Gregg Baker Asian Art
Japanese and Chinese works of art, specialising in Japanese screens and Buddhist art.
142 Kensington Church Street
London, W8 4BN
T +44 20 72 21 35 33
Senior Administrative Coordinator
Artists Exhibited at the fair:
Given name: Nagasa Ekaku. Priest name: Hakuin Dōjin. Born in Hara, Suruga Province, he entered the Zen temple Shōin-ji in 1700 at the age of 15 where he studied with Tanrei (d.1701) and was given the Buddhist name of Ekaku. This temple remained his base throughout his long life of teaching and travelling. In 1717 Hakuin became abbot of the Myōshin-ji, Kyoto and later visited a series of temples, wandering through many provinces, teaching Zen to the common people. Finally in 1758 he founded the Ryūtaku-ji in Izu.
Hakuin was one of the most important Zen masters of his time, credited with reinvigorating the Rinzai sect. He established the transition from the institutionalised religion of previous periods to a more informal one, aiming to teach directly to the people especially in remote regions.
Hakuin painted hundreds of Daruma images, as befitted the Zen patriarch's role as the single most important signifier of meditation and this became one of Hakuin's most recognisable and iconic subjects. With his widespread popularity, Hakuin was undoubtedly called upon to create numerous images for followers who benefited from this tangible reminder that only by the rigorous discipline of meditation could enlightenment be attained.
Works by the artist can be found in the collections of: Brooklyn Museum, New York; Museum of Fine Arts, Boston; Seattle Art Museum, Washington; and the Buddhist temples of: Daikō-ji, Miyazaki; Dairyū-ji, Gifu; Empuku-ji, Shiga; Hōrin-ji, Yamanashi; Keiun-ji, Himeji, Hyōgo; Myōkō-ji, Aichi; Ryūgaku-ji, Nagano; Ryūtaku-ji, Shizuoka; Shōfuku-ji, Kōbe; Shōin-ji, Shizuoka; Zenshō-ji, Kyōto.
Born into a high ranking and cultivated family Sakai Hōitsu had a privileged upbringing giving him the opportunity to study Noh, calligraphy, tea ceremony, music and painting.
Hōitsu first studied painting in the Kanō style but his unending curiosity led him to study almost every major contemporary painting style such as Ukiyo-e, the Maruyama school and Nanga (literati painting) before devoting his considerable skills to Rimpa.
In 1797 Hōitsu became a monk an act which relieved him from his formal family obligations allowing him to study old masters such as Ogata Korin (1658-1716) and his brother Ogata Kenzan (1663-1743) in great depth. This study eventually led to Hoitsu publishing three books of woodblock prints, two dedicated to the works of the Ogata brothers and the third to his own oeuvre; Kōrin Hyakuzu (1815), Kenzan Iboku Gafu (1823), and Oson Gafu respectively.
In October 1817 Hōitsu hung a placard in his studio located in Otsuka which read uge an (lit. rain flower). It is generally believed that he began to use Uge as a gō (art name) from this time and marks the most innovative period of his career.
Works by the artist can be found in the collections of: Gitter-Yelen, New Orleans Museum of Art; Smithsonian Museum of Art, Washington D.C.; Victoria and Albert Museum of Art, London; Asia Society, New York; Cleveland Museum of Art, Ohio; Joe Price Collection, USA; Hosomi Museum, Kyoto; Idemitsu Museum of Arts, Tokyo; Kyoto National Museum, Kyoto; LA County Museum of Art, California; Metropolitan Museum of Art, New York; MOA Museum of Art, Shizuoka; Museum of Fine Arts, Boston; Museum of Imperial Collections, Sannomaru Shozokan; National Gallery of Victoria, Australia; New Orleans Museum of Art, Louisiana; Smithsonian Museum of Art, Washington D.C.; Tokyo National Museum, Tokyo; Worcester Art Museum, Massachusetts.
Inoue Yūichi (1916-1985) was born in Tokyo the son of a bric-a-brac dealer. In 1935 he graduated from Tokyo Prefectural Aoyama Normal School (present-day Tokyo Gakugei University) and almost immediately began working as an elementary school teacher at Yokogawa National School, Tokyo. Although he always aspired to become a painter, Yūichi was lacking the means to attend Art College. He therefore took evening painting classes and later turned to sho (calligraphy) due to its inexpensive materials and less formal instruction. In 1941 Yūichi began to study calligraphy under the renowned modernist calligrapher Ueda Sōkyū (1899-1968) and joined his master’s avant-garde calligraphy group Keiseikai.
Ueda himself came from a modernist tradition of avant-garde calligraphers advocating the study of kanji (Chinese characters) by old Chinese masters, while at the same time being aware of contemporary international art movements. The emphasis of Ueda Sōkyū and the Keiseikai group was on the emotional expression of the self at the moment of writing. According to Ueda it is more embarrassing for a calligrapher to lack heart than technique.
In March 1945 Yūichi was on night duty at the Yokokawa National School where 1,000 people were taking shelter from a bombing raid by the American air force. The school was engulfed by flames and Yūichi was left as the sole survivor. This tragic near-death experience left him deeply scarred and he later described his ordeal in the calligraphic piece entitled Ah! Yokokawa National School, now in the collection of Unac Tokyo Inc.
‘The town plunged into darkness is transformed into an incandescent sea…. All Kōto-ku is hell fire’ he begins. ‘A thousand refugees have no shelter and there is no exit.’ Buried all night in a heap of corpses, Inoue concludes, ‘At dawn, the fire is out. Silence is all. No cries’.
The horrors of war led Yūichi to dedicate his existence to the study of avant-garde sho and its promotion through j
Selected Solo Exhibitions:
1965 Galerie Rudolf Zwirner, Cologne
1986 Yūichi: Zeppitsu (Yūichi, Psyché Calligraphy-Parting Thoughts), NEWZ and UNAC SALON Tokyo; Nishinomiya Citizen’s Gallery, Hyogo
1989 Yūichi Works 1955-85, The National Museum of Modern Art, Kyoto; Fukuoka Prefectural Museum of Art, Fukuoka; Niigata City Art Museum, Niigata; The yamaguchi Prefectural Museum of Art, yamaguchi; The Ehime Prefectural Museum of Art, Ehime; Koriyama City Museum of Art, Fukushima
1995 Yūichi:1916-1985, Kunsthalle Basel
Yūichi: Exhibition in Commemoration of the publication of Yūichi Sho-ho, Tianjin People’s Art Publishing House Gallery, Tianjin
1999 Inoue Yūichi – Calligraphy is for everyone, Seoul Art Centre, Seoul
2000 Yūichi Vivant, Chigasaki City Museum of Art, Kanagawa
Yūichi Ali, d’Ac galleria Comunale d’Arte Contemporanea di Ciampino, Italy
2005 Inoue Yūichi, Hangzhou International Calligraphy Festival, China Academy of Art, Hangzou
2008 Kanji Art of Inoue Yūichi, Shi Fang Art Museum, Zhengzhou, China
2010 Yūichi, Tokushima Kenritsu Bungaky Shodokan
2012 Yūichi, Works on Paper, Japan Art, Galerie Friedrich Mϋller, Frankfurt
Yūichi, Ningbo Museum of Art, China
2016 Inoue Yūichi, 21st Century Museum of Contemporary Art, Kanazawa
Selected Group Exhibitions:
1950 6th Nitten (Japan Fine Arts) Exhibition, Tokyo
1954 Contemporary Japanese Calligraphy, The Museum of Modern Art, New York
First Exhibition of Bokujin, Tokyo
1955 Bokujin, Galerie Colette Allendy, Paris; Gallerie Apollo, Brussels
Abstract Paintings – Japan and the U.S., The National Museum of Modern Art, Tokyo
First Public Exhibition of Bokujin, Kyoto Munincipal Museum of Art, Kyoto; Ueno Matsuzakaya Gallery, Tokyo
1957 4th São Paulo Art Biennial, São Paulo
1958 Fifty years of Modern Art, Universal & International Fair, Brussels
1959 Documenta II, Kassel
1961 6th Sao Paulo Biennal
The 1961 Pittsburgh Inte
Born in Yamagata he studied painting under Sessyō Kashiwakura (dates unknown). After moving to Tokyo he became the student of Terasaki Kōgyō (1865-1919) and entered the Tenrai Cram School. He exhibited regularly at Inten and Bunten. Taihaku also exceled in sadō (tea ceremony) under the tea master Tanaka Sensyū (1874-1960) and founded the popular Nihonsadōin (Japanese tea ceremony institute).
Works by the artist can be found in the collection of The National Museum of Modern Art, Tokyo
Ochi Kenzō (1929–1981). Born on the 29th September 1929 in Ehime prefecture. He studied metal arts at Tokyo University of Fine Arts, graduating in 1953. He returned there as a part-time teaching assistant in 1956, and joined the full-time staff in 1959. He became a full-time lecturer at the Tokyo Gakugei University in 1965 and was promoted to Assistant Professor in 1969 becoming full Professor of metalwork in 1976. He became a member of the Japan Metalwork Artists Association (Nihon Kinko-sakka Kyokai). He died on the 13th of March, 1981, aged 51.
His work "Tree Thoughts" 1970 is in the National Museum of Modern Art, Tokyo and other works by the artist can be found in the collections of the Tokyo National Museum of Modern Art – Crafts Department, and at the Tokyo University of Fine Arts. See also: Japanese Studio Crafts by Robert Faulkner, pl.17 and the University Art Museum at the Tokyo National University of Fine Arts and Music's catalogue: Kogei, A view of a Century of Modern Japanese Crafts, pl.209
1954 (Showa 29): Nitten Exhibition – The Fourth Category, he received an award for the first time.
1964 (Showa 39) Nihon Gendai Kogei Bijitsu-ten Exhibition awarded the Yomiuri Newspaper prize.
1965 (Showa 40): Nihon Gendai Kogei Bijutsu-ten Exhibition (Japan Association of Modern Artist Craftsmen) awarded the Minister of Foreign Affairs prize.
1965 Nitten Exhibition awarded the tokusen (grand) prize and the Hokuto Prize.
1966 (Showa 41): Nihon Gendai Kogei Bijutsu-ten Exhibition (Japan Association of Modern Artist Craftsmen): received a members' award and the award by the Foreign Minister.
1967 (Showa 42): Nitten Exhibitions: he entered a piece.
1969 (Showa 44): Nitten Exhibitions: he was awarded with the Chrysanthemum prize.
In 1967, 1970 and 1972 (Showa 42, 45, 47): He was a judge for the Nihon Gendai Kogei Bijutsu-ten Exhibition (Japan Association of Modern Artist Craftsmen)
1972 (Showa 47) onwards he continued to exhibit at the Nitten Exhibitions
Suda Kokuta (1906-1990) was born in Fukiage (present day Kōnosu), Saitama Prefecture originally given the name Katsusaburo. In 1927, after finishing school at the Prefecture Koshigaya Middle School, he was encouraged by the noted Western-style painter Terauchi Manjiro (1890-1964) to become an artist and took entrance exams for the Tokyo Bijiutsu Gakko (Tokyo School of Fine Arts) without success. Committed to his path Kokuta then took drawing lessons at the Kawabata Drawing School for one year before leaving to continue studying on his own. It was at around this time that he changed his name to Kokuta.
In 1930 after having had some previous success exhibiting at the Government sponsored exhibitions such as Kanten, Kokuta tried once more without success to enter the Tokyo School of Fine Arts. Despite this set-back he was not discouraged and in fact had considerable support from influential artists such as Nagahara Kōtaro (1864-1930) who recognized his talent and suggested Kokuta should go to America where his work would be better appreciated. He didn’t follow this advice but instead continued participating in various state exhibitions winning a prize at Bunten (The Japan Fine Art Exhibition) of 1936 with his painting Break Time, another special prize in 1939 at the 3rd Shin-Bunten with Man Reading A Book and again at the 5th Shin-Bunten in 1942 with Shinsho (Divine General).
By the mid 1940’s, now an artist in his own right, Kokuta was involved with co-founding various artists groups such as Tenpyou-no Kai and Sin-ju Kai and in 1948 he became a member of Han Bijutsu-ka Kyōkai (Han Artists Association) a group founded by Yoshihara Jiro (1905-1972).
In 1949 Kokuta was introduced to abstract painting by his new acquaintance the influential avant-garde painter Hasegawa Saburo (1906-1957) a meeting which led to philosophical discussions regarding art and its spiritual connections. Subsequently, he joined the newly-founded Kokugakai (National Painting Associatio
Selected Group Exhibitions:
1935 – 1949 Exhibited annually at Kofu-kai Art Association (often receiving awards), Tokyo Metropolitan Art Museum
1936 Break Time, Bunten (Ministry of Education Fine Arts Exhibition), Tokyo Metropolitan Art Museum
1939 Man reading a book, highest prize at 3rd Shin Bunten
1941 Young Man, 4th Shin Bunten
1942 Shinsho (Divine general. Buddhist term for twelve protectors of the faithful), highest prize at 5th Shin Bunten
1946 Front view of Tōdai-ji Temple, 2nd Nitten (Japan Fine Arts Exhibition), Tokyo Metropolitan Art Museum
1947 Pink Turban, highest prize at 3rd Nitten
1948 2nd Sin-ju Kai Exhibition, Nihonbashi, Mitsukoshi, Tokyo
Myōkō-kai Exhibition, the Asahi Art Gallery, Kyoto
Tenpyō-no Kai Exhibition and Tenseki -kai exhibition, the Kyoto Art Museum
1949 23rd Kokuten (National Exhibition) organized by Kokuga-kai (National Painting Association), Tokyo Metropolitan Art Museum. Exhibited annually at Kokuten between 1949-1982
1955 3rd Japan International Exhibition, Tokyo Metropolitan Art Museum
3rd Modern Art Meeting Group Exhibition - Modern Composition, exhibited at the Japan America Abstract Art Exhibition
1957 4th Sao Paulo Biennale, representing Japan alongside Inoue Yūichi
1959 11th Premio Risone International Art Exhibition, Risone, Italy (alongside Shiraga Kazuo)
The Houston Art Museum Exhibition, USA
1961 Metaphysical Reality, Carnegie International Modern Painting and Sculpture Exhibition, Carnegie Institute Pittsburgh
1963 Modern Art Movements – West and Japan, National Modern Art Museum, Kyoto
1965 9th Japan International Art Exhibition, Tokyo Metropolitan Art Museum
1966 7th Modern Japanese Art Exhibition, Tokyo Metropolitan Art Museum
1971 1st Hyogo Art Festival, Kobe, annually until 1975
Seven Artists Exhibition Hankyu, Osaka
1975 Four Abstract Artists alongside Shiraga Kazuo, Tsutaka Waichi, Motonaga Sadamasa, Hyogo Prefectural Museum of Art, Kobe
1983 Modern Art Exhibition,The Atelier, Nishinomiya;
Tadasky (Tadasuke Kuwayama) was born in Nagoya, Japan. He moved to the US on a student visa in 1961 and attended the Art Students League in New York City and later the Brooklyn Museum of Art School. Since the 1960s, Tadasky’s work has been identified with the Op Art movement. His first solo exhibition was held at the Kootz Gallery in New York City in 1965. That same year his work was included in the Museum of Modern Art’s groundbreaking exhibition, The Responsive Eye, and the museum acquired two of his paintings for their permanent collection. Tadasky’s work was also included in the Albright-Knox Art Gallery’s 1965 exhibition, Kinetic and Optic Art Today.
Selected Solo Exhibitions:
1965 Kootz Gallery, New York
1966 Tokyo Gallery, Tokyo
Gutai Pinacotheca, Osaka
1967 Fischbach Gallery, New York
1969 Fischbach Gallery, New York
1970 Artisan Gallery, Houston
1989 Tokyo Gallery, Tokyo
2008 Sideshow Gallery, Brooklyn
2012 David Richard Gallery, Santa Fe
2015 D. Wigmore Fine Art, New York City
Selected Group Exhibitions and Awards:
1965 The Responsive Eye, Museum of Modern Art, New York
Kinetic and Optic Art Today Albright-Knox Gallery, Buffalo
Highlights of the 1964-65 Art Season, The Larry Aldrich Museum, Ridgefield
Contemporary American Painting and Sculpture, Krannert Art Museum, Champaign
Japanese Artists Abroad, National Museum of Modern Art, Tokyo
Pop and Op, traveling exhibition, Castelli Gallery, New York
Kinetics and Optics, travelling exhibition, Museum of Modern Art, New York
1966 Annual Exhibition of Painting and Sculpture, Pennsylvania Academy of the Fine Arts, Philadelphia
The New Japanese Painting and Sculpture, traveling exhibition, The Museum of Modern Art, New York
Creative Arts Awards, 1957-1966, Rose Art Museum, Waltham
1967 17th Annual Susakuten, Asahi Shinbun, Tokyo
The Harry N. Abrams Family Collection, The Jewish Museum, New York
1968 Homage to Albers, Washington University Gallery of Art, St. Louis
1969 Paintings from the Albright-Knox Gallery Collection, National Museum of Art, Buenos Aires
1972 Recent Accessions, 1966-72, Indianapolis Museum of Art, Indiana
1977 The James A. Michener Collection: Twentieth Century American Paintings, University Art Museum, University of Texas, Austin
William C. Seitz Memorial Collection, Princeton University Art Museum
2004 Twister: Moving through Color, Blanton Art Museum, Austin
2005 Extreme Abstraction, Albright-Knox Gallery, Buffalo
2006 Op Art Revisited, Albany State Museum, Albany
2007 Optic Nerve: Perceptual Art of the 1960s, Col
Gō (art names): Hyakuroku Sanjin, Kokikan, Kukurin, Mokubei, Rōbei, Teiunrō. A nanga (literati painting) painter, potter, calligrapher and scholar, he is also considered the reviver of Kyoto ceramics. Born in Kyoto the son of a restaurant owner, he studied pottery under Okuda Eisen (1753-1811) and was influenced by the Chinese paintings of the Ming and Ch'ing dynasties as well as by Ikeno Taiga (1723–1776).
After reading Tōsetsu (Ceramics Explained), a Chinese treatise of 6 chapters on the history of Chinese ceramics written in 1774 by Chu Yen he decided to specialise in this art form gaining great recognition and fame during his own lifetime.
In 1801 he worked for the Lord of Kii as a potter and then in 1807 joined the service of the Lord of Kaga, where he opened the Kasugayama kiln. In 1806 Mokubei visited the Kutani kilns spurring the potters on to do better work. In 1808 he was called into the service of Prince Shoren'in no Miya who sponsored the founding of a kiln in Awata, Kyoto where he began to work as an imperial ceramic master.
His ceramics are rich in elements associated with the literati, China, and the sencha tea ceremony leading him to produce numerous teapots, freely potted stoneware tea bowls and cooling hearths. Mokubei mastered both Chinese and Japanese ceramic techniques such as iroe (polychrome over glaze enamels), sancai (Chinese three-colour ware), sometsuke (late Ming blue and white), aoji (celadon), K'ang-hsi famille noire and the so called kōchi ware (polychrome). He also made Korean and Japanese style pieces which were popular among matcha devotees.
The sheer range of Mokubei's work attracted many clients and influential patrons even though he was known for his low rate of production. It is said that clients and dealers paid large sums for his work and yet often had to wait years for their order to be completed.
Works by the artist can be found in the collections of: the Victoria & Albert Museum, London; Kyoto National Museum of Art, Kyoto; Freer and Sackler, the Smithsonian's Museum of Modern Art, Washington D.C.; Tokyo National Museum of Art, Tokyo; The Ashmolean Museum, Oxford; Idemitsu Museum of Arts, Tokyo; Metropolitan Museum of Art, New York.
The Hasegawa School was founded by Hasegawa Tōhaku (1539-1610) in the late 16th century. Despite being small, consisting mostly of Tōhaku, his sons and sons-in-law it is known today as one of the most influential artistic groups of the period. Its members conserved Tōhaku's quiet and reserved aesthetic, which many attribute to the influence of Sesshū Tōyō (1420-1506) as well as his contemporary and friend, Sen no Rikyū (1522-1591).