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with pride, and that "The Myth of
Tomorrow" will be born in its wake. However, the work had been left in a poor environment for many years and was severely damaged.Therefore, the Taro Okamoto Memorial Museum Foundation launched the "Myth of Tomorrow" Restoration Project to transport the work to Japan, restore it, and then exhibit it widely to the public.The restoration was completed in June 2006, and the first public viewing of the work was held in Shiodome in July of the same year, attracting a total of 2 million visitors in a short period of 50 days. The work was later exhibited at the Museum of Contemporary Art Tokyo from April 2007 to June 2008, and in March 2008 it was decided to permanently install the work in Shibuya, where it has been on view since November 18, 2008 in the connecting passageway of Shibuya Mark City. In the summer of 2023 further restoration work was done.
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the human race. Visitors entered through the base of the sculpture and then ascended through it in escalators next to the so-called "Tree of Life," a sculptural tree displaying the evolution of creatures from primitive organisms toward more complex life forms. Visitors then exited through the arms of the sculpture. Constructed not long after
Okamoto's visit to
827:(1950), however, is permanently fragmented: individual elements are clearly described in line and color, but resist any identification, and float in the painted space without any connection to one another. There is also a strong tension between flatness and depth, clarity and obscurity, foreground and background, representational and abstract.
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A long-lost work by Taro
Okamoto was discovered in the suburbs of Mexico City in the fall of 2003. It is a huge mural titled "Myth of Tomorrow. It depicts the tragic moment when the atomic bomb exploded. The work conveys Taro Okamoto's strong message that people can overcome even the cruelest tragedy
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in Osaka. Standing at 70 meters tall, the humanoid form was created in concrete and sprayed stucco, with two horn-shaped arms, two circular faces, and one golden metal face attached at its highest point. As a whole, it represents the past (lower part), present (middle part), and future (the face) of
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commission and filmed a program for
Japanese television entitled “The New World: Okamoto Tarō explores Latin America.” Okamoto was deeply inspired by Mexican painting and saw it as an avenue to refocus the attention of Japan's art world away from Western countries. He imagined a partnership between
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ceramics offered a dynamic, authentic expression that was missing from contemporary Japan. He argued that
Japanese artists should pursue the same dynamic power and mystery to fuel their own work, drawing inspiration from this more “primitive” culture of their ancestors. Okamoto's understanding of
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helped change the public perception of
Japanese culture. He continued to write on Japanese tradition and became one of the major thinkers active in the reevaluation of Japanese tradition after World War II. He later traveled around Japan in order to research the essence of Japanese culture, and
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From the 1950s through the end of his career, Okamoto received numerous public commissions to create murals and large sculptures in Japan, including government buildings, office buildings, subway stations, museums, and other locations. Notable examples included ceramic murals for the old Tokyo
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established the group Yoru no Kai ("Night
Society"), whose members attempted to theorize artistic expression after the war. It dissolved in 1949. Hanada and Okamoto then founded the Abangyarudo Kenkyūkai ("Avant-Garde Research Group") which mentored younger artists and critics such as
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the Tower ultimately had a more positive message: the eclectic inspirations for its imagery suggested the possibility of a more global modern art, and
Okamoto imagined the tower and its surrounding plaza to facilitate a great gathering – rather than a great destruction – of people.
472:("Forgotten Japan: On Okinawa culture"), which included many photographs from his trip. The book received the Mainichi Publication Culture Award. Many of Okamoto's photographs revisited Okinawa subject matter already photographed by other Japanese photographers, such as
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and refused the notion of synthesis, believing rather that thesis and antithesis (polar opposites) could actually remain apart, resulting in permanent fragmentation rather than unity or resolution. This theory, proposed shortly after
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904:(The Art of Today), published in 1954, encouraged young artists to destroy violently any past art systems and rebuild a Japanese art world equal to the Western art world. This could be seen as a way of advocating a form of
316:. He found some artistic success in Japan upon his return, winning the Nika Prize at the 28th Nika Art Exhibition in 1942. The same year, he also had a solo exhibition of works he had completed in Europe, at the
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Gallery, and in 1932 he began successfully submitting his own paintings for exhibition at the Salon des surindépendants, for which he received some positive reviews. From 1933-1936, he was a member of the group
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in
Kawasaki. The award is given annually to young contemporary artists who are creating art of the next generation, and who display the creativity and individuality he advocated for in The Art of Today (1954).
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Toward the end of his career, Okamoto began to receive many more solo exhibitions of his work. In 1986, several of his early paintings were included in a major exhibition of
Japanese avant-garde artists,
630:(1950), one of his most famous paintings, depicts a monstrous red fish-like creature with an enormous, zipper-shaped spine devouring a human figure. Small human and animal forms in vibrant
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period, the article argued for a complete rethinking of Japanese aesthetics. Okamoto believed that Japanese aesthetics until that point had been founded on the aesthetics of prehistoric
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During the 1950s, Okamoto theorized several key aesthetic ideas that helped establish his role as a public intellectual in Japanese society. First, he crafted his theory of “polarism” (
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group. However, over time he grew dissatisfied with the limitations of pure abstraction, and began to include more representational imagery in his paintings. The completion of
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ceramics. This article was the beginning of a long engagement with prehistoric Japan, and his argument that Japanese aesthetics should take inspiration from the ancient
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ceramics, which were simple, subdued, restrained, and refined. This foundation gave rise to the what many considered traditional Japanese aesthetic concepts, such as
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Although very few of Okamoto’s prewar paintings remain, during his early career in Paris he was interested in abstraction and showed a number of works with the
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A prominent name in the art establishment, Okamoto began to have a series of solo exhibitions in the 1950s, at such prestigious venues at the art galleries of
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Despite Okamoto's interest in prehistoric art, he did not advocate for any direct preservation of the past in contemporary art. His best-selling book
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1638:. 横浜美術館., Yokohama Bijutsukan, Solomon R. Guggenheim Museum, San Francisco Museum of Modern Art, 横浜美術館. New York: H.N. Abrams. pp. 155–156.
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1069:. 横浜美術館., Yokohama Bijutsukan, Solomon R. Guggenheim Museum, San Francisco Museum of Modern Art, 横浜美術館. New York: H.N. Abrams. p. 28.
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Takeshi Sakai, “Towards a Primordial Life – Taro Okamoto in the 1930s,” in 岡本太郎の絵画 : 開館10周年記念展 = The Paintings of Taro Okamoto, 156.
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1399:. Michio Hayashi, Mika Yoshitake, Miryam Sas, Yuri Mitsuda, Masatoshi Nakajima, Nancy Lim. New York: Museum of Modern Art. p. 186.
1311:. Michio Hayashi, Mika Yoshitake, Miryam Sas, Yuri Mitsuda, Masatoshi Nakajima, Nancy Lim. New York: Museum of Modern Art. p. 183.
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Winther-Tamaki, “To Put on a Big Face: The Globalist Stance of Okamoto Tarō’s Tower of the sun for the Japan World Exposition,” 85-86.
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Bert Winther-Tamaki, “To Put on a Big Face: The Globalist Stance of Okamoto Tarō’s Tower of the sun for the Japan World Exposition,”
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Winther-Tamaki, “To Put on a Big Face: The Globalist Stance of Okamoto Tarō’s Tower of the sun for the Japan World Exposition,” 86.
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Winther-Tamaki, “To Put on a Big Face: The Globalist Stance of Okamoto Tarō’s Tower of the sun for the Japan World Exposition,” 81.
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Winther-Tamaki, “To Put on a Big Face: The Globalist Stance of Okamoto Tarō’s Tower of the sun for the Japan World Exposition,” 95.
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Winther-Tamaki, “To Put on a Big Face: The Globalist Stance of Okamoto Tarō’s Tower of the sun for the Japan World Exposition,” 97.
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Winther-Tamaki, “To Put on a Big Face: The Globalist Stance of Okamoto Tarō’s Tower of the sun for the Japan World Exposition,” 82.
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Okamoto continued to travel, write and produce public art works in the 1970s. He also began to produce prints, experimenting with
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Munroe, Alexandra (1994). "Morphology of Revenge: The Yomiuri Indépendant Artists and Social Protest Tendencies in the 1960s".
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Winther-Tamaki, “To Put on a Big Face: The Globalist Stance of Okamoto Tarō’s Tower of the sun for the Japan World Exposition."
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Reynolds, Jonathan M. (2015). "Uncanny, Hypermodern Japaneseness: Okamoto Tarō and the Search for Prehistoric Modernism".
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Reynolds, Jonathan M. (2015). "Paradise Lost: Paradise Regained: Tōmatsu Shōmei's Photographic Engagement with Okinawa".
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Reynolds, Jonathan M. (2015). "Paradise Lost: Paradise Regained: Tōmatsu Shōmei's Photographic Engagement with Okinawa".
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Japanese and Mexican art worlds to launch a new, non-Western modern art aesthetic, and saw affinities between Japanese
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1267:. Kenji Kajiya, Fumihiko Sumitomo, Michio Hayashi, Doryun Chong. New York: The Museum of Modern Art. pp. 39–40.
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and the Tarō Okamoto Memorial Museum, which is housed in the artist's former studio and home built by the architect
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Much of Okamoto's formative education occurred during his stay in Paris. In 1932, he began attending classes at the
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Jonathan Reynolds, “Uncanny, Hypermodern Japaneseness: Okamoto Tarō and the Search for Prehistoric Modernism,” in
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In 1942, Okamoto was drafted into the army as an artist tasked with documenting the war, and left for service in
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Okamoto's postwar paintings, like his murals and public sculpture, continued to be informed by abstraction and
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Okamoto's most notable achievement of the 1970s was his involvement with 1970 Japan World Exposition in Osaka (
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in 1954. Okamoto remained active as a Nika member, while also exhibiting in the non-juried, non-award-granting
1528:"To Put On A Big Face: The Globalist Stance of Okamoto Tarō's Tower of the Sun for the Japan World Exposition"
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objects specifically to construct a native theoretical basis for Japanese avant-garde artistic practices.
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Reynolds, “Uncanny, Hypermodern Japaneseness: Okamoto Tarō and the Search for Prehistoric Modernism,” in
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Reynolds, “Uncanny, Hypermodern Japaneseness: Okamoto Tarō and the Search for Prehistoric Modernism,” in
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Reynolds, “Uncanny, Hypermodern Japaneseness: Okamoto Tarō and the Search for Prehistoric Modernism,” in
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display imagery that runs throughout much of Okamoto's public artworks. Works in a similar style include
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forms, vibrant colors, and a flat picture plane – continued in his paintings for the rest of his career.
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paintings and public sculptures and murals, and for his theorization of traditional Japanese culture and
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Keinosuke Murata, “The Painter Taro,” in 岡本太郎の絵画 : 開館10周年記念展 = The Paintings of Taro Okamoto, 154.
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Taro Okamoto, Tower of the Young Sun, 1969. Installed in Japan Monkey Park, Inuyama, Aichi Prefecture.
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Nakajima, Masatoshi (2012). "Tokyo 1955-1970: A New Avant-garde Chronology". In Chong, Doryun (ed.).
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Nakajima, Masatoshi (2012). "Tokyo 1955-1970: A New Avant-garde Chronology". In Chong, Doryun (ed.).
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During his trip to Mexico in 1967, Okamoto painted a 5.5 x 30-meter mural in oil on canvas, entitled
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The pavilion was visited by over 9 million people during Expo ’70, and is preserved today in the
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Okubo, Kyoko (2020). "The Reception of Primitivisme in Japan: the Discourse of Taro Okamoto".
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Okamoto returned to Japan in 1940 because his mother had died, and because of the outbreak of
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In 1927, at the age of sixteen, Okamoto began to take lessons in oil painting from the artist
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Avant-garde art and nondominant thought in postwar Japan : image, matter, separation
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Avant-garde art and nondominant thought in postwar Japan : image, matter, separation
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Munroe, Alexandra (1994). "Circle: Modernism and Tradition". In Munroe, Alexandra (ed.).
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Isozaki, Arata (1994). "As Witness to Postwar Japanese Art". In Munroe, Alexandra (ed.).
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Okamoto also began to establish himself as a painter in Paris, working with the Parisian
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theory has become one of the most influential theoretical contributions to 20th century
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which melded abstraction and representation, convinced Okamoto that he should leave the
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In 1929, Okamoto and his family accompanied his father on a trip to Europe to cover the
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was a Japanese artist, art theorist, and writer. He is particularly well known for his
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1969, acrylic on concrete slabs, by Taro Okamoto in Shibuya City, Tokyo, Japan (2023).
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Okamoto met and befriended many prominent avant-garde art figures in Paris, including
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Allegories of time and space : Japanese identity in photography and architecture
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Allegories of time and space : Japanese identity in photography and architecture
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Allegories of time and space : Japanese identity in photography and architecture
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Avant-garde art and non-dominant thought in postwar Japan: image, matter, separation
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setting. Many of the key features of this work – the mix of abstraction and surreal
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Japanese aesthetics drew heavily from his ethnographic studies and encounters with
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From postwar to postmodern : art in Japan 1945-1989 : primary documents
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city, and a museum in his honor was opened in 1999, following his death in 1996.
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Allegories of time and space: Japanese identity in photography and architecture
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in Mexico. Allusions to Mexican art would appear in his subsequent artworks.
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for Contemporary Art (TARO Award) was established in 1997 and is run by the
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and cultural history. The theory was first introduced in his seminal essay “
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Okamoto Tarō & Jonathan M. Reynolds (Translator), "On Jōmon Ceramics,"
1921:"Shibuya Station's massive mural gets some TLC | NHK WORLD-JAPAN News"
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1183:"Okamoto Taro: Nuclear Proliferation, Tradition, and "The Myth of Tomorrow"
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that was being constructed for the 1968 Olympics. The mural's subtitle is “
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By contrast, the energetic, rough, and mysterious patterns and designs of
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Yoshida, Ken (2012). "Artists' Groups and Collectives in Postwar Japan".
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As part of his travels around Japan, in 1959 and 1966, Okamoto visited
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1339:岡本太郎の絵画 : 開館10周年記念展 = The Paintings of Taro Okamoto, 221, 224.
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in Paris, but instead of exoticizing ethnographic objects, he used
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1052:. Kawasaki-shi: Kawasaki-shi Okamoto Tarō Bijutsukan. p. 217.
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surround the central creature, floating through the glowing green
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331:. He returned to Japan in 1946 after spending several months in a
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405:. His work was included in the Japanese presentation at the 2nd
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1667:"Instalan en Tokio mural de Okamoto perdido 30 anos en Mexico"
1348:岡本太郎の絵画 : 開館10周年記念展 = The Paintings of Taro Okamoto, 219.
1295:岡本太郎の絵画 : 開館10周年記念展 = The Paintings of Taro Okamoto, 220.
1199:岡本太郎の絵画 : 開館10周年記念展 = The Paintings of Taro Okamoto, 218.
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1987:. Kawasaki-shi: Kawasaki-shi Okamoto Tarō Bijutsukan, 2009.
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imagery. At the same time, the form of the tower resembled
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and completed in 1956, and five ceramic murals for Tange's
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After the war, Okamoto established a studio in Kaminoge,
1985:岡本太郎の絵画 : 開館10周年記念展 = The Paintings of Tarō Okamoto
1973:(New York: Routledge, Taylor & Francis Group, 2021).
1606:岡本太郎の絵画 : 開館10周年記念展 = The Paintings of Tarō Okamoto
1050:岡本太郎の絵画 : 開館10周年記念展 = The Paintings of Taro Okamoto
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Japanese art after 1945 : scream against the sky
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Japanese art after 1945 : scream against the sky
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Japanese art after 1945 : scream against the sky
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of 1930. While in Europe, Okamoto spent time in the
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1994:1:1 (2009), 49–60, DOI: 10.2752/175613109787307645
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1966:(Honolulu: University of Hawai’i, 2017), 54–85.
722:portraiture of Picasso. Unlike the apocalyptic
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1214:Tarô, Okamoto; Reynolds, Jonathan M. (2009).
964:Tarō Okamoto Memorial Museum in Aoyama, Tokyo
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1805:: CS1 maint: location missing publisher (
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1158:The Journal of Asian Arts & Aesthetics
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1396:Tokyo, 1955-1970 : a new avant-garde
1308:Tokyo, 1955-1970 : a new avant-garde
257:and joined the secret society founded by
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859:magazine in 1952. Inspired by a trip to
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1821:"The Guggenheim Museums and Foundation"
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139:Taro Okamoto was the son of cartoonist
86:Painting, murals, sculpture, art theory
1978:Review of Japanese Culture and Society
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1532:Review of Japanese Culture and Society
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470:Wasurerareta Nihon: Okinawa bunka-ron
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2005:Taro Okamoto Museum of Art, Kawasaki
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853:Jōmon doki ron: Shijigen to no taiwa
758:(Tower of the Young Sun) (1969) in
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1777:. Abingdon, Oxon. pp. 28–34.
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1935:"第24回TARO賞は大西茅布に決定。高校3年生、史上最年少受賞"
2099:Tokyo School of Fine Arts alumni
746:(“Young Clock Tower”) (1966) in
555:Japon des Avant-Gardes 1910-1970
455:Nihon Sai-hakken－Geijutsu Fudoki
421:Metropolitan Office Building in
1941:(in Japanese). 19 February 2021
1882:Watanabe, Shinya (2011-04-15).
939:Installation view of the mural
770:("Tree of Children") (1985) in
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2114:20th-century Japanese painters
2094:People from Kawasaki, Kanagawa
2029:Institute of Esthetic Research
1728:. Abingdon, Oxon. p. 24.
1434:. Honolulu. pp. 141–142.
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839:Tradition and contemporary art
415:Yomiuri Indépendant Exhibition
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1908:Allegories of time and space,
1870:Allegories of time and space,
1857:Allegories of time and space,
1526:Winther-Tamaki, Bert (2011).
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273:Exhibition in Paris in 1938.
153:Kawasaki, Kanagawa Prefecture
2051:Taro Okamoto Memorial Museum
2013:Taro Okamoto Memorial Museum
1170:10.6280/JAAA.202005_(6).0001
1010:Museum of Modern Art, Toyama
998:Solomon R. Guggenheim Museum
347:Postwar activity (1946–1996)
236:artists. He was inspired by
164:Tokyo University of the Arts
244:(1931) which he saw at the
194:and enrolled in a lycée in
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65:, Kawasaki, Kanagawa, Japan
27:Japanese artist (1911–1996)
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2104:University of Paris alumni
1232:10.2752/175613109787307645
1021:Tarō Okamoto Museum of Art
970:Tarō Okamoto Museum of Art
213:. He attended lectures on
170:Time in Europe (1929–1940)
1483:. Honolulu. p. 143.
646:Key murals and sculptures
483:In 1967, Okamoto visited
431:Yoyogi National Gymnasium
242:Pitcher and Bowl of Fruit
106:
39:
1104:. Honolulu. p. 56.
1048:川崎市岡本太郎美術館, ed. (2009).
1980:Vol. 23 (2011): 81–101.
793:Art theory and writings
547:Expo Commemoration Park
2109:20th-century sculptors
2021:Gendaigeijutsu Atelier
965:
956:Collections and legacy
948:
932:
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664:Manuel Suarez y Suarez
619:
409:in 1953 and the 27th
135:Early life (1911–1929)
963:
938:
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869:from the prehistoric
861:Tokyo National Museum
825:The Law of the Jungle
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695:became the symbol of
628:The Law of the Jungle
617:
255:Collège de Sociologie
2037:Taro Okamoto's grave
1771:Yoshida, K. (2021).
1722:Yoshida, K. (2021).
902:Konnichi no geijutsu
786:The Gate of Dynamism
726:("Myth of Tomorrow")
654:("Myth of Tomorrow")
601:Abstraction-Création
589:Abstraction-Création
514:copperplate printing
401:department store in
389:department store in
333:prisoner-of-war camp
320:department store in
300:and Capa's partner,
251:Abstraction-Création
126:artistic practices.
1216:"On Jômon Ceramics"
849:Japanese aesthetics
375:Katsuhiro Yamaguchi
308:Wartime (1940–1945)
209:and specialized in
176:London Naval Treaty
2089:Japanese muralists
2084:Japanese sculptors
1992:Art in Translation
1220:Art in Translation
1017:Tarō Okamoto Award
966:
949:
933:
802:Okamoto's idea of
790:
662:in Mexico city by
620:
1784:978-1-000-21728-5
1735:978-1-000-21728-5
1490:978-0-8248-3924-6
1441:978-0-8248-3924-6
1406:978-0-87070-834-3
1318:978-0-87070-834-3
1274:978-0-8223-5368-3
1111:978-0-8248-3924-6
756:Wakai taiyō no tō
718:) and alluded to
498:pre-Columbian art
147:. He was born in
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595:(“Wounded Arm”)
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2040:(in English)
2008:(in English)
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1969:K. Yoshida,
1963:
1943:. Retrieved
1938:
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1891:. Retrieved
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1828:. Retrieved
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1697:. Retrieved
1695:. 2008-10-20
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371:Tatsuo Ikeda
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278:André Breton
275:
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227:Marcel Mauss
219:Victor Basch
200:
192:Montparnasse
173:
157:
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113:Okamoto Tarō
101:Tarō Okamoto
100:
99:
76:(1996-01-07)
34:Tarō Okamoto
18:Taro Okamoto
2079:1996 deaths
2074:1911 births
2045:明日の神話保全継承機構
992:artifacts,
980:in 1954 in
831:(1948) and
712:figurines (
609:Surrealists
474:Ihei Kimura
427:Kenzō Tange
399:Takashimaya
298:Robert Capa
234:avant-garde
223:ethnography
180:Netherlands
160:Wada Eisaku
143:and writer
124:avant-garde
120:avant-garde
94:Avant-garde
2068:Categories
1945:2021-06-04
1893:2021-06-04
1830:2021-06-04
1793:1224193801
1744:1224193801
1699:2021-06-04
1028:References
1008:, and the
891:Surrealism
843:Okamoto's
816:dialectics
689:Okamoto's
624:Surrealism
535:Surrealism
510:silkscreen
453:published
423:Marunouchi
397:, and the
391:Nihonbashi
387:Mitsukoshi
318:Mitsukoshi
302:Gerda Taro
271:Surrealist
211:aesthetics
207:philosophy
55:1911-02-26
1801:cite book
1752:cite book
1544:0913-4700
1507:cite book
1499:881146141
1458:cite book
1450:881146141
1415:794365569
1327:794365569
1283:798058346
1248:192016222
1240:1756-1310
1226:(1): 50.
1128:cite book
1120:881146141
880:wabi-sabi
810:while in
668:Hiroshima
504:1970–1996
478:Ken Dōmon
381:1950–1969
352:1946–1950
286:Max Ernst
130:Biography
1654:29877932
1552:42801089
1538:: 81–v.
1380:29877932
1164:(6): 3.
1085:29877932
974:Kawasaki
931:), 1968.
923:(明日の神話,
798:Polarism
697:Expo '70
672:Nagasaki
658:for the
583:Painting
567:Kawasaki
541:ceramics
521:Expo ’70
358:Setagaya
341:air raid
337:Chang’an
263:Acéphale
215:Hegelian
203:Sorbonne
91:Movement
1957:Sources
994:Okinawa
943:(明日の神話)
788:, 1993.
760:Inuyama
578:Artwork
557:at the
466:Okinawa
294:Man Ray
184:Belgium
149:Takatsu
1872:64-65.
1791:
1781:
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1118:
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1004:, the
1000:, the
982:Aoyama
772:Aoyama
720:Cubist
702:Mexico
636:jungle
485:Mexico
225:under
186:, and
1548:JSTOR
1244:S2CID
990:Jōmon
986:Tokyo
906:Jōmon
895:Jōmon
886:Jōmon
871:Jōmon
857:Mizue
845:Jōmon
812:Paris
808:Hegel
776:Tokyo
764:Aichi
752:Tokyo
748:Ginza
734:Both
710:Jōmon
684:Tokyo
563:Paris
539:Jōmon
494:Jōmon
489:mural
403:Osaka
395:Tokyo
362:Tokyo
329:China
322:Ginza
188:Paris
151:, in
107:岡本 太郎
1939:美術手帖
1807:link
1789:OCLC
1779:ISBN
1758:link
1740:OCLC
1730:ISBN
1650:OCLC
1640:ISBN
1610:229.
1540:ISSN
1513:link
1495:OCLC
1485:ISBN
1464:link
1446:OCLC
1436:ISBN
1411:OCLC
1401:ISBN
1376:OCLC
1366:ISBN
1323:OCLC
1313:ISBN
1279:OCLC
1269:ISBN
1236:ISSN
1134:link
1116:OCLC
1106:ISBN
1081:OCLC
1071:ISBN
1015:The
866:dogū
829:Dawn
738:and
715:dogū
670:and
573:Work
512:and
476:and
71:Died
49:Born
1910:68.
1859:55.
1228:doi
1166:doi
972:in
561:in
335:in
240:’s
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1937:.
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1799:{{
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