"Surrealism is not a style, it's a state of mind that leads to a free individual creativity,” says Matthew Gale, curator of the new Surrealism Beyond Borders exhibit.
Seven artworks exploding the myth of a movement
An exhibition on Surrealism explores its previously unacknowledged multi-cultural
Sea (1929) by Koga Harue, Japan 古賀春江
With its factory, sea vessels and airship, Japanese artist Koga Harue's monumental painting The Sea (1929) seems to be a paean to technology. This was an intentional rebellion against what Koga and his colleagues disliked in European Surrealism. They thought that Breton and his followers were decadent in disengaging with modern progress, and proposed a '"scientific" Surrealism in Japan. But they retained a technique favoured by the Surrealists in Paris: the combination of otherwise disassociated symbols to create magical effects. "What Koga Harue does is to show that through unexpected juxtapositions, there is something perhaps irrational in the rational," Gale says. This is born out in uncanny visual relationships, such as the oversized Western bather contrasted with a factory's clockwork logic, and the mysterious world of the seabed confronting the deadly stealth of a submarine.
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Parallel ModernismKoga Harue and Avant-Garde Art in Modern Japan
by Chinghsin Wu (Author)
November 2019
First Edition
Contents
1 Early life
2 Avant-garde artist
3 Illness and death
4 Selected paintings
5 References
5.1 Further reading
Harue Koga (古賀 春江, Koga Harue, June 18, 1895 – September 10, 1933) was a Japanese avant-garde painter active from the 1910s to the early 1930s. He is considered to be one of the first and one of the most representative Japanese surrealist painters.[1]
古賀春江 (1895年6月18日－1933年9月10日) 是日本洋畫家。出生於福岡縣久留米市[1]。主要作品『海』『素樸な月夜』『窓外の化粧』『深海の情景』等[2]。
參考資料[編輯]
^ 新しい神話がはじまる 古賀春江の全貌. 神奈川縣立近代美術館 （日語）.
^ 古賀春江 - kotobank （日語）
外部連結[編輯]
古賀春江 - 美術手帖 （日語）
古賀春江 - kotobank （日語）
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