Koyama Shōtarō 小山正太郎 (1857–1916): Western-Style Painter

A surviving postcard from Koyama Shōtarō to fellow artist Maeda Yoshihiko offers a rare personal glimpse into the interconnected world of Meiji-era painters. Sent from Koyama’s art school, Fudō-sha, in Tokyo’s Hongō district, it is postmarked 武蔵東京本郷 (Musashi Tokyo Hongo) and addressed from 東京本郷駒込千駄木町十三番地 (Tokyo Hongo Komagome Sendagichō 13-banchi), bearing the name 小山正太郎 (Koyama Shōtarō). The card reflects the active correspondence and collaborative spirit among artists shaping modern Japanese art.

Born in 1857 in Nagaoka, Niigata Prefecture, Koyama moved to Tokyo as a young man to study art. He began his formal training under Kawakami Tōgai and later studied oil painting at the Kōbu Bijutsu Gakkō under Antonio Fontanesi, an Italian painter whose realist approach and Barbizon School influences left a lasting mark on Koyama’s style.

After Fontanesi’s departure in 1878, Koyama helped form the Jūichijikai (“Association of the Eleventh”) to continue promoting Western-style painting independently. He later established Fudō-sha ("Diversity Society") in Hongō, a private art school that emphasized openness to various styles. It became a formative institution for students such as Yoshida Hiroshi, Aoki Shigeru, Nakamura Fusetsu, and Kanokogi Takeshirō.

In 1889, Koyama co-founded the Meiji Bijutsukai (Meiji Art Association) with Asai Chū and Matsuoka Hisashi, helping to solidify the place of yōga in Japan’s art scene. He also served as a war artist during the First Sino-Japanese War, producing works like a panoramic depiction of the Battle of Pyongyang.

Though his own works—often painted in a somber academic palette—were relatively few, Koyama’s influence as a teacher and advocate of Western-style painting was profound. His dedication to integrating Western techniques and mentoring the next generation of artists cements his legacy as a foundational figure in modern Japanese art.