275:. Two oxen are shown grazing in a field while two groups of people are clustered in the background. The seeming innocuousness of the scene is challenged by the presence of holes on the oxen that reveals the flimsiness of their skin. Scholars speculate the artificiality of the oxen was meant to evoke the weakness surrounding Japanese propagandistic idealization of "Manchuria" as a colony in which all races lived harmoniously. Social inequality is expressed in the contrast between the two groups of people. The first group of gray, emaciated figures is shown partaking in excruciating, backbreaking labor while the second group of pink-skinned nude individuals relax near the edge of a river. Fukuzawa's social critique highlights the inequities between Chinese laborers and the Russian
265:. Thereafter, Japanese artists regularly traveled to the area to produce State-sponsored images to further the nation's imperial ambitions. In reality, the ulterior motives for these artistic sojourns were often two-fold: (1) to demonstrate distance from avant-garde/politically left-wing movements, and (2) to advance their artistic status. Fukuzawa retained his anti-Imperial political beliefs and maintained support for Surrealism through paintings whose content was either thematically ambiguous or neutral in tone. He found inspiration in the vastness of the area's landscape, and he incorporated subtle criticisms pertaining to Japan's control of Manchukuo within romanticized scenes visually acceptable by the government for public arts consumption.
200:. Fukuzawa's fascination with this highly influential European modern art movement compelled him to alter his preferred medium from sculpture to painting; Ernst's cut-outs of printed material and their reassemblage into entirely new works of art inspired Fukuzawa to apply the same technique to painting. Fukuzawa's intense attraction to Surrealism is directly attributed to his perceived connections between the movement and the traditional Japanese literary genres of
368:(1948) is regarded as Fukuzawa's first major individualized painting post-1945. A pile of muscular, nude figures are piled onto one another in a barren desert landscape. The entanglement of the bodies’ limbs obscure their faces, and the composition's solemn and melancholic mood conveys Fukuzawa's acknowledgement of the devastating effects of war on human life.
227:(1931) is an archetypal example of his Surrealistic wit. A group of faceless professors is seated around a table engaged in academic discourse. Behind each man is a portrait that displays their innermost thoughts unrelated to the discussion (e.g. the foreground of one gentleman's portrait prominently features a woman's exposed breast).
336:, this piece demonstrates Fukuzawa's ambivalence in the subject's relationship to the State's agenda. The National Museum of Modern Art, Tokyo's text on the work states the image was copied from a film still, and art historians interpret Fukuzawa's ambiguity to be an ironic pictorial statement on the futility of the war.
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As Japan became increasingly militarized, the government censored art deemed antithetical to the State's imperialist policies. In an attempt to avoid punishment, Fukuzawa altered the
Surrealist characteristics of his works in a less overt manner that presented the illusion of a more favorable view of
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The
Fukuzawa Ichiro Memorial Museum initiated and maintains a long-term research project focused on multiple Fukuzawa artworks created between 1945 and 1946 that went missing in the United States in 1947. The disappearance of the paintings in question were purchased by James V. Coleman and featured
220:-inspired Japanese artists. Fukuzawa exhibited 37 paintings under a "Special Submission" category to which he received a positive reception from both audiences and critics. Subsequent to this success, Fukuzawa then became a regular participant in future installments of the Dokuristu Bijutsu.
404:(1955) employs a much brighter palette than any of his previous work as seen in the striking pinks, purples, and blues surrounding the central figure. The multicolored shapes that comprise the subject's body recall Picasso's Cubist dematerialization of three-dimensional forms.
238:(1937), a seminal six-volume book series authored by Japan's leading artists on the latest developments in Japanese modernism. His writings on Surrealism's intellectual and artistic theories were disseminated to the socially-conscious, progressive views of avant-garde artists.
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left an indelible mark on the thematic content of his later paintings. The groundbreaking activism of Black
Americans to attain equal rights deeply resonated with the social justice-driven Fukuzawa. Derived from one of the many photographs he took of the predominantly black
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scene where a nude crowd of reddish-skinned people fight one another in hand-to-hand combat. The background presents a dichotomy of different locales: an industrialized urban skyline on the left and a desolate landscape of dead and decaying trees on the right.
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Fukuzawa's career was not limited to the
Japanese islands as he traveled extensively across mainland Asia, Europe, the United States, and Australia where his exposure to key socio-political events and artistic styles influenced his later periods of creativity.
415:’s reincarnation as a swan, signified Fukuzawa's gradual departure from Expressionism. His application of representational forms coincided with his declaration to actively pursue "theme painting" (images of figurative subjects with an accompanying narrative).
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in which Middle
Eastern countries severely restricted oil's importation, resulting in a severe economic recession in Japan. Fukuzawa equates this oil scarcity with the toilet paper as a humorous and anarchically critical position of Japanese consumerism.
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The 1980s and early-1990s sparked increased anxiety for
Fukuzawa as he contemplated the future of human morality in the fast-approaching 21st Century. Pessimism and a fixation on a potential collapse of society pervades his final series of paintings.
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on the
Japanese economy. Since he was associated with Surrealism's progressive ideas, Fukuzawa's art became a contentious issue for the Japanese State that led to his subsequent imprisonment and forced him to pursue pro-Imperial subjects during the
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Fukuzawa's paintings underwent yet another metamorphosis when he proceeded to lampoon modern society, albeit with more outlandish imagery and comical undertones. Dante's concept of Hell remained a recurring theme; Fukuzawa utilized the
31:
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Culver, Annika A. “Chapter 3: Surrealism in
Service of the State: Fukuzawa Ichiro and Associates, 1935 - 36.” Essay. In Glorify the Empire: Japanese Avant-Garde Propaganda in Manchuoko, 51. University of British Columbia Press,
271:(1936) is one of the large-scale oil paintings Fukuzawa utilized to address the contradictions between Japan's idealization of "Manchuria" versus the social realities of poor Chinese and Korean peasants who resided under
208:. As haiku seeks to convey in short form descriptions of larger images, Fukuzawa likewise intended to express and extend through the confines of a finite painted canvas the magnitude of Surrealist thought.
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Otani, Shogo. “A Misanthropic
Humanist - On the Present-Day Significance of Fukuzawa Ichiro.” Essay. In Laugh Off This Hopeless World: Fukuzawa Ichiro, 175. The National Museum of Modern Art, Tokyo, 2019.
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Otani, Shogo. “A Misanthropic
Humanist - On the Present-Day Significance of Fukuzawa Ichiro.” Essay. In Laugh Off This Hopeless World: Fukuzawa Ichiro, 174. The National Museum of Modern Art, Tokyo, 2019.
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The affluence of Fukuzawa's family permitted him to study European art in France between 1924 and 1931. Paris was the nexus from which Fukuzawa found inspiration in European Surrealism, mainly through
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Ryo, Furutate. “Painting a Wall, Painting on a Wall - Fukuzawa Ichiro and Mexico.” Essay. In Laugh Off This Hopeless World: Fukuzawa Ichiro, 188 - 89. The National Museum of Modern Art, Tokyo, 2019.
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By the late-1930s and early-1940s, Fukuzawa's disguised loyalty to the State became increasingly difficult to uphold as the government restricted artistic activities and censored the term “
464:(1974) features a ruinous urban setting where hundreds of mostly nude, orange-hued individuals run, tumble, and claw each other in a frenetic attempt to seize rolls of toilet paper. The
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A noteworthy aspect of Fukuzawa is that he is one of the few individuals in Japanese history to have been arrested and subsequently received national recognition during his lifetime.
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Fukuzawa's earliest Surrealist works were featured at The First Dokuritsu Bijutsu Kyokai (Independent Artists Association) in 1931, an exhibition that primarily highlighted younger,
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tensions, and contemporaneous social and political inequalities. Art historians have interpreted this image as a continuation of the agonized nude subjects Fukuzawa produced after
290:”. The government targeted Surrealism for its promotion of introspection and emotions ran counter to imperialist messages that emphasized national collectiveness, anti-Western and
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In 1939, Fukuzawa left the Dokuritsu Bijutsu Kyokai and founded Bijutsu Bunka KyĹŤkai (Art Culture Society), an alternative arts organization exclusively devoted to Surrealism.
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was one of few that specifically referenced Japan's military involvement. A lone Japanese soldier is portrayed on a patrol boat in the middle of a fierce storm. Similar to
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during World War II, Fukuzawa is celebrated as one of only a few individuals in Japanese history to have been imprisoned for breaking national laws and to be regarded as a
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Ulowetz, Christina. Rep. More Real than Reality: How the Human Body Functions in Japanese Surreal Art, 2015. Scholarly paper for "Japanese Modernism Across Media" course.
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https://www-oxfordartonline-com.avoserv2.library.fordham.edu/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000030159?rskey=u3nFTc&result=1
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On a quest for renewed artistic inspiration, Fukuzawa traveled extensively throughout Europe, the United States, Mexico, Latin America, Australia, and mainland Asia.
120:) paintings depart from such conventions by instead providing sharply satirical commentaries on human behavior and systemic social issues in Japan, including the
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Sandler, Mark H. “The Living Artist: Matsumoto Shunsuke's Reply to the State.” Art Journal, Art, Design & Architecture Collection, 55, no. 3 (1996): 75 - 76.
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because the dominance of the landscape seemingly appeared to align with Japanese propaganda that marketed the region as an exotic, utopian paradise settlement.
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Following his release and throughout the remainder of the military conflict, Fukuzawa abandoned the Surrealist style and shifted his attention to floral
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Durozoi, Gerard. “Notes on Principal Surrealists.” Essay. In History of the Surrealist Movement, 1st ed., 670–70. University of Chicago Press, 2004.
317:(1925), a national policy designed to suppress political demonstrations or creative expression that espoused anti-imperial and pro-Western beliefs.
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contributed to this change as Fukuzawa incorporated violently disfigured bodies caught amid chaos, bloodshed, and misery. Moreover, the concept of
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Fukuzawa resumed his pre-1945 stylistic approach, but his paintings evolved into a thematically somber amalgamation of Surrealistic and
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1229:"Fra Dante Alighieri e l'Ōjōyōshū di Genshin: la società come Inferno nell'opera di Fukuzawa Ichirō, pittore umanista e misantropo"
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While Surrealist artists are known for their distinct focus on the human subconsciousness and dreams, Fukuzawa's Western-style (
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431:(1965) depicts a young woman holding a sign titled "JUSTICE" as she stands in front of a crowd of onlookers on a city street.
1613:“Oil Crisis of 1973.” Japan: Places, Images, Times & Transformations. University of Pittsburgh. Accessed March 25, 2021.
1504:"Japanese Modernism Across Media | Wartime Surrealism · Juxtaposition and Shock Value: The Evolution of Japanese Surreal Art"
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at the Tribune Subway Gallery from May 1 - June 5, 1947. These paintings have never appeared privately or publicly since.
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led him to incorporate more abstracted figuration into his paintings, most recognizable in his "Latin American" series.
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Throughout the decade, Fukuzawa's art morphed into the humorous and satirical style that forms the corpus of his work.
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to study literature, but departed prior to completion of his degree in order to learn sculpting at the studio of
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Hoaglund, Linda. “Protest Art in 1950s Japan: The Forgotten Reportage Painters.” Visualizing Cultures, 2012, 1.
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culminated in Fukuzawa's insertion of more visually dynamic color schemes during the mid-1950s and early-1960s.
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Fukuzawa gained stylistic and thematic influence primarily from Western artists and movements that ranged from
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1824:“Fukuzawa, Ichiro.” Antiquariat Rohlmann: Rare Books on Architecture, Art and Design. Accessed March 20, 2021.
1811:“Venice Biennale: International Art Exhibition (26th - 49th).” The Japan Foundation. Accessed March 12, 2021.
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1998: Ichiro Fukuzawa Retrospective - Tomioka City Museum/Fukuzawa Ichiro Memorial Gallery, Tomioka, Japan
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https://ds-omeka.haverford.edu/japanesemodernism/files/original/2ccb3881aec14850c834de2b77af8f5c.pdf
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1755:“Laugh Off This Hopeless World: Fukuzawa Ichiro,” 2019. The National Museum of Modern Art, Tokyo.
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style coupled with Fukuzawa's studies of indigenous African and Latin American sculptures at the
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https://www.jpf.go.jp/e/project/culture/exhibit/international/venezia-biennale/art/list.html
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Northeast China (Japanese-occupied "Manchuria") and opposition to the government (1932–1945)
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458:) to lament his view of contemporary Japanese society as a physical manifestation of Hell.
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2018: Ichiro Fukuzawa Retrospective - Tomioka City Museum/Fukuzawa Ichiro Memorial Gallery
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Fukuzawa conceived this painting as an indictment of Japan's mid-1980s economic crises,
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1480:"About Japan: A Teacher's Resource | Peace preservation law of 1925 | Japan Society"
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Japanese Artists: A Contrast Seen before and after Sojourning in Europe or America
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313:. The incident occurred after authorities deemed Fukuzawa's art had violated the
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2018: Ichiro Fukuzawa Retrospective - Tama Art University Museum, Tokyo, Japan
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Nibuya, Takashi. “Nihon No Surrealism Kaiga.” Mizue, no. 940 (1986): 32–45.
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In tandem with painting, Fukuzawa also penned numerous books and essays in
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https://visualizingcultures.mit.edu/protest_art_50s_japan/anp1_essay04.pdf
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Fukuzawa's art influenced and inspired other Japanese artists, including:
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https://www.momat.go.jp/archives/english/am/exhibition/fukuzawa/index.htm
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1992: Ichiro Fukuzawa Retrospective - Museum of Modern Art, Gunma, Japan
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1988: Ichiro Fukuzawa Retrospective - Museum of Modern Art, Gunma, Japan
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1976: Ichiro Fukuzawa Retrospective - Museum of Modern Art, Gunma, Japan
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542:. The artists who profoundly impacted Fukuzawa's paintings include:
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Fukuzawa's visit to the United States in 1965 at the height of the
1833:“Works.” Fukuzawa Ichiro Memorial Museum. Accessed July 10, 2021.
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became a recurring theme throughout the remainder of his career.
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1957: Top Prize - The Fourth International Art Exhibition Japan
1686:"Sarah Lucas + Yamashita Kikuji to show in London exhibition"
1307:"Professors - Thinking About Other Things at Meetings (1931)"
1328:"Evolution of Japanese art: from modern to contemporary art"
1425:"Japan's Censorious Censors and the Art of Eradicating Art"
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Dreams of Horizon: Fantastic Paintings in Japan 1935 - 1945
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Fukuzawa's return to Europe in 1952 coincided with a major
1770:"Research Project - FUKUZAWA'S works in the United States"
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2009: Ichiro Fukuzawa - Museum of Modern Art, Gunma, Japan
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Asanu, Toru. “Fukuzawa, Ichiro.” Grove Art Online, 2003.
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Exhibition of Souvenir Sketches of Manchuria and Mongolia
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in Japan's artistic communities during the early 1930s.
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https://www.japanpitt.pitt.edu/glossary/oil-crisis-1973
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1931: 1st Independent Art Association Exhibition, Japan
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neighborhoods during his temporary New York residency,
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Visits to Mexico and Brazil to examine indigenous art
1198:"Origins and Influence of Surrealism in Japanese Art"
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Reconstructions: Avant-Garde Art in Japan 1945 - 1965
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Exhibition in Oil Paintings of Manchuria and Mongolia
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Tomioka-machi, Kitakanra-gun, Gunma Prefecture, Japan
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Professors - Thinking About Other Things at Meetings
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1957: 4th Japan-International Art Exhibition - Japan
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Fukuzawa died on October 16, 1992, at 94 years old.
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Professors - Thinking About Other Things at Meetings
1528:"The Surrealist Moralist: Ichiro Fukuzawa at MOMAT"
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1132:"The Surrealist Moralist: Ichiro Fukuzawa at MOMAT"
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Yukawa (from the illusion of Dante's Divine Comedy)
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616:Exhibition of Sketches from Manchuria and Mongolia
836:- The National Museum of Modern Art, Tokyo, Japan
754:- The National Museum of Modern Art, Tokyo, Japan
726:- The National Museum of Modern Art, Tokyo, Japan
719:- The National Museum of Modern Art, Tokyo, Japan
712:- The National Museum of Modern Art, Tokyo, Japan
705:- The National Museum of Modern Art, Tokyo, Japan
698:- The National Museum of Modern Art, Tokyo, Japan
1788:"Laugh Off This Hopeless World: Fukuzawa Ichiro"
253:In 1932, Japan established the puppet state of
1861:Laugh Off This Hopeless World: Fukuzawa Ichiro
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834:Laugh Off This Hopeless World: Fukuzawa Ichiro
696:Development of Japanese Surrealistic Painting
8:
309:because the government viewed Surrealism as
102:(January 18, 1898 – October 16, 1992) was a
1353:"Second Division: Early Modernism in Japan"
1072:Will Evil Voltage Rise in the 21st Century?
481:Will Evil Voltage Rise in the 21st Century?
328:war paintings. Of these, his 1945 painting
1174:"Gallery tokinowasuremono Ichiro FUKUZAWA"
759:Post-War Art by Fukuzawa and Other Artists
456:The Essentials of Rebirth in the Pure Land
301:On April 5, 1941, Fukuzawa and art critic
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605:- Imperial Fine Arts Academy Exhibition,
468:narrative was Fukuzawa's response to the
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1661:"Spectral Intrusions - Past Exhibition"
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952:Shipborne Special Unit Leaves the Base
816:2008: Ichiro Fukuzawa Retrospective -
330:Shipborne Special Unit Leaves the Base
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1835:https://fukuzmm.wordpress.com/works/
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305:were arrested and imprisoned by the
279:. The painting was not perceived as
85:Surrealist, Expressionist, Modernist
972:Group of Figures Defeated in Battle
772:- Itabashi Art Museum, Tokyo, Japan
747:- Itabashi Art Museum, Tokyo, Japan
745:Tokyo - Montparnasse and Surrealism
497:Group of Figures Defeated in Battle
411:(1962), a reference to Greek deity
366:Group of Figures Defeated in Battle
109:credited with the establishment of
1886:20th-century Japanese male artists
717:Around 1930 in Modern Japanese Art
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1282:"When followers outdo the master"
770:Ichiro Fukuzawa and His Disciples
679:The National Museum of Modern Art
649:Fifteen Artists in Postwar Japan
585:Fifteen Artists in Postwar Japan
383:exhibition. Picasso's signature
340:Return to Surrealism (1945–1950)
122:Japanese occupation of Manchuria
1851:Fukuzawa Ichiro Memorial Museum
1774:Fukuzawa Ichiro Memorial Museum
1601:Fukuzawa Ichiro Memorial Museum
1574:Fukuzawa Ichiro Memorial Museum
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1311:Fukuzawa Ichiro Memorial Museum
372:Global explorations (1950–1970)
352:'s 14th Century narrative poem
124:and the adverse impacts of the
77:Introducing Surrealism to Japan
1891:20th-century Japanese painters
1552:"Man with a Watermelon (1955)"
1357:The Metropolitan Museum of Art
710:Dadaism to Surrealism in Japan
633:- Ginza District, Tokyo, Japan
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1906:Artists from Gunma Prefecture
1597:"Woman with a Placard (1965)"
1227:Amato, Lorenzo (2021-02-14).
691:- XXIX Venice Biennale, Italy
140:Despite his violation of the
1684:Westall, Mark (2016-03-11).
912:Poisson d'Avril (April Fool)
407:The semi-figural subject of
196:(1929) and the paintings of
1711:"Contemporary Art in Japan"
1484:aboutjapan.japansociety.org
212:Return to Japan (1931–1939)
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1911:People from Tomioka, Gunma
651:- Tribune Subway Gallery,
596:Selected group exhibitions
294:beliefs, and rejection of
236:Kindai bijutsu shicho koza
16:Japanese modernist painter
261:, then colonially called
170:Tokyo Imperial University
148:and the recipient of the
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1389:"Testament to Manchukuo"
1178:www.tokinowasuremono.com
854:Person of Cultural Merit
435:Later career (1970–1992)
180:Early career (1924–1931)
146:Person of Cultural Merit
675:Abstraction and Fantasy
483:(1986) is a hauntingly
1901:Expressionist painters
1508:ds-omeka.haverford.edu
761:- Tomioka Art Museum,
739:Oxford, United Kingdom
315:Peace Preservation Law
142:Peace Preservation Law
1709:Beckh, Erica (1959).
982:Man with a Watermelon
884:From Amazon to Mexico
448:'s 10th Century text
420:Civil Rights Movement
402:Man with a Watermelon
307:Special Higher Police
152:within his lifetime.
1012:Woman with a Placard
820:Museum, Tokyo, Japan
735:Museum of Modern Art
429:Woman with a Placard
311:Communist propaganda
250:the Japanese State.
1856:Fukuzawa's Artworks
1715:College Art Journal
1423:Solt, John (1990).
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818:Tama Art University
805:Setagaya Art Museum
777:Polyphony of Colors
536:Classical Antiquity
530:Artistic influences
1896:Surrealist artists
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583:in the exhibition
560:Giorgio de Chirico
296:art for art's sake
198:Giorgio de Chirico
194:La Femme 100 Tetes
1628:"FUKUZAWA Ichiro"
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1082:Noah's Art Events
1052:Toilet Paper Hell
841:Awards and honors
779:- Arts Maebashi,
689:Japanese Pavilion
660:Japanese Pavilion
640:- Triangle Hall,
603:The Fourth Teiten
548:Peter Paul Rubens
462:Toilet Paper Hell
355:The Divine Comedy
234:, a component of
107:modernist painter
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801:Fukuzawa, Ichiro
544:Hieronymus Bosch
538:to 20th Century
524:Suzuki Yashinori
512:Kikuji Yamashita
503:Death and legacy
389:Musée de l'Homme
281:social criticism
162:Gunma Prefecture
150:Order of Culture
131:Second World War
57:October 16, 1992
45:January 18, 1898
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591:Exhibitions
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516:Ebosi Yuasa
485:apocalyptic
288:avant-garde
277:bourgeoisie
66:Nationality
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322:still life
232:Surrealism
156:Early life
111:Surrealism
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