Masamu Yanase
柳瀬 正夢（やなせ まさむ、1900年1月12日 - 1945年5月25日） は、美術家、画家、デザイナー、舞台美術家。本名は正六、別名は夏川八朗。
来歴・人物
愛媛県松山市で生まれる[1]。3歳で母と死別し、家計を助けながら画家を志した。1915年、15歳の若さで油彩「河と降る光と」が院展に入選し、早熟の天才画家として有名になった[2]。その後上京し絵画を学び、1920年には読売新聞に入り、時事漫画を描いていた。折しも米騒動やロシア革命に刺激を受け、大正デモクラシーが高まりを見せた頃で、文芸界でも民衆芸術論が盛んに議論された。柳瀬もそのような芸術運動に傾倒してゆき、普門暁の未来派美術協会に入ったり、村山知義、尾形亀之助、大浦周蔵、門脇晋郎とともにMAVOを結成したりして、前衛美術に進んだ。1924年には、三科造形美術協会を結成している。
一方でプロレタリア美術にも傾倒し、1921年に種蒔く人、未来派美術協会に参加。1923年に日本漫画会発起人となる。そして1925年、日本プロレタリア文芸同盟の結成に参加、同年創刊の無産者新聞に参加し、多くの挿絵を執筆した。
1931年10月、日本共産党入党。しかし翌1932年に治安維持法違反で検挙され、拷問を受ける。こうした逆境にもめげずに、プロレタリア美術への運動を続け、無産階級の画家として知られたゲオルグ・グロッスを日本に紹介した。他にもカリカチュア、絵画に始まり、デザイン（ポスター）、コラージュ、舞台美術など、戦前～戦中にかけて幅広く活躍した。
1945年5月25日、山の手空襲により新宿駅西口で戦災死。享年45。諏訪に疎開していた娘を見舞うため、22時発の中央本線の夜行列車[2]に乗ろうとした所、空襲の被害に遭ったと言われている。遺族によって柳瀬の遺体が発見されたのは、死後4日経った5月29日だった[3]。東京都東村山市の「圓龍寺」の柳瀬家の墓に眠っている。[4]
脚注
- ^ しんぶん赤旗、2008年3月6日。
- ^ a b 三鷹市美術ギャラリー（柳瀬正夢展）
- ^ 柳瀬正夢と『Kの像』の小林勇。 [気になるエトセトラ（落合道人 Ochiai-Dojinのページ）]
- ^ 顕彰碑探訪 柳瀬正夢
主要文献
- ねじ釘の如く―画家・柳瀬正夢の軌跡／井出孫六／岩波書店／1996年
- ポスターの社会史 大原社研コレクション／法政大学大原社会問題研究所 梅田俊英／ひつじ書房／2001年（無産者新聞のポスターの写真あり）
- 下記展覧会の展覧会カタログ
主要な展覧会
- 村山知義と柳瀬正夢の世界 : グラフィックの時代（板橋区立美術館・1990年）
- ねじ釘の画家 : 没後四十五年柳瀬正夢展（武蔵野美術大学美術資料図書館・1990年）
- 柳瀬正夢 : 疾走するグラフィズム（武蔵野美術大学美術資料図書館・1995年）
- 柳瀬正夢展 : 画布からあふれ出した筆跡 : 没後50年記念（（久万）町立久万美術館・1995年）.
- 柳瀬正夢展 : 生誕100年記念（愛媛県美術館・2000年）.
- 槿の画家：柳瀬正夢展 （武蔵野美術大学美術資料図書館・2008年）.
- 柳瀬正夢 1900－1945 大正、昭和を駆けぬける （北九州市立美術館・2013年）.
Art
The many reinventions of Masamu Yanase
by Jeff Michael Hammond
Special To The Japan Times
If ever an artist was in a constant state of reinvention, it
was Masamu Yanase (1900-1945), now the subject of a full-scale
exhibition at The Museum of Modern Art, Hayama. “Yanase Masamu: A
Retrospective 1900-1945″ brings together more than 500 of the artist’s
works, large and small, for a comprehensive overview of his career.
His first reincarnation came as a teenager when, disliking his given name of Shoroku, he changed it to Masamu, incorporating the kanji character for “dream” into his new name. Leaving his parents in Kyushu, he arrived in Tokyo at age 14, but had to flit between there and home for lack of funds. He had no art-school training, but his precocious talent secured him patrons, enabling him to continue painting.
In a number of his landscapes in oils, painted when he was just 15 years old, he builds up both the sky and greenery with overlaid short, vertical brush strokes that harmonize the entire picture plane. A view of a coastal village seems to echo the smooth color planes and dramatically high viewpoint of a Japanese woodblock print, showing a range of interests indicative of an inquisitive mind. Even at this age, his talent was recognized and one of his paintings was included in an exhibition where it was singled out for praise by a leading art critic.
He also had a pair of busy hands: The following year he not only painted his parents working in the fields but also his own masterful self-portrait. The next year he produced a series of mountain scenes recalling, but not beholden to, Cezanne’s renditions of Mont Sainte Victoire.
It was not long before Yanase was swept up in Japan’s burgeoning Futurist movement. In one energetic work from the early 1920s you can just make out a bridge, but in another, any solid forms dissolve into an abstract flurry of swirling color. Having become politicized quite early, Yanase engaged with Constructivism, although often still with a Futurist tinge, as part of the Mavo group. His “A Morning in May and Me Before Breakfast” (1923) is a vertigo-inducing riot of movement and skyscraper-like shapes, although it could also be read as a totally abstract work. Nothing else from this period quite encapsulates the chaos of the modern city.
Yanase’s next rebirth was after the Great Kanto Earthquake of 1923. Arrested during the crackdown on radicals in the aftermath of the quake, his work became even more political. Turning his back on painting — which he now considered a bourgeois pursuit — he concentrated on forms of mass communication such as posters and graphics. Much of this proletarian art is vivid and striking, and often utilizes the strong graphic potential of kanji characters. He also worked as a cartoonist, providing the Yomiuri Shimbun newspaper with comical commentary on people and society.
In a bitter irony for an anarchist in favor of abolishing the nation state entirely, Yanase was pressed into fighting for Japan during World War II, a “duty” that ended up costing him his life.
His first reincarnation came as a teenager when, disliking his given name of Shoroku, he changed it to Masamu, incorporating the kanji character for “dream” into his new name. Leaving his parents in Kyushu, he arrived in Tokyo at age 14, but had to flit between there and home for lack of funds. He had no art-school training, but his precocious talent secured him patrons, enabling him to continue painting.
In a number of his landscapes in oils, painted when he was just 15 years old, he builds up both the sky and greenery with overlaid short, vertical brush strokes that harmonize the entire picture plane. A view of a coastal village seems to echo the smooth color planes and dramatically high viewpoint of a Japanese woodblock print, showing a range of interests indicative of an inquisitive mind. Even at this age, his talent was recognized and one of his paintings was included in an exhibition where it was singled out for praise by a leading art critic.
He also had a pair of busy hands: The following year he not only painted his parents working in the fields but also his own masterful self-portrait. The next year he produced a series of mountain scenes recalling, but not beholden to, Cezanne’s renditions of Mont Sainte Victoire.
It was not long before Yanase was swept up in Japan’s burgeoning Futurist movement. In one energetic work from the early 1920s you can just make out a bridge, but in another, any solid forms dissolve into an abstract flurry of swirling color. Having become politicized quite early, Yanase engaged with Constructivism, although often still with a Futurist tinge, as part of the Mavo group. His “A Morning in May and Me Before Breakfast” (1923) is a vertigo-inducing riot of movement and skyscraper-like shapes, although it could also be read as a totally abstract work. Nothing else from this period quite encapsulates the chaos of the modern city.
Yanase’s next rebirth was after the Great Kanto Earthquake of 1923. Arrested during the crackdown on radicals in the aftermath of the quake, his work became even more political. Turning his back on painting — which he now considered a bourgeois pursuit — he concentrated on forms of mass communication such as posters and graphics. Much of this proletarian art is vivid and striking, and often utilizes the strong graphic potential of kanji characters. He also worked as a cartoonist, providing the Yomiuri Shimbun newspaper with comical commentary on people and society.
In a bitter irony for an anarchist in favor of abolishing the nation state entirely, Yanase was pressed into fighting for Japan during World War II, a “duty” that ended up costing him his life.
“Yanase Masamu: A Retrospective 1900-1945″ at The
Museum of Modern Art, Hayama runs till March 23; open 9.30 a.m.-5 p.m.
¥1,000. Closed Mon. www.moma.pref.kanagawa.jp
Click to enlarge
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