‘open,’ in the sense of ‘responsive to new possibilities.’
We are pleased to present Hirano Kaoru’s Memory and History as the fifth exhibition in our HIRAKU Project.




Left, Center:《untitled –rain DDR–》2014, Material: umbrella, Installation view : tim|State Textil and Industry Museum Augsburg Photo by Felix Weinold
Right:《untitled –rain DDR–》2014, Material: umbrella, Installation view : Arts Maebashi, Gunma Photo by Shinya KIGURE

Tamami Iinumaーmomentary architecture

May. 19(Sat), - July. 16(Mon), 2018

The “Hiraku Project” is conceived as a series of exhibitions introducing contemporary artworks by Pola Art Foundation Grant recipients. The exhibitions are to be held at the Atrium Gallery, recently established to celebrate the 15th anniversary of the Pola Museum of Art. “Hiraku” translates as ‘open,’ in the sense of ‘responsive to new possibilities.’ We are pleased to present Iinuma Tamami’s Momentary Architecture as the fourth exhibition in our HIRAKU Project.


 ©Tamami Iinuma