George Tsutakawa
著者
書誌事項
George Tsutakawa
University of Washington Press , Bellevue Art Museum, c1990
- pbk. : alk. paper
大学図書館所蔵 全7件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
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注記
Introduction in English and Japanese
Published on the occasion of Eternal Laughter, a sixty-year retrospective of George Tsutakawa, organized by the Bellevue Art Museum, September 14 to November 2, 1990
Includes bibliographical references
内容説明・目次
- 巻冊次
-
ISBN 9780295970202
内容説明
Painter, sculptor, teacher, and internationally renowned fountain designer, George Tsutakawa (1910-1997) was one of the treasure of the Pacific Northwest. In his life and his work he achieved a rare synthesis of the traditions of Japan, his parents' native land, where he lived and went to school for ten years, and those of America, where he was born and to which he returned at the age of seventeen.
Martha Kingsbury draws upon her own and others' interviews with Tsutakawa to reveal the way his accomplishments have been shaped by, but have also transcended, the influences of his dual cultural heritage. Throughout we hear the artist's own voice--witty, ironic, passionate, irreverent--the voice of a man possessed of deep convictions and great wisdom. In six chronologically arranged sections, Kingsbury discusses Tsutakawa's long life and distinguished career, examining his artistic development in two extended periods.
The first period, from the late 1920s into the mid-1950s, encompasses the artist's early education, growing mastery, and artistic awareness from his student days to beyond World War II. He studied with teachers as divers as Alexander Archipenko, Ambrose Patterson, and Paul Bonifas, and enjoyed the exhilarating company of the e active and talented artists who came to be identifies as the "Northwest School"--among them Mark Tobey, Morris Graves, Kenneth Callahan, Paul Horiuchi, and Kamekichi Tokita. Throughout the Great Depression they painted, talked about art, and socialized long into the night. At this time Tsutakawa thought of himself as a "Sunday painter," a modern artist in the western tradition, striving for expression of a private personal vision.
By 1956, Tsutakawa--married and settled in his native Seattle--had gained artistic confidence and success as an painter, printmaker, sculptor, and teacher. Two events in that year influence a major shift in his thinking about art. he returned to Japan after an absence of thirty years, to rediscover a deep appreciation of his Japanese heritage. And he read, in a book by William O. Douglas, a description of the ritually stacked rock structures, obos, left by pilgrims at spiritually auspicious sites in the Indian Himalayas. Tsutakawa began to study the organic, almost fortuitously stacked and piled shapes of the obos, compelled by their public nature, the way they combined anonymity with personal meaning. The obos forms (which he was later to see himself on a trek in the foothills of Mt. Everest) inspired a long series of sculpture beginning in 1957, and led Tsutakawa in the 1960s to consider the possibilities of using them in fountains.
In more than sixty fountains designed and built since that time, as well as in the sumi drawings he has produced for many years, Tsutakawa has expressed his beliefs about our relationship with nature. His fountains are not the traditional structures in which jets of water squirt at or out of a sculpture, but ones in which the water's movement over shapes, its sounds, and its reflected light are indispensable to the concept of the form as a whole.
This profusely illustrated book, published in connection with an exhibition at the Bellevue Art Museum includes an appreciation of the artist's fountain sculptor written by the Japanese art historian and critic Sumio Kuwabara, professor at the Musashino College of Arts.
- 巻冊次
-
pbk. : alk. paper ISBN 9780295970219
内容説明
Painter, sculptor, teacher, and internationally renowned fountain designer, George Tsutakawa (1910-97) was one of the treasure of the Pacific Northwest. In his life and his work he achieved a rare synthesis of the traditions of Japan, his parents' native land, where he lived and went to school for ten years, and those of America, where he was born and to which he returned at the age of seventeen.
Martha Kingsbury draws upon her own and others' interviews with Tsutakawa to reveal the way his accomplishments have been shaped by, but have also transcended, the influences of his dual cultural heritage. Throughout we hear the artist's own voice--witty, ironic, passionate, irreverent--the voice of a man possessed of deep convictions and great wisdom. In six chronologically arranged sections, Kingsbury discusses Tsutakawa's long life and distinguished career, examining his artistic development in two extended periods.
The first period, from the late 1920s into the mid-1950s, encompasses the artist's early education, growing mastery, and artistic awareness from his student days to beyond World War II. He studied with teachers as divers as Alexander Archipenko, Ambrose Patterson, and Paul Bonifas, and enjoyed the exhilarating company of the e active and talented artists who came to be identifies as the "Northwest School"--among them Mark Tobey, Morris Graves, Kenneth Callahan, Paul Horiuchi, and Kamekichi Tokita. Throughout the Great Depression they painted, talked about art, and socialized long into the night. At this time Tsutakawa thought of himself as a "Sunday painter," a modern artist in the western tradition, striving for expression of a private personal vision.
By 1956, Tsutakawa--married and settled in his native Seattle--had gained artistic confidence and success as an painter, printmaker, sculptor, and teacher. Two events in that year influence a major shift in his thinking about art. he returned to Japan after an absence of thirty years, to rediscover a deep appreciation of his Japanese heritage. And he read, in a book by William O. Douglas, a description of the ritually stacked rock structures, obos, left by pilgrims at spiritually auspicious sites in the Indian Himalayas. Tsutakawa began to study the organic, almost fortuitously stacked and piled shapes of the obos, compelled by their public nature, the way they combined anonymity with personal meaning. The obos forms (which he was later to see himself on a trek in the foothills of Mt. Everest) inspired a long series of sculpture beginning in 1957, and led Tsutakawa in the 1960s to consider the possibilities of using them in fountains.
In more than sixty fountains designed and built since that time, as well as in the sumi drawings he has produced for many years, Tsutakawa has expressed his beliefs about our relationship with nature. His fountains are not the traditional structures in which jets of water squirt at or out of a sculpture, but ones in which the water's movement over shapes, its sounds, and its reflected light are indispensable to the concept of the form as a whole.
This profusely illustrated book, published in connection with an exhibition at the Bellevue Art Museum includes an appreciation of the artist's fountain sculptor written by the Japanese art historian and critic Sumio Kuwabara, professor at the Musashino College of Arts.
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