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life of celebrity in Paris but he had not been paying taxes since 1925. Now, the tax authorities caught up with him and demanded full payment. Foujita left for Japan with Youki, hoping he might be able to recoup his losses by exhibiting there. Foujita's reception in Japan was mixed. The general public packed his first one-man show there, and his works sold well, but the critics panned him as a mediocre artist imitating
Western style. Foujita returned to France via the United States, travelling to Hawai'i, San Francisco, and New York. While in New York, he learned about the
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684:, and fishermen. His watercolors and oils received negative press when they were exhibited at the 21st Salon Nika in 1934. Critics felt as if his vision of Japan was old-fashioned and resembled that of a foreigner, with one critic noting that "the people and the scenes represented by this painter are not from the living and current Japan, but worn-out remnants from the past". Foujita's taste for bygone Japan was further confirmed in 1937 when he constructed a traditional Japanese home.
659:. Foujita had learned about Kitagawa through an exhibit of his student's plein-air works that had traveled through Europe. Foujita was so impressed by Kitagawa's students' works that he had sixty of the canvases brought back to Japan for an exhibition that was held in 1936. After his visit to Mexico, Foujita traveled through the Southwest of the United States, and then went on to San Francisco and Los Angeles, where he continued to exhibit and be treated as a celebrity.
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with his own eyes and paint according to his temperament, without worrying too much about others": compared to other
Japanese painters, Foujita was seen as having "personality". Art historian Asato Ikeda has argued that "in contrast to other Japanese artists in the city, Fujita his paintings to French audiences by successfully negotiating the artistic heritage of his country and making something original from the perspective of European art history".
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not the battlefields themselves, but his imagination, resulting in shocking dramatic compositions that Ozaki compares to representations of hell found in classical
Japanese painting. Art historian Aya Louise McDonald also points out that his compositions were further enriched by Foujita's knowledge of 19th-century French painting in the Louvre.
920:, shown at the Tokyo Metropolitan Art Museum in 2018, presented for the first time in France an overview of Foujita's sixty years of artistic production. It included two of the artists' war paintings, shown for the first time outside of Japan, permitting the French public to understand Foujita's career beyond his years in Montparnasse.
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804:, who organized a demonstration against him. His paintings of the time reflect a nostalgia for Paris. Unhappy and unwelcome in New York, Foujita sought to return to Paris and once his visa was granted, Foujita and Kimiyo moved back to France in January 1950. Foujita declared that he would never leave again.
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Foujita returned to Japan with
Madeleine at the end of 1933. Madeleine found the transition to Japanese culture difficult. In February 1935, she went back to Paris, but returned a year later. In June 1936, she unexpectedly died. Soon afterwards, Foujita married his fifth wife, Kimiyo Horiuchi. During
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Japanese artists in Paris who practiced
Western-style painting were generally described by contemporary critics as simple copyists, or, in the words of André Warnod, "wanting to be European at all costs". Yet, Foujita was deemed the exception to this rule. Warnod states that Foujita "knew how to look
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While many
Japanese artists who came to Paris tended to live amongst themselves and struggled to adjust to the Parisian lifestyle, Foujita made great efforts to adapt to his new surroundings. He began signing his paintings with the French-looking spelling of his name, Foujita, rather than Fujita, and
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In April 1939, the army reorganized the
Association of War Artists of Imperial Japan as the Army Art Association, which commissioned monumental war paintings under the supervision of a new chairman, Matsui Iwane, who was an active military officer. Foujita and his fellow artist, Saburō Miyamoto were
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Movement, led by Diego Rivera, whom he had befriended in Paris. Impressed by the collaborative effort undertaken by the government and local artists, Foujita, as art historian Asato Ikeda describes, "claimed that art should not be produced just for wealthy individuals but also for the masses and the
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Foujita's production in the early 1920s began to concentrate into three distinct genres: self portraits, interior scenes (including many still lives), and nudes. There was great interest in
Foujita's style, which was often perceived as marrying "Eastern" and "Western" elements in an original manner.
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and the beginning of a complicated period for
Foujita. Many foreign artists left Paris to fight in the war. Most Japanese artists also chose to return home. However, after having purchased a plot of land on the outskirts of Paris where they built a modest home, Foujita and Kawashima decided to stay.
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that skewered the artist as a truly mad and deeply narcissistic artist, who took great pleasure in depicting death, concluding, however, that
Foujita was only one of many responsible for the horrors of the war. Foujita's reputation, and his place in Japanese twentieth-century art history, remains a
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and built with the help of Lalou's funding, would symbolize the completion of his career. As it turned out, the chapel would also be the artist's final project. From 1963 until its opening to the public in 1966, he designed almost every aspect of the structure, decorating the interior with frescoes
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Following Japan's defeat, the Allied Powers in Japan made an effort to collect all war paintings to be sent to the United States, with Foujita's help. The paintings have never been officially "returned" to Japan, but they were placed on "indefinite loan" to the National Museum of Modern Art, Tokyo,
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In 1922, Foujita met Lucie Badoul, who he called "Youki", the Japanese word for "snow", and she became one of his models. In 1924, he divorced Fernande, and in 1929, he married Youki. Around the time of his marriage to Youki, Foujita was having serious financial woes. He had been living a luxurious
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Unsure of his personal style and never having lost sight of his dream to travel to Paris, Foujita decided to leave in 1913, when he was 27 years old. It was decided that he would receive an annuity from his father for three years, so that the artist would return to his home and his wife in Japan at
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were supposed to document the war and boost the morale of troops. The second period, however, was a time in which the Japanese were experiencing more defeat than victory. The Japanese people began to lose confidence and the war effort became more desperate. The sources for Foujita's paintings were
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prominent members, and in 1943 Foujita became vice-chairman. In spite of his strong connections with the Army Art Association, Foujita decided to return to Paris in April 1939. He and Kimiyo stayed there for slightly more than a year, leaving France and returning to Japan in May 1940 after the
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Fernande was instrumental in the artist's first professional success in Paris. A few weeks after marrying Foujita, she showed the art dealer Georges Chéron some of Foujita's drawings. Chéron went to Foujita's studio and bought all the works he was shown. She also secured an arrangement between
503:. In 1917, Foujita began drawing figures in a highly stylized manner, often in profile, which appear to draw on both medieval primitive painting, as well as Amadeo Modigliani's simplified portraits. The artist, heavily inspired by Italian painting, also depicted Christian themes like the
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Foujita is a much-celebrated figure in France, but public opinion of him in Japan remains mixed due to his monumental depictions of the war. Recent retrospective exhibitions organized since 2006 in Japan have sought to establish Foujita's place in Japanese twentieth-century art history.
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Foujita developed an interest in painting in primary school and as an adolescent decided to become a painter. When he was fourteen, one of Foujita's watercolors was exhibited at the Exposition Universelle in Paris as one of the representative artworks by Japanese middle schoolers.
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in January 1916. During this period, Foujita ended his relationship with his wife Tomiko. He also informed his father that he no longer needed financial support and would be staying indefinitely in Europe. Foujita returned to Paris in early 1917. In March, he met
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painted in 1941, a monumental painting measuring nearly 1.5 x 4.5 meters. Despite the painting's depiction of one of the largest military defeats the Japanese had experienced up to that time, it focuses on glorifying the bravery of the Japanese soldiers.
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and others have followed, indicating the will of Japanese museums to engage with Foujita's oeuvre. The 2006 retrospective, organized at the National Museum of Modern Art, Tokyo, featured five war paintings in an effort to address his war responsibility.
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Foujita and the Galerie Chéron, where he had his first solo exhibitions. His first solo show, in which he presented 110 of his water colors, was a great success. The artist began exhibiting more frequently in Paris and in 1920 became a member of the
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style. By 1931, Youki and Desnos had become a couple, and Foujita, who continued to have problems with his back taxes and suffered bankruptcy left for South America with Madeleine Lequeux, a former dancer known as Mady Dormans who worked at the
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and the festive atmosphere of the roaring twenties. He remains beloved for his lighthearted and dainty subjects: Parisian streetscapes, cats, voluptuous women, everyday objects. An important exhibition of his work at the Musée Maillol in 2018,
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Foujita received an important Parisian commission in the late 1920s that showcased his capacity to create in the Japanese artistic tradition. Painted at the Cercle de l'Union Interalliée, an exclusive social and dining club, it features two
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An exhibition presenting the ensemble of Foujita's work, including his wartime production, was organized by the Centre Pompidou and the Museum of Modern Art, Tokyo in 1980, but was canceled at the last minute. In 2019, the exhibition
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in Paris, a time of relative economic prosperity that fueled a strong art market and thriving nightlife. Foujita was a regular at popular clubs and events, immediately recognizable thanks to his signature bowl-cut and round glasses.
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Foujita spent three years voyaging through South and North America before returning to Japan in 1933, documenting his observations in sketches and paintings. Upon his return home, Foujita became an official war artist during
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The couple moved to Montparnasse where Foujita began painting street scenes that he called "Paris Landscapes". He briefly became involved with costume design, creating the "Japanese" outfits for the May 1951 performance of
288: with the Japanese public, and later at the first two exhibitions organized by Tokyo Kangyo, a structure that promoted art and industry. However, his paintings were refused for three consecutive years at the salon
417:, for the Red Cross. In September, they returned to their home to find it destroyed. Additionally, Foujita had a financially difficult time because his father was no longer able to send him his annuity due to the war.
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Without significant prospects in the post-WWII Japanese art scene, Foujita returned to France in 1950, where he would spend the rest of his life. He received French nationality in 1955 and converted to
691:. Foujita sought to contribute to the war effort by the war on the front, and these civilian volunteers formed the Association of War Artists of Imperial Japan. In 1938, Foujita began working with the
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improved his French language skills. He also distinguished himself from many of his Japanese confrères, who sought to affirm their mastery of oil paint, as Foujita worked primarily in watercolor.
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in 1959. His latter years were spent working on the frescoes for a small, Romanesque chapel in Reims that he had constructed. He died in 1968, not long after the chapel officially opened.
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Foujita moved to Paris in 1913, at a time when foreign artists flourished, hoping to develop their artistic sensibilities and gain recognition in the European art capital. He settled in
1011:: "東京都牛込区(現在の新宿区)で、後に陸軍軍医総監となる藤田嗣章の次男として生まれました。" ( "born in Ushigome-ku, Tokyo (now Shinjuku-ku) as the second son of Tsuguakira Fujita, who later became the Army Medical Director.")
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After his conversion in 1959, Foujita dedicated most of his production to the creation of religious subjects. In 1962, Foujita created a plan to construct and decorate his own
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Sandler, Mark H. (2001). "A painter of the "Holy War":Fujita Tsuguharu and the Japanese military". In Mayo, Marlene J.; Rimer, J. Thomas; Kerkham, H. Eleanor (eds.).
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In 1990, Kimiyo Foujita donated the home she shared with the artist to the Conseil départemental de l'Essonne, so that Foujita's atelier could become a museum, the
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in a more Cubist style. Foujita wrote that the objective of his nudes was to "represent the quality of the most beautiful material there is: that of human skin".
245:, a surgeon and novelist who had previously lived in Germany, encouraged him to continue his studies in fine art in Japan. He enrolled in 1905 at what is now the
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March 1972, trans. Justin Jesty and reproduced on Bunka-cho Art Platform Japan, 2022: artplatform.go.jp/resources/readings/R202209 (accessed 29 April 2023).
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Foujita began studying French as a high schooler and hoped to study in France after finishing school. However, his father, after consulting with his friend
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Foujita's works in the late 1910s incorporated a blend of styles. From the beginning of his stay in Paris, Foujita took advantage of his proximity to the
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With his unusual fashion and distinctive figurative style, Foujita reached the height of his fame in 1920s Paris. His watercolor and oil works of nudes,
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After the war, Foujita had a reputation in Japan as a war criminal. Writing in 1972, the artist Kikuhata Mokuma published an essay in the art magazine
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In 1954, Foujita married Kimiyo. They gained French nationality in 1955, renouncing their Japanese nationality, and Foujita was made an officer of the
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general public. In other words, his trip to South America made him aware of the social and political roles that large public art could play."
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contested subject in Japan today. A successful retrospective of his work was held at the National Museum of Modern Art, Tokyo, in 2006, entitled
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during which he realized a number of paintings for his diploma, including the artist's first-known first self-portrait. The two married in 1911.
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exh. cat., Paris, Maison de la culture du Japon, 2019, p. 51-60 and Katsunori Fukaya, "Tsuguharu Foujita and Japan", in Lamia Guillaume (ed.),
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Foujita received much public criticism after the war in Japan. He defended himself by asserting that artists were pacifists in nature, but the
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Upon return to Tokyo, Foujita dedicated himself as an artist supporting the war effort. He became the nation's leading war artists during
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Aya Louise McDonald, "Fujita Tsuguharu: An Artist of the Holy War Revisited", in Asato Ikeda, Aya Louise McDonald and Ming Tiampo (ed.),
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These themes would soon disappear from Foujita's oeuvre, but they later dominated his artistic production from 1951 onwards.
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Ward. He was the son of Fujita Tsuguakira Fujita, an Army Medical Director. Two years after his birth, the family moved to
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His network soon included artists of many nationalities. After moving his studio to the Cité Falguière, he met painters
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Only a few months after the opening of the chapel, Foujita was diagnosed with cancer. He died on January 29, 1968, in
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neighborhood and developed an eclectic style that borrowed from both Japanese and European artistic traditions.
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1838:"New Art Collectives in the Service of the War: The Formation of Art Organizations during the Asia-Pacific War"
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Masaaki Ozaki divides Foujita's wartime production into two periods: the paintings of the first period, like
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Mayo, Marlene J. (2001). "Introduction". In Mayo, Marlene J.; Rimer, J. Thomas; Kerkham, H. Eleanor (eds.).
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551:, who left their female figures' skin uncolored, though he painted the Black artists' model and performer
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His nudes were appreciated as a harmonious meeting of Japanese and European aesthetics. One such painting,
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Ikeda, Asato (2009). "Fujita Tsuguharu retrospective 2006 resurrection of a former official war painter".
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Kitagawa Tamiji's Art and Art Education: Translating Culture in Postrevolutionary Mexico and Modern Japan
643:, arriving in November 1932, where he would stay for seven months. Foujita found himself inspired by the
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was very successful and he stayed for five months. Afterwards, they traveled to Bolivia, Peru, and Cuba.
185:, and self-portraits were a commercial success and he became a notable figure in the Parisian art scene.
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was a Japanese–French painter. After having studied Western-style painting in Japan, Foujita traveled to
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Winther-Tamaki, Bert (1997). "Embodiment/disembodiment: Japanese painting during the fifteen-year war".
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See: Masaaki Ozaki, "Foujita et le Japon. À travers le prisme de la critique japonaise de l'époque", in
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in March 1949. Foujita put on another show, but was once more labelled a fascist by artists, including
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McDonald, Aya Louisa (2017). "The artist's widow syndrome east and west: The case of Foujita Kimiyo".
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2213:... presented the costumes designed by Foujita for the performance given in May 1951 at La Scala.")
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Asato Ikeda, "Fujita Tsuguharu Retrospective 2006: Resurrection of a Former Official War Painter",
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Masaaki Ozaki, "Foujita et le Japon: à travers le prisme de la critique japonaise de l'époque", in
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military and his refusal to confront accusations about his role as a war artist. The American poet
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Kawata Akihisa, "War Art and Its Era", in Asato Ikeda, Aya Louise McDonald and Ming Tiampo (ed.),
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In France, on the other hand, Foujita has been a celebrated figure, associated primarily with the
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this time, Foujita's paintings began to be dominated by classical Japanese subjects, such as
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2676:(exhibition catalogue for the Musée des Beaux-Arts Reims) (in French). Hazan. pp. 96–123.
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2534:(exhibition catalogue for the Musée des Beaux-Arts Reims) (in French). Hazan. pp. 56–91.
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When Foujita returned to Paris in 1930, he was still short on funds, and shared a place with
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2638:(exhibition catalogue) (in French). Maison de la culture du Japon à Paris. pp. 36–49.
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2837:"Propaganda painted by masters: Japanese art and photography During the Fifteen Year War"
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Sandler, Mark H. (1996). "The living artist: Matsumoto Shunsuke's reply to the state".
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Kikuhata Mokuma, "Dear Foujita....An Examination of the Pacific War Record Paintings",
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who he had met in 1928. During this time, Foujita experimented with painting in a more
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Le Diberder, Anne (2010). "Dialogue avec le sacré. Foujita, peintre du religieux".
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organized at the Musée de la culture du Japon in Paris and based on the exhibition
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In the coming months, the two artists would work as volunteers, alongside sculptor
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284:(White Horse Association), organized by Seiki Kuroda, which sought to popularize
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in New York, but none of the paintings were sold. Foujita and Roskolenko blamed
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completed in August 1943, which depicts a battle against American troops on the
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Foujita met his first wife, Tomiko Tokita, a school teacher, during a voyage to
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The Politics of Painting. Fascism and Japanese Art during the Second World War,
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The Politics of Painting: Fascism and japanese Art During the Second World War
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Glory in a Line: A Life of Foujita—- The Artist Caught between East & West
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Krebs, Sophie (2019). "À travers un cristal étrange. Foujita et la France"".
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Gand, Éditions Snoeck and the Musée des Beaux-Arts de Reims, 2018, p.158-159.
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in Roubaix. Foujita's nephew's donated some of his works and writings to the
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as his godfather and godmother. Foujita took the Christian name of Léonard.
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had done before him. Foujita hoped that the structure, named the Chapel of
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School of Paris: the Painters and the Artistic Climate of Paris since 1910
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tried to support Foujita by putting on an exhibit of his paintings at the
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Bohemian Paris: Picasso, Modigliani, Matisse, and the Birth of Modern Art
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Sophie Krebs, "À travers un cristal étrange. Foujita et la France", dans
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Following the departure of Kawashima for Tokyo in 1915, Foujita moved to
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Yōko Hayashi, "Foujita, une rétrospective. En guise d'introduction", in
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exh. cat., Paris, Maison de la culture du Japon à Paris, 2019, p.36-49.
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3101:"Back in favour: Japanese master who outshone Picasso in 1920s Paris"
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Liot, David (2010). "Le testament rémois de 'l'Heritier de la paix".
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Foujita was able to get a visa to the United States with the help of
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Foujita graduated in 1910. He exhibited in 1910 as part of the Salon
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2657:(in French). Éditions Snoeck and the Musée des Beaux-Arts de Reims.
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Catherine Delot, "The Foujita Donation", in Lamia Guillaume (ed.),
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McDonald, Aya Louisa (2019). "Review: Foujita's year in the sun".
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exh. cat., Paris, Maison de la culture du Japon, 2019, p. 14-33.
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exh. cat., Paris, Maison de la culture du Japon, 2019, p. 51-60.
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War, Occupation, and Creativity: Japan and East Asia, 1920–1960
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War, Occupation, and Creativity: Japan and East Asia, 1920–1960
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Robert Desnos, Surrealism, and the Marvelous in Everyday Life
326:(School of Paris). He moved into the artists' residences at
361:. This fruitful encounter, during which Foujita discovered
927:
Maison-Atelier Foujita, Villiers le Bacle, Essonne, France
859:
of biblical scenes, many of which illustrated the life of
433:. Thirteen days later, Foujita and Fernande were married.
3135:"Foujita Discovers the americas: An Artist's tour—Part 2"
3118:"Foujita Discovers the Americas: An Artist's tour—Part 1"
2905:(PhD dissertation). University of Kansas. Archived from
908:, focused on his production before his return to Japan.
2151:
2149:
1275:
1273:
1260:
1258:
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1171:
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397:. His visit to Picasso's studio introduced him to the "
218:
Foujita was born in 1886 in Ushigome, a former ward of
1023:
1021:
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2476:
Theater of Cruelty: Art, Film, and the Shadows of War
2182:
2180:
1586:
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on 14 October 1959, with René Lalou, the head of the
827:
by the French state in 1957. The couple converted to
788:
Time in America and final years in France: 1949-1968
214:
Early life in Japan and career beginnings: 1886-1913
2553:. Translated by Liebow, Cynthia Hope. Grove Press.
1686:
1625:
893:
Léonard Foujita: Non-Japanese Who Fascinated Paris,
132:
122:
112:
102:
92:
70:
41:
18:
2750:
2719:
2604:
2473:
2415:
563:, or bird and flower painting panels created in a
3200:Tsuguharu Foujita｜WIKIART VISUAL ART ENCYCLOPEDIA
3185:Tsuguharu Fujita: Brush, Sewing, Cats, and Ladies
2862:[Foujita, designer of theatre costumes].
961:Musée d'art moderne et contemporain of Strasbourg
812:at La Scala, and did illustrations for a book by
445:Portrait of Foujita, 1926-1927, by Nakayama Iwata
3061:"Lot 13, Léonard Tsugaharu Foujita (1886-1968),
935:. In Japan, Foujita's works can be found in the
753:which received the paintings from 1970 to 1977.
334:, who piqued Foujita's interest in photography.
260:western-style painting. He also took courses on
247:Tokyo National University of Fine Arts and Music
107:Tokyo National University of Fine Arts and Music
457:This success coincided with the arrival of the
163:
2198:
1874:
1355:
1343:
1231:
1074:
1055:
996:
525:posed, was met with great success at the 1922
429:, who had been a model for Modigliani, in the
157:
3178:. Includes slideshow. Published May 27, 2018
2860:"Foujita, dessenateur de costumes de Théâtre"
2057:Art and War in Japan and its Empire 1931-1960
1931:Art and War in Japan and its Empire 1931-1960
737:His most famous painting from this period is
8:
3172:Foujita: Imperial Japan Meets Bohemian Paris
2472:Buruma, Ian (2014). "Dressing for Success".
2445:Buisson, Sylvie; Buisson, Dominique (1987).
1396:Honolulu, University of Hawai'i Press, 2018.
1332:
663:Return to Japan and war painting: 1933-1949
616:Foujita and Madeleine traveled together to
437:Artistic development and success: 1917-1930
3133:Robinson, Greg; Jacobowitz, Seth (2021b).
3116:Robinson, Greg; Jacobowitz, Seth (2021a).
3045:"平野政吉コレクション (Masakichi Hirano Collection)"
2801:. Translated by Jennings, Shirley. Crown.
26:
15:
2607:Kiki's Paris: Artist and Lovers 1900–1930
1933:, Brill, Leiden-Boston, 2013, p. 169-189.
1886:
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1990:
1974:
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957:Musée d'art moderne de la Ville de Paris
2077:Review of Japanese Culture and Society,
2059:, Brill, Leiden-Boston, 2013, p. 28-37.
1942:
1894:
1714:
1493:
1307:
1122:
1106:
989:
906:Foujita: peindre dans les années folles
796:and took up a teaching position at the
480:and Tsuguharu Foujita, Paris, 1926, by
2877:Review of Japanese Culture and Society
2371:
2369:
2010:
2002:
1766:
1521:
1477:
1413:
1405:
1319:
1138:
695:Information Office establishment as a
2636:Foujita: Oeurvres d'une vie 1886–1968
2377:Foujita 1886-1968. Oeuvres d'une vie,
2357:Foujita 1886-1968. Oeuvres d'une vie,
2155:
2100:
2088:
2071:
2069:
2067:
2065:
2051:
2049:
2047:
2018:
1958:
1925:
1923:
1921:
1919:
1910:
1831:
1829:
1827:
1819:Foujita 1886-1968. Oeuvres d'une vie,
1813:
1811:
1809:
1807:
1505:
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1027:
7:
2674:Foujita Monumental! Enfer et paradis
2532:Foujita Monumental! Enfer et paradis
2314:
2302:
2274:
2262:
2234:
2222:
2186:
2034:
1590:
1553:
943:in Tokyo, with more than 100 in the
914:Foujita 1886-1968. Oeuvres d'une vie
699:and created his first war painting (
3051:(in Japanese). 2016. Archived from
1008:
671:Foujita in the Army Art Association
3329:Recipients of the Legion of Honour
2449:(in French). Vol. 1. ACR ed.
2079:December 2009, vol. 21, p. 97-115.
296:"Foujita" which he later adopted.
266:, Japanese-style painting, led by
14:
3299:French people of Japanese descent
3209:National Portrait Gallery, London
687:1937 marked the beginning of the
3344:19th-century French male artists
3324:Tokyo School of Fine Arts alumni
3259:20th-century French male artists
2846:. Spring edition. Archived from
2507:. University of Nebraska Press.
353:, and he visited the studios of
3334:20th-century French printmakers
2580:. University of Hawai'i Press.
1687:Robinson & Jacobowitz 2021b
1626:Robinson & Jacobowitz 2021a
365:, led to his acquaintance with
3205:Portraits of Tsuguharu Foujita
2653:Lamia, Guillaume, ed. (2018).
1:
3339:Artists from Tokyo Metropolis
3294:Converts to Roman Catholicism
3195:Tsuguharu Foujita (1886-1962)
2931:10.1080/00043249.2017.1332916
2858:Hayashi-Hibino, Yōko (2003).
973:Musée des beaux-arts of Reims
778:Kennedy and Company Galleries
749:until the war's end in 1945.
349:, he took dance classes with
3269:Japanese emigrants to France
3254:20th-century French painters
3244:19th-century French painters
2757:. Mew York Graphic Society.
408:1914 marked the outbreak of
2718:McCloskey, Barbara (2005).
1836:Kaneko, Maki (2013-05-01).
1374:Foujita. Oeuvres d'une vie,
945:Hirano Masakichi Art Museum
651:He also visited the artist
537:. He drew inspiration from
304:Arrival in Paris: 1913-1917
164:
3360:
3274:Japanese portrait painters
2844:Earlham Historical Journal
2503:Conley, Katharine (2003).
2414:Birnbaum, Phyllis (2006).
1356:Buisson & Buisson 1987
1344:Buisson & Buisson 1987
1232:Buisson & Buisson 1987
1075:Buisson & Buisson 1987
1056:Buisson & Buisson 1987
997:Buisson & Buisson 1987
941:Museum of Contemporary Art
798:Brooklyn Museum Art School
712:German invasion of Belgium
2896:Kumagai, Takaaki (2017).
2749:Nacenta, Raymond (1960).
2480:. New York Review Books.
2447:Léonard Tsuguharu Foujita
521:, for which French model
491:to study artists such as
158:
153:Léonard Tsuguharu Foujita
25:
3289:Japanese Roman Catholics
1854:10.1215/10679847-2018274
1842:Positions: Asia Critique
918:Foujita: A Retrospective
814:René Héron de Villefosse
689:second Sino-Japanese war
222:that is now part of the
3180:(subscription required)
3151:"BBC Antiques Roadshow"
3139:Discover Nikkei Journal
3122:Discover Nikkei Journal
3099:Poirier, Agnès (2018).
2726:. Westport: Greenwood.
2722:Artists of World War II
270:and Gyokushō Kawabata.
3309:French modern painters
3284:French Roman Catholics
3080:Fabre, Michel (2007).
3071:. 2020. Archived from
2835:Breece, Karen (2016).
2603:Klüver, Billy (1989).
933:Maison-Atelier Foujita
928:
882:Legacy and collections
705:Nanchang Airport Fire.
672:
597:
509:Crucifixion of Christ.
484:
446:
313:
3063:Femme allongée, Youki
2576:Ikeda, Asato (2018).
2549:Franck, Dan (2001) .
926:
831:and were baptised in
758:Japan Art Association
670:
639:Foujita then went to
588:
476:
444:
367:Guillaume Apollinaire
312:Foujita in his studio
311:
3319:World War II artists
3314:Japanese war artists
3279:Japanese printmakers
3249:French male painters
3239:People from Shinjuku
3086:sfonline.barnard.edu
3075:on 10 February 2022.
2655:Foujita, la donation
2390:La donation Foujita,
837:Mumm Champagne House
632:. His exhibition in
523:Kiki de Montparnasse
516:Reclining Nude with
478:Kiki de Montparnasse
36:by Georges Chevalier
3234:Painters from Tokyo
3145:on 26 January 2021.
3049:Akita Museum of Art
3006:Monumenta Nipponica
2912:on 19 October 2022.
2797:Selz, Jean (1981).
2422:. Faber and Faber.
2361:La donation Foujita
2199:Hayashi-Hibino 2003
1877:, pp. 148–153.
1875:Winther-Tamaki 1997
1717:, pp. 101–111.
1439:"Aicha , 1914–1914"
967:, and the Musée de
739:Last Stand at Attu,
731:Battle of Nomonhan,
723:Battle of Nomonhan,
590:Portrait of Foujita
230:, on the island of
3304:Modern printmakers
3128:on 7 January 2021.
929:
747:Last Stand at Attu
673:
598:
581:Travels, 1930-1933
485:
447:
431:Café de la Rotonde
314:
249:and studied under
3111:on 15 April 2018.
3055:on 4 August 2016.
2305:, p. 96–123.
2249:, pp. 56–91.
965:Musée de Grenoble
876:Villiers-le-Bâcle
856:Our Lady of Peace
770:Imperial Japanese
762:Nihon Bijutsu-kai
575:Wall Street Crash
501:Leonardo da Vinci
343:Amedeo Modigliani
150:
149:
144:Madeleine Lequeux
20:Tsuguharu Foujita
3351:
3181:
3160:
3146:
3141:. Archived from
3129:
3124:. Archived from
3112:
3107:. Archived from
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1000:
994:
839:, and Françoise
822:
810:Madame Butterfly
774:Harry Roskolenko
743:Aleutian Islands
549:Kitagawa Utamaro
543:artists such as
505:Virgin and Child
459:Roaring Twenties
275:Chiba Prefecture
169:
167:
165:Fujita Tsuguharu
161:
160:
77:
56:27 November 1886
55:
53:
46:Tsuguharu Fujita
30:
16:
3359:
3358:
3354:
3353:
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3349:
3348:
3264:School of Paris
3214:
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3018:10.2307/2385570
3003:
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2857:
2853:on 17 May 2021.
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1007:
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995:
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986:
981:
953:Centre Pompidou
884:
833:Reims Cathedral
825:Legion of Honor
816:
790:
782:Yasuo Kuniyoshi
665:
655:at his home in
653:Tamiji Kitagawa
611:Casino de Paris
583:
545:Suzuki Harunobu
527:Salon d'Automne
452:Salon d'Automne
439:
427:Fernande Barrey
383:Kees van Dongen
371:Georges Braques
332:Shinzo Fukuhara
306:
300:the age of 30.
216:
211:
155:
146:Kimiyo Horiuchi
145:
143:
141:
139:Fernande Barrey
137:
127:School of Paris
117:
97:
88:
79:
75:
74:29 January 1968
66:
57:
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37:
21:
12:
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5:
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3241:
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3226:
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3215:
3212:
3211:
3202:
3197:
3192:
3190:Foujita's Cats
3187:
3182:
3167:
3166:External links
3164:
3162:
3161:
3147:
3130:
3113:
3096:
3077:
3057:
3040:
3039:
3038:
3036:Online Sources
3031:
3030:
3012:(2): 145–180.
3001:
2989:10.2307/777768
2972:
2962:(4): 131–135.
2951:
2925:(1): 177–188.
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2344:Bijutsu techō,
2335:
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2279:
2277:, p. 106.
2267:
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2158:, p. 149.
2145:
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2091:, p. 148.
2081:
2061:
2043:
2027:
1995:
1993:, p. 132.
1983:
1967:
1951:
1935:
1915:
1913:, p. 145.
1903:
1887:McCloskey 2005
1879:
1867:
1848:(2): 309–350.
1823:
1803:
1783:
1751:
1735:
1719:
1707:
1691:
1674:
1658:
1642:
1640:, p. 182.
1630:
1611:
1595:
1578:
1558:
1546:
1530:
1514:
1498:
1486:
1470:
1454:
1443:www.artnet.com
1430:
1418:
1398:
1378:
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1348:
1336:
1328:
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1300:
1284:
1282:, p. 138.
1269:
1267:, p. 137.
1252:
1236:
1224:
1208:
1196:
1180:
1178:, p. 136.
1163:
1147:
1131:
1115:
1099:
1097:, p. 136.
1079:
1064:
1048:
1032:
1030:, p. 135.
1013:
1001:
988:
987:
985:
982:
980:
977:
937:Artizon Museum
901:École de Paris
883:
880:
794:Henry Sugimoto
789:
786:
682:sumo wrestlers
664:
661:
622:Rio de Janeiro
582:
579:
482:Iwata Nakayama
438:
435:
403:Henri Rousseau
395:Pierre Bonnard
387:Jean Metzinger
351:Raymond Duncan
323:École de Paris
305:
302:
268:Seihō Takeuchi
215:
212:
210:
207:
148:
147:
134:
130:
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124:
120:
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113:Known for
110:
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90:
89:
80:
78:(aged 81)
72:
68:
67:
58:
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3330:
3327:
3325:
3322:
3320:
3317:
3315:
3312:
3310:
3307:
3305:
3302:
3300:
3297:
3295:
3292:
3290:
3287:
3285:
3282:
3280:
3277:
3275:
3272:
3270:
3267:
3265:
3262:
3260:
3257:
3255:
3252:
3250:
3247:
3245:
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3240:
3237:
3235:
3232:
3230:
3227:
3225:
3222:
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3219:
3210:
3206:
3203:
3201:
3198:
3196:
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3191:
3188:
3186:
3183:
3177:
3173:
3170:
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3165:
3158:
3157:
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3148:
3144:
3140:
3136:
3131:
3127:
3123:
3119:
3114:
3110:
3106:
3102:
3097:
3087:
3083:
3078:
3074:
3070:
3066:
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3058:
3054:
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3046:
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3037:
3034:
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3027:
3023:
3019:
3015:
3011:
3007:
3002:
2998:
2994:
2990:
2986:
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2978:
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2940:
2936:
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2924:
2920:
2915:
2908:
2901:
2900:
2894:
2890:
2886:
2882:
2878:
2873:
2869:
2866:(in French).
2865:
2861:
2856:
2849:
2845:
2838:
2833:
2832:
2828:
2825:
2824:
2818:
2814:
2810:
2804:
2800:
2795:
2791:
2787:
2783:
2781:9780824824334
2777:
2773:
2768:
2764:
2760:
2755:
2754:
2747:
2743:
2739:
2735:
2733:9780313321535
2729:
2724:
2723:
2716:
2712:
2708:
2704:
2702:9780824824334
2698:
2694:
2689:
2685:
2683:9782754104777
2679:
2675:
2670:
2666:
2664:9789461614803
2660:
2656:
2651:
2647:
2645:9782353402922
2641:
2637:
2632:
2628:
2624:
2620:
2614:
2609:
2608:
2601:
2597:
2593:
2589:
2587:9780824872120
2583:
2579:
2574:
2570:
2566:
2562:
2560:9780802197405
2556:
2552:
2547:
2543:
2541:9782754104777
2537:
2533:
2528:
2524:
2520:
2516:
2514:9780803215238
2510:
2506:
2501:
2497:
2493:
2489:
2487:9781590177778
2483:
2478:
2477:
2470:
2466:
2462:
2458:
2456:9782867701498
2452:
2448:
2443:
2439:
2435:
2431:
2429:9780374706968
2425:
2420:
2419:
2412:
2411:
2407:
2404:
2403:
2399:
2391:
2385:
2382:
2378:
2372:
2370:
2366:
2362:
2358:
2352:
2349:
2345:
2339:
2336:
2332:
2328:
2327:Birnbaum 2006
2323:
2320:
2317:, p. 80.
2316:
2311:
2308:
2304:
2299:
2296:
2292:
2288:
2287:Birnbaum 2006
2283:
2280:
2276:
2271:
2268:
2265:, p. 88.
2264:
2260:
2259:Birnbaum 2006
2255:
2252:
2248:
2243:
2240:
2237:, p. 86.
2236:
2231:
2228:
2225:, p. 85.
2224:
2219:
2216:
2204:
2200:
2195:
2192:
2189:, p. 83.
2188:
2183:
2181:
2177:
2173:
2169:
2168:Birnbaum 2006
2164:
2161:
2157:
2152:
2150:
2146:
2142:
2138:
2134:
2133:Birnbaum 2006
2129:
2126:
2122:
2118:
2117:Birnbaum 2006
2113:
2110:
2106:
2102:
2097:
2094:
2090:
2085:
2082:
2078:
2072:
2070:
2068:
2066:
2062:
2058:
2052:
2050:
2048:
2044:
2040:
2036:
2031:
2028:
2024:
2020:
2016:
2012:
2008:
2004:
1999:
1996:
1992:
1991:McDonald 2019
1987:
1984:
1980:
1976:
1975:Birnbaum 2006
1971:
1968:
1964:
1960:
1955:
1952:
1948:
1944:
1939:
1936:
1932:
1926:
1924:
1922:
1920:
1916:
1912:
1907:
1904:
1900:
1896:
1892:
1888:
1883:
1880:
1876:
1871:
1868:
1863:
1859:
1855:
1851:
1847:
1843:
1839:
1832:
1830:
1828:
1824:
1820:
1814:
1812:
1810:
1808:
1804:
1800:
1796:
1795:McDonald 2017
1792:
1791:Birnbaum 2006
1787:
1784:
1780:
1776:
1775:McDonald 2017
1772:
1768:
1764:
1760:
1759:Birnbaum 2006
1755:
1752:
1748:
1744:
1743:Birnbaum 2006
1739:
1736:
1732:
1728:
1727:Birnbaum 2006
1723:
1720:
1716:
1711:
1708:
1704:
1700:
1699:Birnbaum 2006
1695:
1692:
1688:
1683:
1681:
1679:
1675:
1671:
1667:
1666:Birnbaum 2006
1662:
1659:
1655:
1651:
1650:Birnbaum 2006
1646:
1643:
1639:
1638:McDonald 2017
1634:
1631:
1627:
1622:
1620:
1618:
1616:
1612:
1608:
1604:
1603:Birnbaum 2006
1599:
1596:
1593:, p. 78.
1592:
1587:
1585:
1583:
1579:
1575:
1571:
1567:
1566:Birnbaum 2006
1562:
1559:
1556:, p. 76.
1555:
1550:
1547:
1543:
1539:
1538:Birnbaum 2006
1534:
1531:
1527:
1523:
1518:
1515:
1511:
1507:
1502:
1499:
1495:
1490:
1487:
1483:
1479:
1478:Klüver (1989)
1474:
1471:
1467:
1463:
1462:Birnbaum 2006
1458:
1455:
1444:
1440:
1434:
1431:
1427:
1422:
1419:
1415:
1411:
1407:
1402:
1399:
1395:
1392:Asato Ikeda,
1389:
1387:
1385:
1383:
1379:
1375:
1369:
1367:
1365:
1361:
1358:, p. 56.
1357:
1352:
1349:
1346:, p. 91.
1345:
1340:
1337:
1333:
1329:
1325:
1321:
1316:
1313:
1309:
1304:
1301:
1297:
1293:
1292:Birnbaum 2006
1288:
1285:
1281:
1276:
1274:
1270:
1266:
1261:
1259:
1257:
1253:
1249:
1245:
1244:Birnbaum 2006
1240:
1237:
1234:, p. 38.
1233:
1228:
1225:
1221:
1217:
1216:Birnbaum 2006
1212:
1209:
1206:, p. 41.
1205:
1200:
1197:
1193:
1189:
1188:Birnbaum 2006
1184:
1181:
1177:
1172:
1170:
1168:
1164:
1160:
1156:
1155:Birnbaum 2006
1151:
1148:
1144:
1140:
1135:
1132:
1128:
1124:
1119:
1116:
1112:
1108:
1103:
1100:
1096:
1092:
1088:
1087:Birnbaum 2006
1083:
1080:
1077:, p. 28.
1076:
1071:
1069:
1065:
1061:
1057:
1052:
1049:
1045:
1041:
1040:Birnbaum 2006
1036:
1033:
1029:
1024:
1022:
1020:
1018:
1014:
1010:
1005:
1002:
999:, p. 14.
998:
993:
990:
983:
978:
976:
974:
970:
966:
962:
958:
954:
950:
946:
942:
938:
934:
925:
921:
919:
915:
909:
907:
902:
897:
894:
889:
888:Bijutsu techō
881:
879:
877:
873:
869:
864:
862:
857:
853:
849:
844:
842:
838:
834:
830:
826:
820:
815:
811:
805:
803:
799:
795:
787:
785:
783:
779:
775:
771:
767:
763:
759:
754:
750:
748:
744:
740:
735:
732:
727:
724:
720:
715:
713:
707:
706:
702:
698:
694:
693:Imperial Navy
690:
685:
683:
679:
669:
662:
660:
658:
654:
649:
646:
645:Mexican Mural
642:
637:
635:
631:
627:
623:
620:, staying in
619:
614:
612:
607:
603:
602:Robert Desnos
595:
591:
587:
580:
578:
576:
570:
568:
567:
562:
556:
554:
550:
546:
542:
541:
536:
532:
531:Edouard Manet
528:
524:
520:
519:
518:Toile de Jouy
512:
510:
506:
502:
498:
494:
490:
483:
479:
475:
471:
467:
463:
460:
455:
453:
443:
436:
434:
432:
428:
423:
418:
416:
415:Ossip Zadkine
411:
406:
404:
400:
396:
392:
388:
384:
380:
376:
375:Fernand Léger
372:
368:
364:
360:
356:
355:Pablo Picasso
352:
348:
347:Chaim Soutine
344:
339:
335:
333:
329:
328:Bateau-Lavoir
325:
324:
319:
310:
303:
301:
297:
295:
291:
287:
283:
278:
276:
271:
269:
265:
264:
259:
257:
253:, who taught
252:
248:
244:
239:
235:
233:
229:
225:
221:
213:
208:
206:
202:
200:
194:
192:
186:
184:
179:
177:
173:
166:
154:
140:
136:Tomiko Tokita
135:
131:
128:
125:
121:
115:
111:
108:
105:
101:
95:
91:
87:
83:
73:
69:
65:
61:
44:
40:
35:
29:
24:
17:
3154:
3143:the original
3138:
3126:the original
3121:
3109:the original
3105:The Guardian
3104:
3089:. Retrieved
3085:
3073:the original
3068:
3062:
3053:the original
3048:
3035:
3009:
3005:
2983:(3): 74–82.
2980:
2976:
2959:
2955:
2922:
2918:
2907:the original
2898:
2880:
2876:
2867:
2863:
2848:the original
2843:
2826:
2798:
2771:
2752:
2721:
2692:
2673:
2654:
2635:
2606:
2577:
2550:
2531:
2504:
2475:
2446:
2417:
2405:
2389:
2384:
2376:
2360:
2356:
2351:
2343:
2338:
2322:
2310:
2298:
2282:
2270:
2254:
2242:
2230:
2218:
2194:
2163:
2128:
2112:
2096:
2084:
2076:
2056:
2030:
1998:
1986:
1970:
1954:
1943:Sandler 1996
1938:
1930:
1906:
1895:Sandler 2001
1882:
1870:
1845:
1841:
1818:
1786:
1754:
1738:
1722:
1715:Kumagai 2017
1710:
1694:
1661:
1645:
1633:
1598:
1561:
1549:
1533:
1517:
1501:
1494:Bonhams 2020
1489:
1473:
1457:
1446:. Retrieved
1442:
1433:
1421:
1401:
1393:
1373:
1351:
1339:
1331:
1315:
1308:Poirier 2018
1303:
1287:
1239:
1227:
1211:
1199:
1183:
1150:
1134:
1123:Nacenta 1960
1118:
1107:Nacenta 1960
1102:
1082:
1051:
1035:
1004:
992:
930:
917:
913:
910:
905:
900:
898:
892:
887:
885:
865:
845:
806:
791:
761:
755:
751:
746:
738:
736:
730:
728:
722:
719:World War II
716:
708:
704:
700:
686:
674:
650:
638:
634:Buenos Aires
615:
599:
589:
571:
564:
560:
557:
553:Aïcha Goblet
538:
534:
515:
513:
486:
468:
464:
456:
448:
419:
407:
401:" style of
391:André Derain
359:Diego Rivera
340:
336:
321:
318:Montparnasse
315:
298:
285:
279:
272:
261:
254:
251:Seiki Kuroda
240:
236:
217:
203:
195:
191:World War II
187:
180:
176:Montparnasse
152:
151:
142:Lucie Badoul
76:(1968-01-29)
3229:1968 deaths
3224:1886 births
2977:Art Journal
2956:Art Journal
2919:Art Journal
2135:, pp.
2011:Buruma 2014
2003:Breece 2016
1977:, pp.
1767:Buruma 2014
1652:, pp.
1605:, pp.
1568:, pp.
1522:Conley 2003
1414:Klüver 1989
1406:Franck 2001
1320:Franck 2001
1139:Franck 2001
1042:, pp.
872:Switzerland
829:Catholicism
817: [
626:Ismael Nery
594:Ismael Nery
410:World War I
199:Catholicism
183:still lifes
118:Printmaking
93:Nationality
86:Switzerland
3218:Categories
3091:2024-09-19
2883:: 97–115.
2870:: 176–180.
2808:0517544296
2763:1153535972
2742:1330352824
2627:1319338969
2618:0810912104
2611:. Abrams.
2596:1004142218
2569:1028859212
2496:1200567197
2438:1033642579
2329:, p.
2289:, p.
2201:, p.
2170:, p.
2156:Lamia 2018
2119:, p.
2103:, p.
2101:Ikeda 2009
2089:Lamia 2018
2037:, p.
2021:, p.
2019:Ikeda 2009
2013:, p.
2005:, p.
1961:, p.
1959:Ikeda 2009
1945:, p.
1911:Lamia 2018
1897:, p.
1889:, p.
1797:, p.
1777:, p.
1769:, p.
1761:, p.
1745:, p.
1729:, p.
1701:, p.
1668:, p.
1540:, p.
1524:, p.
1508:, p.
1506:Ikeda 2018
1480:, p.
1464:, p.
1448:2024-09-19
1426:Fabre 2007
1408:, p.
1322:, p.
1294:, p.
1280:Lamia 2018
1265:Lamia 2018
1246:, p.
1218:, p.
1204:Krebs 2019
1190:, p.
1176:Lamia 2018
1157:, p.
1141:, p.
1125:, p.
1109:, p.
1095:Lamia 2018
1089:, p.
1058:, p.
1028:Lamia 2018
979:References
969:la Piscine
841:Taittinger
766:propaganda
697:war artist
606:surrealist
379:Erik Satie
282:Hakuba-Kai
52:1886-11-27
34:Autochrome
2947:192948137
2790:231883439
2711:231883439
2315:Selz 1981
2303:Liot 2010
2275:Liot 2010
2263:Selz 1981
2235:Selz 1981
2223:Selz 1981
2187:Selz 1981
2035:Mayo 2001
1862:1067-9847
1591:Selz 1981
1554:Selz 1981
984:Citations
975:in 2012.
802:Ben Shahn
630:Argentina
497:Rembrandt
294:francized
243:Ōgai Mori
209:Biography
133:Spouse(s)
116:Painting
103:Education
96:Japanese
2968:45221616
2939:45142459
2889:42800262
2827:Journals
2523:51518710
2465:48745999
1947:82, fn13
1009:MHC 2016
939:and the
768:for the
701:sensō ga
566:yamato-e
561:kachō-ga
507:and the
454:.
228:Kumamoto
224:Shinjuku
123:Movement
3207:at the
3159:. 1990.
3156:YouTube
3069:Bonhams
3026:2385570
2817:6942643
2799:Foujita
2400:Sources
2203:176–177
2172:287–288
2121:274–276
1979:216–218
1731:178–181
1703:176–178
1654:167–168
1607:155–159
852:Matisse
596:(1930).
569:style.
540:ukiyo-e
535:Olympia
493:Raphael
263:nihonga
3024:
2997:777768
2995:
2966:
2945:
2937:
2887:
2815:
2805:
2788:
2778:
2761:
2740:
2730:
2709:
2699:
2680:
2661:
2642:
2625:
2615:
2594:
2584:
2567:
2557:
2538:
2521:
2511:
2494:
2484:
2463:
2453:
2436:
2426:
2211:
2207:
1860:
963:, the
955:, the
868:Zürich
861:Christ
848:chapel
678:geisha
641:Mexico
618:Brazil
499:, and
489:Louvre
422:London
363:cubism
290:Bunten
232:Kyushu
98:French
82:Zürich
3022:JSTOR
2993:JSTOR
2964:JSTOR
2943:S2CID
2935:JSTOR
2910:(PDF)
2903:(PDF)
2885:JSTOR
2864:Ebisu
2851:(PDF)
2840:(PDF)
2406:Books
2105:97–98
1159:66–67
1044:19–21
949:Akita
850:, as
821:]
657:Taxco
399:naïve
220:Tokyo
172:Paris
159:藤田 嗣治
64:Japan
60:Tokyo
32:1930
3176:NYRB
2813:OCLC
2803:ISBN
2786:OCLC
2776:ISBN
2759:OCLC
2738:OCLC
2728:ISBN
2707:OCLC
2697:ISBN
2678:ISBN
2659:ISBN
2640:ISBN
2623:OCLC
2613:ISBN
2592:OCLC
2582:ISBN
2565:OCLC
2555:ISBN
2536:ISBN
2519:OCLC
2509:ISBN
2492:OCLC
2482:ISBN
2461:OCLC
2451:ISBN
2434:OCLC
2424:ISBN
1858:ISSN
547:and
393:and
357:and
345:and
286:yōga
256:yōga
71:Died
42:Born
3174:at
3014:doi
2985:doi
2927:doi
2331:290
2291:292
2141:283
2137:279
2015:294
1963:101
1899:193
1891:119
1850:doi
1799:183
1779:183
1771:301
1763:185
1747:184
1670:173
1574:143
1570:142
1542:141
1482:101
1410:294
1324:267
1143:164
1111:309
947:in
703:),
592:by
533:'s
3220::
3153:.
3137:.
3120:.
3103:.
3084:.
3067:.
3047:.
3020:.
3010:52
3008:.
2991:.
2981:55
2979:.
2960:76
2958:.
2941:.
2933:.
2923:76
2921:.
2881:21
2879:.
2868:31
2842:.
2811:.
2784:.
2736:.
2705:.
2621:.
2590:.
2563:.
2517:.
2490:.
2459:.
2432:.
2368:^
2261:;
2179:^
2148:^
2139:,
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