| プログラム | パネリスト紹介 |
国際シンポジウム「油彩への衝動」（英日双方向同時通訳付） Symposium: Impulse to Oil Painting 会期 平成25年（2013） 5月11日（土） 13：00－17：00 プログラム |
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| ①マクシミリアーン P.J. マルテンス（ヘント大学教授） | ||
| 1960年ベルギー生まれ。ヘント大学美術史考古学修士課程修了後、カリフォルニア大学サンタ・バーバラ校特別研究員として渡米。92年、同大学美術史学部にて博士号を取得。ポール・ゲッティ美術館リサーチアシスタント、メトロポリタン美術館の特別研究員、ヘント王立美術アカデミー準教授、フローニンゲン大学準教授などを経て、2003年よりヘント大学文学哲学部美術音楽演劇学科教授。10年レオポルト王勲章受章。現在、ベルギー、フランドル科学芸術王立アカデミー会員。 | ||
| 主著： | Artistic Patronage in Bruges Institutions, c. 1440 1482, Ph.D. dissertation University of California Santa Barbara (Ann Arbor, U.M.I., 1992); Exh. Cat. ExtravagAnt! Een kwarteeuw Antwerpse schilderkunst herontdekt 1500-1530（KMSKA, 2005）ほか。 | |
| ②アンシア・カレン（キャンベラ、オーストラリア国立大学教授） | ||
| バーミンガム・アート・カレッジ（現バーミンガム・シティ大学）にて絵画および版画の実技を学んだ後、渡仏。ソルボンヌ大学で美術史を専攻。帰国後、ライチェスター大学大学院修士課程修了、80年ロンドン大学コートールド美術研究所にて博士号を取得。デ・モンフォート大学教授、ノッティンガム大学教授などを経て、現職。2003年英国芸術・人文リサーチカウンシル特別研究賞受賞。現在、ノッティンガム大学名誉教授、ウォーリック大学名誉研究員。また、90年代後半より画家としても活躍中。 | ||
| 主著: | Art Sex and Eugenics: Corpus Delecti (Ashgate Press, 2008); The Art of Impressionism: Painting Technique and the Making of Modernity (Yale University Press, 2000)ほか。 | |
| ③パトリック・D・フローレス（フィリピン大学ディリマン校教授） | ||
| 1969年フィリピン生まれ。フィリピン大学卒業・同大学院美術史学修士課程修了後、2000年同大学にてフィリピン学博士号を取得。フィリピン大学芸術学科芸術学教授のほか、同大学付属ヴァルガス美術館学芸員、シンガポール・ナショナルアートギャラリー連携学芸員等に就任。専門はフィリピン美術、アジア美術。「アンダー・コンストラクション : アジア美術の新世代」（東京オペラシティ・アートギャラリー、2000）、「The Global Contemporary: Art Worlds After 1989」（ドイツ・ZKM、2010-11）など国内外を問わない数々の展覧会を手がける。 | ||
| 主著： | A Political Life in the Arts: Edgardo J. Angara and Philippine Culture（READ Foundation, 2010）; The Life and Art of Carlos Francisco（Vibal Foundation, 2010）ほか。 | |
| ④岡泰正（神戸市立博物館展示企画担当部長・学芸員） | ||
| 1954年舞鶴市に生まれ神戸で育つ。関西大学卒業、同大学院修士課程修了。1982年より神戸市立博物館学芸員として就任。「オルセー美術館展19世紀芸術家たちの楽園」（2006）、「南蛮美術の光と影」（2012）、「マウリッツハイス美術館展」（2012）など数々の展覧会の企画に関わる。2011年、博士学位取得（関西大学）。専門は日欧文化交流史、日本近世絵画史、工芸史。第1回鹿島美術財団賞受賞。 | ||
| 主著： | 『めがね絵新考』（筑摩書房、1992）『司馬江漢』（新潮社、1998）『身辺図像学入門』（朝日新聞社、2000）『日欧美術交流史論』（中央公論美術出版、2013）ほか。 | |
| ⑤池上裕子（神戸大学国際文化学研究科准教授） | ||
| 1999年大阪大学大学院修士課程修了。2005年同大学院博士課程単位修得退学後、07年イエール大学美術史学科にて博士号を取得。ニューヨーク近代美術館非常勤講師、大阪大学特任助教などを経て、10年より現職。また、06年に日本美術オーラル・ヒストリー・アーカイヴを設立、副代表を務める。専門は戦後アメリカ美術と国際美術シーンのグローバル化、戦後日米美術交渉についての調査・実践など。05年、美術史学会にて『美術史』論文賞受賞。 | ||
| 主著： | 『The Great Migrator: Robert Rauschenberg and the Grobal Rise of American Art』 (MIT Press, 2010)、Shinohara Pops! The Avant-garde Road, Tokyo/New Yorks.』（SUNY Press, 2012）ほか。 | |
| ⑥並木誠士（京都工芸繊維大学大学院教授） | ||
| 1955年東京生まれ。86年、京都大学大学院修士課程修了。徳川美術館学芸員、京都大学助手、京都造形芸術大学助教授などを経て、02年より現職。12年より意匠学会副会長に就任。専門は日本の中世絵画史、近代美術史、美術館学など。 | ||
| 主著： | 『京都 伝統工芸の近代』（思文閣出版、2012）、『絵画の変‐日本美術の絢爛たる開花』（中央公論新社、2009）、共著『美術館の可能性』（学芸出版社、2006）ほか。 | |
The Portuguese who arrived at Tanegashima Island in the 16th century were the first Westerners in Japan, and one day they visited the governor of the Satsuma Clan—which occupied the area that is now Kagoshima Prefecture—to show a small panel painting of the Virgin and Child to him and his family. His mother was said to have been very impressed by it, and she asked the visitors what technique had been used to make the painting. They answered that it was a technique not known in Japan: oil painting.
As Giorgio Vasari (1511-1574) remarked, oil painting was invented by Jan van Eyck (c. 1390-1441) in the first half of the 15th century, and was developed in Flanders, or a region of the Southern Netherlands. According to one scholar the small panel brought to Japan may have been made in the region. The Iberian missionaries imported such paintings from the Southern Netherlands and took them on their journeys to regions outside Europe to help them convert the people they encountered. Actually the paintings made in the region were renowned for their quality, even when they were just export items. Now we wonder what on earth fascinated the governor’s mother so much: was it the figures of the Virgin and Child or the glitter on the surface of the oil painting? She asked about the technique, so she was surely interested in this. It’s known that oil-painting workshops were later founded in other areas of Japan.
In the 16th century the elaborate layering technique seen in oil paintings by Jan van Eyck changed to a more streamlined style as the demand for oil paintings increased. Researchers have found many examples of wet-in-wet painting, in which a second layer of paint was put on over a previous one before the latter had dried, with the result that the colors of both layers partly mixed to make alternative colors. This seems to have led to unplanned effects. There was a wide range of streamlining techniques—such as the use of dark-colored base paints, or the use of smaller amounts of pigment with plenty of medium to make very thin layers—that created fantasy-like impressions like those seen in the paintings of Hieronymus Bosch. The playful, semi-transparent strokes caught viewers’ eyes and opened up new possibilities for using devices like brushes or handles. The traces of brushes swept across the canvas and scratches on the upper layers created by handles or fingers gave lively expressions to the depicted figures. In the 17th century, enterprising painters like Rembrandt and Hals frequently made use of these effects to appeal to viewers of initiative, while there were other painters who preferred to execute their paintings without leaving such marks.
The most remarkable turning point in the history of oil painting was the age of impressionists in the 19th century. Generally speaking, their approach was to apply conspicuous brush strokes using thick pastes of ready-made pigments. These were not mixed together on the pallet before being put on the canvas, and as pure colors drawn directly from tubes are brighter than mixed colors, the impressionist canvases are brighter than traditional ones.
Now let’s turn our eyes to Japan after the persecutions of Christians executed around the turn of the 17th century. In the first half of the 18th century, starting in the middle of the Edo era, Japanese painters had a strong inclination toward oil painting, and they wanted to imitate such effects as layered shadows and gradually changing hues. In the second half of the 19th century, after the country was opened to the Western countries, some tried to learn the traditional methods while others learned the impressionist techniques. The former were called the “tar school” or “shadow school,” while the latter were called the “purple school.” These methods had been generated at different times in Europe, but they were adopted simultaneously in Japan. Some painters managed to try both. This situation is comparable to that in other Asian countries that have opened themselves to Western countries after a long closure.
However, the Philippines might give us an exceptional case in Asia, as they have been opening themselves, or they had to have opened, since when the Spaniards reached the shores of the Cebu Islands. Then, a Spanish priest showed a painting of the Virgin and the Child and a small statue of the Child Jesus to the queen of the islands. She was so fascinated by the statue that she asked him to give it to her, and she took it to her house and put it on her private altar so that she could pray to it. It’s said that she probably thought of it as a figure of the traditional indigenous religion. However, why was it so fascinating to her? The wooden statue had been painted using oil-painting techniques so that to her eyes it looked like a living thing. It’s also thought to have been made in Flanders and to have been one of many statues exported to the Iberian countries.
After this short survey, I will introduce you the aim of our symposium ‘The Impulse to Oil Paintings’, our four guest speakers and two discussants, who will discuss issues of oil painting in art history.
Oil painting has mainly been the subject of technical research or material studies. However, what we aim at in our symposium is a discussion relating to art history, the discipline where we deal with issues of style, iconography, identification, social conditions, visual culture, and so on. The guest speakers will delve deep into the art history of their subjects and draw out the most provocative ideas, changing them totally to make a new vision for the study of oil painting in the history of art.
Prof. Dr. Maximiliaan Martens from Ghent University will talk about the very beginning and early development of oil painting in the 15th and 16th centuries in the Southern Netherlands. Prof. Dr. Anthea Callen from Australia National University will highlight what the Impressionists have done in the history of oil painting. Prof. Dr. Patrick Flores from Philippines University will discuss the long history of oil painting in the Philippines. Dr. Oka from the Kobe City Museum, Japan, will talk about the influence of oil painting in Japan and explore why oil painting has been so fascinating.
As discussants, Prof. Seishi Namiki from Kyoto Institute of Technology will make a short comment remarking the situation in the 19th century Japan, and Prof. Dr. Hiroko Ikegami will give a short comment from a viewpoint of the contemporary art.