On July 29, 1889, Watanabe Bunzaburō, husband of Yūkō (幽香), a prominent figure at the Goseda Art School, sent a postcard to Maeda Yoshihiko in Kobe. This postcard is also addressed to Masuda Matsuyuki, who was staying with Maeda at the time, underscores the close ties among artists and educators of the era. These relationships fostered collaborations that significantly enriched the artistic community. Watanabe appears to have been informing them of his new address.
Masuda Matsuyuki (1862–1932, 増田松之) was a prominent yet relatively under-researched figure in the artistic and educational landscape of Meiji-era Japan, not widely known in Japan or the West. As both an artist and educator, he navigated the complex intersection of Japan’s traditional culture and the growing influence of Western art. His contributions ranged from his own creative work to his influential roles in teaching and collaborating with other artists and intellectuals.
Masuda’s artistic training began with Takahashi Yuichi, widely regarded as a pioneer of Western-style oil painting in Japan. Yuichi’s innovative approach to incorporating realism and Western techniques had a lasting impact on Masuda, whose skills were further refined under the tutelage of Goseda Hōryū (五姓田芳柳). These formative years provided Masuda with a strong foundation in Western-style painting, setting the stage for his later work in both artistic and educational spheres.
One of Masuda’s most notable achievements was the publication of the Watercolor Painting Album (水彩画帖), a three-volume series created in Osaka in 1892–1893 (Meiji 25–26). Printed using multi-color lithography, this series showcased Masuda’s mastery of watercolor techniques and his ability to adapt them to an educational context. The albums, now preserved in institutions such as the National Diet Library and the Sakura Color Products Collection, were an important resource for disseminating Western artistic methods in Japan. By producing these volumes, Masuda not only contributed to the artistic field but also addressed the educational need for accessible teaching materials.
Masuda’s involvement in art education extended beyond publications. Early in his career, he served as an art instructor at Saitama Normal School, where he trained future educators in drawing and painting. His role as a teacher reflected his belief in art as a critical component of modern education. Masuda later joined the faculty at Keio University, where he worked in the Faculty of Commerce and Industry and the Ordinary Department (普通部). He succeeded Nose Tsurujirō (能勢鶴次郎) in 1909 and served until 1919. During his tenure, Masuda contributed significantly to the development of Keio’s art programs, balancing his work at the Ordinary Department with responsibilities in other areas of the university.
One such collaboration was the organization of an exhibition of oil paintings and modern calligraphy at Kobe Elementary School. This event, held in conjunction with a meeting of the Academic Encouragement Association (学術奨励会), was co-organized by Masuda, Maeda Yoshihiko, and Nakajima Seikei. The exhibition, which included an on-site calligraphy demonstration, reflected the intersection of traditional Japanese calligraphy and Western oil painting, offering the public a rare opportunity to engage with these evolving art forms.
Masuda’s work extended into other teaching roles as well. Records indicate that he was involved in teaching at Kakegawa Middle School following its re-establishment in 1900 (Meiji 33). While details about the exact timeline are unclear, this position further illustrates his commitment to advancing art education in regional settings. His career also intersected with broader educational reforms, as his expertise in Western art and painting techniques positioned him to influence Japan’s incorporation of these methods into formal curricula.
Through his artistic contributions, educational efforts, and collaborations, Masuda Matsuyuki emerged as a key figure in the cultural transformation of Meiji-era Japan. His ability to bridge the gap between traditional Japanese art and Western techniques exemplified the spirit of modernization that defined the period. By training the next generation of educators, creating accessible teaching materials, and participating in public exhibitions, Masuda left an enduring legacy in both art and education.
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