Presentation of results of an optical study of AI-MITSU’s Landscape with an Eye
On February 26, OTANI Shogo (Senior researcher, National Museum of Modern Art, Tokyo) delivered a presentation entitled “AI-MITSU’s Landscape with an Eye” at a seminar of the Department of Art Research, Archives, and Information Systems. The work’s creator, AI-MITSU (born: ISHIMURA Nichiro, 1907–46), left behind a body of work through his unique sense of shapes and steadfast use of oil paints. As a painter, AI-MITSU is an essential part of Japan’s history of Western-style painting from the 1930s to 40s. Among his numerous works, Landscape with an Eye is not merely a result of surrealism in modern Japanese art; rather, the piece is renowned for its unique depiction of the fantastic amidst darkening times.
The Department of Art Research, Archives, and Information Systems previously conducted optical studies with the National Museum of Modern Art, Tokyo through a research project on Research on the Use of High-Resolution Digital Images and Comprehensive Research on Modern and Contemporary Art in January and April 2010. Full-scale color images and near-infrared reflectance images from those studies will be exhibited on the second floor of the Institute.
A participant in the optical study of AI-MITSU’s Landscape with an Eye, OTANI presented the results of his research, which builds on study and discussion of the images obtained. OTANI’s presentation brought up several issues. Although AI-MITSU’s work is generally considered to be typical of surrealist painting in Japan, numerous questions remain, e.g. what specific impact did the work have and what was AI-MITSU trying to depict? Near-infrared reflectance imaging and near-infrared transmittance imaging were done, allowing a glimpse into the process AI-MITSU used to produce the work. The comprehensive presentation discussed a single work from multiple perspectives. It reviewed the work in terms of the motivation behind its creation and its motifs and depictions in light of the imaging information and it confirmed the work’s place in art history via remarks on and assessments of the work thus far.