Hayashi Kisuke of Bitchu-Takahashi to Maeda Yoshihiko: Oil Paint Artist

 

備中高梁の林喜助から油画師の前田吉彦宛の３通のはがき

We have three cards here sent by Hayashi Kisuke of Takahashi, Bitchu, addressed to Maeda Yoshihiko of Kobe, a western-style painter. The card dated September 3, 1889, is addressed not only to Maeda but also to two others: Udagawa and Tabuchi. We don't know who they are at the moment, but we are continually discovering previously unknown individuals and updating our older posts as new information becomes available. On this particular card, Maeda is addressed as an Aburaeshi (油画師), or oil paint artist. Unfortunately, we are unable to read any of the message.

The card dated June 14, 1889, also includes the title Aburaeshi (油画師) in Maeda's address. There is a second name written on this card that has either been covered up with ink or perhaps is an artistic expression by the sender; we are unsure. Lastly, the card dated August 19, 1889, also has an unreadable message.

Postcard from Kadokawa Kisaburo of Kobe to Maeda Yoshihiko 1891

明治24年6月16日神戸の門川棄三郞から前田吉彦宛のはがき

The only postmark shows the date of June 16, 1891, which means it was sent locally in Kobe. It was sent by Kadokawa Kisaburo (門川棄三郞). He  was born in 1864, the third son of Miyawaki Seio from Hyōgo Prefecture. He was adopted by his uncle, Hajime, and in 1905, he inherited the family estate. After spending ten years in education, he joined the Japan Woolen Company and became its auditor, then became a contributing member of the Kobe Lead Pipe Manufacturing Company. 

This postcard is surely interesting and very rare because Maeda Yoshihiko's own address stamp, enclosed in an oval design "Kobe-shi, Shimoyamatedori 6-chome, 606," is stamped three times! I am sure he was just trying it out. See post dated September 12, 2024 for another example.

Masatsugu Hiraki (disciple of Goseda) to Yoshihiko Maeda 1890

平木政次 (五姓田芳柳の門人) から前田吉彦宛の年賀状

Postmarked at Shimōsa, Kemigawa (検見川下総) in today's Chiba Prefecture, on January 1, 1890, this New Year's greeting card was sent by Hiraki Masatsugu (平木政次), a renowned Western-style painter at the peak of his career to Maeda Yoshihiko (前田吉彦), Hiraki's mentor and teacher.

Hiraki Masatsugu: A Pivotal Figure in the Evolution of Western-Style Painting in Japan

Hiraki Masatsugu (平木政次, 1859–1943) was a renowned Western-style painter who navigated the complexities of Japan's transition from the Edo period to the Meiji, Taisho, and Showa periods. His artistic career spanned several decades, and his contributions to the development of Western-style painting in Japan are considered significant. He was born in 1859, in the Edo residence of the Bitchu Matsuyama Domain, present-day Okayama Prefecture. His early life as the eldest son of Hiraki Masanori, a samurai of the Bitchu Matsuyama Domain, placed him within a traditional Japanese context that was gradually giving way to Western influences as the country began its modernization in the late 19th century.

Early Education and Mentorship

In 1873, at the age of 14, Hiraki moved to Yokohama, a city that was becoming a focal point for international trade and the influx of Western ideas following Japan's opening to the outside world in the 1850s. This relocation marked the beginning of Hiraki's exposure to Western-style painting, a domain that was increasingly gaining popularity among Japanese intellectuals and artists. It was here that he began studying under the prominent painter Goseda Horyu (五姓田芳柳, 1827–1892), a well-regarded figure in the Yokohama art community. Goseda, who had studied under Western-trained artists, was influential in introducing Hiraki to the techniques and methods of Western-style painting. In 1873, the two relocated to Asakusa, a district in Tokyo that was emerging as a hub for artistic and intellectual exchange during the early Meiji period.

This formative period under Goseda's tutelage played a critical role in Hiraki’s artistic development. As he absorbed Western techniques in painting, Hiraki's works began to reflect the blend of Japanese tradition and Western influence, which was a central theme in the works of many Meiji-era artists.

Relocation to Osaka and Lithography

By 1878, Hiraki followed his teacher to Osaka, where he expanded his artistic horizons. It was in Osaka that he became acquainted with Maeda Yoshihiko, a figure who would later play an important role in his artistic development. In the same year, Hiraki joined Matsuda Ryokuzan’s Gengendo studio, where he delved into the techniques of lithography, an important medium that facilitated the dissemination of art and ideas during this period of modernization. Lithography provided Hiraki with a new avenue for artistic expression, allowing him to produce works that were accessible to a broader audience, which was crucial in an era where Western ideas were rapidly permeating the social and cultural fabric of Japan.

Career at the Education Museum

By 1880, Hiraki had secured a position as an artist at the Education Museum (now known as the National Museum of Nature and Science). In this role, Hiraki was tasked with drawing accurate representations of plants, animals, and other specimens, which were intended to support the burgeoning scientific community in Japan. His time at the Education Museum allowed him to hone his skills in realistic rendering, and these experiences would later influence his Western-style works, as he increasingly sought to capture the natural world with the precision and techniques of European academic painting.

Exhibitions and Recognition

Hiraki’s early works began to gain attention at national exhibitions. His painting "View of Mount Fuji from Kudan Shokonsha Shrine" was exhibited at the First Domestic Industrial Exposition in 1877, and his painting "By the Banks of Shinobazu Pond" was showcased at the Second Domestic Industrial Exposition in 1881. These exhibitions were crucial for promoting Western-style art in Japan, and Hiraki’s participation marked him as one of the key figures in the early movement toward adopting and adapting Western artistic practices.

In 1889, Hiraki joined the Meiji Art Association (明治美術会), an important group of artists committed to Western-style painting, and later became a technical assistant at the Faculty of Science at the Imperial University of Tokyo. His work was frequently displayed at major exhibitions, and his reputation as a leading artist continued to grow.

Contribution to the Bunten Exhibition

Hiraki’s artistic journey reached a significant milestone when he participated in the first Bunten Exhibition in 1907, an event that was part of the government's efforts to foster a modern national identity through art. His submission, titled "Remaining Snow," was well-received and further cemented his standing within the art community. The Bunten, which became a major annual event, provided a platform for artists to showcase their work while adhering to state-sponsored ideals of art, which combined elements of Western techniques with Japanese subject matter.

Later Years and Legacy

As the 20th century progressed, Hiraki’s reflections on the evolution of Western-style painting in Japan became increasingly significant. In 1936, he published "Retrospective of the Western Painting World in the Early Meiji Era" (明治初期西洋画界回顧), a detailed account of his experiences and observations of the dramatic shifts in the Japanese art scene during the Meiji period. The work, serialized in the magazine Ecchingu, provided a chronological narrative of the formative years of Western-style painting in Japan, offering an insider's view of the early artistic transformations that reshaped the nation's visual culture. This publication not only contributed to the historical documentation of the period but also highlighted Hiraki’s own central role in bridging the traditional with the modern.

Hiraki Masatsugu’s career was not merely a personal journey of artistic development; it was also a reflection of the larger cultural and political changes occurring in Japan during a time of intense transformation. His works represent the intersection of Japanese tradition and Western influence, and his ability to adapt Western techniques to Japanese subjects helped lay the groundwork for the future of modern Japanese painting.

Hiraki passed away in 1943 at the age of 85, leaving behind a substantial legacy that continued to influence future generations of artists. His life and work remain a testament to the ways in which art can both reflect and shape the broader historical currents of a nation. Through his paintings and writings, Hiraki helped document a pivotal era in Japanese art history, one that saw the introduction of Western artistic practices and their integration into the traditional Japanese artistic canon.

In conclusion, Hiraki Masatsugu's contributions to Western-style painting in Japan are invaluable, not only for their artistic merit but also for their historical significance. His career encapsulates the Meiji era’s artistic revolution, a period when Japan actively sought to modernize by embracing and adapting Western ideas while maintaining its unique cultural identity. Through his participation in exhibitions, his role as a teacher and mentor, and his reflective writings, Hiraki played an essential role in shaping the trajectory of Japanese art during a crucial period of cultural exchange and transformation.

備中松山藩士60石取、杉忠三郎と杉貞次

New Year's card to Maeda Yoshihiko from Sugi Chuzaburo and Sugi Sadatsugu, Samurai of the Bitchu Matsuyama domain with a stipend of 60 koku

This New Year's card, postmarked Bitchu, Takahashi, and dated January 1, 1890, was sent by Sugi Chūzaburō and his eldest son, Sugi Sadatsugu. The Sugi family, although of samurai status, held a modest annual stipend of 60 koku. Chūzaburō's younger son, Sugi Sadamitsu, is noted in Wikipedia as a Japanese naval hero for undertaking two suicidal missions during the Russo-Japanese War.

In addition to the above postal card, we found three more: one from Sadatsugu, dated January 6, 1889, and two from Chūzaburō, dated May 31, 1890 and August 18, 1889. Sadatsugu's card is especially interesting, as he addresses Maeda Yoshihiko simply as an oil paint artist (油絵師) in Kobe, without providing a street address.

清水比庵の父、備中高梁の清水質から前田吉彦宛の年賀状

  

The first postcard was sent from Bitchu, Takahashi by Shimizu Tadashi (1860-1905) to Maeda Yoshihiko (1849-1904) on January 2, 1889. It is a typical New Year's greeting card. The second card dated July 3, 1889 is interesting, as it refers to Maeda as an "oil paint artist" (油画師, abura-e-shi).

While little is known about Shimizu Tadashi, it is documented that he was an educator and civil servant in Takahashi, Okayama. He played a significant role in assisting Shigeko Fukunishi (福西志計子, 1848-1898) in establishing Junsei Girls' School (順正高等女学校) in 1881. Occasionally, he used the pen name "Keigai." 

Shimizu Tadashi's son, Shimizu Hian (清水比庵, 1883-1975), later gained prominence as a poet, calligrapher, painter, and politician. His artworks are featured in many American museums, including the Smithsonian and the Metropolitan Museum of Art. At the time this postcard was mailed, Shimizu Hian was only six years old. The message side of the postcard is printed.

永沼小一郎 (牧野富太郎の教師) 1889年の熊本地震

Koichirō Naganuma (Teacher of Tomitaro Makino) 1889 Postcard to Yoshihiko Maeda: Kumamoto Earthquake

The sender of these two cards is Naganuma Koichirō, a knowledgeable teacher well-versed in science and botany. He was a mentor to Makino Tomitarō (牧野富太郎, 1862–1957), who later became a distinguished botanist often referred to as the "Father of Japanese Botany." It's interesting to note that Makino was also an artist. He initially created botanical illustrations in the traditional Japanese style, but his artwork later evolved to reflect Western influences.

Both cards are dated 1889 and were sent from Kōchi, Tosa. One is an ordinary New Year's greeting card. However, the second card, postmarked August 1, 1889, is quite intriguing. Naganuma mentions taking his students on a trip and describes feeling a mild earthquake during their travels. Given the date, he was likely referring to the 1889 Kumamoto earthquake on July 28, which affected the western part of Kumamoto. 

太田武和 (太田恥堂) 油画先生 - 油画師

Postcard from Takekazu Ota (Ota Chidoh) to Yoshihiko Maeda: Oil Painting Teacher, Oil Paint Artist

These three postcards were sent by Ohta Takekazu, who also wrote under the pen name Ohta Chidoh. He was primarily known for his work on military history (see photo). All the New Year's greeting cards bear postmarks from Honjo, Tokyo, dated 1889, 1890, and 1892. Typically, such annual cards are rather standard, intended as simple gestures of goodwill. However, three of these cards stand out due to their mention of Maeda Yoshiko's occupation, making them of particular interest to researchers of 19th-century Japanese Western-style painters.

The postcard postmarked January 5, 1889, addresses Maeda as an "oil paint teacher" (油画先生, aburaga-sensei). The one dated January 6, 1890 refers to Maeda as an "oil paint artist" (油画師, abura-e-shi). These additional references make these two postcards especially interesting.

明治24年備中成羽 石田徳三郎 - 石田行道

All three postcards were sent from Nariwa, Bitchū in 1891. While there are clear connections among them, the nature of these relationships remains uncertain. The first card, addressed to 田渕真三郎 (Tabuchi Shinzaburō), was sent using Maeda’s address by 石田行道 (Ishida Yukimichi). The second postcard, sent to Maeda, mentions Tabuchi in the message. That card was sent by 石田徳三郎, who also sent the third postcard. We don't know the relationship between these two Ishida.

明治23年と24年の明治学院の上原季五郎

Both of these cards were sent by Uehara Kigoro. We believe he was a student at Meiji Gakuin. Meiji Gakuin University began as Dr. Hepburn's English school, "Hepburn Juku," founded in 1863. Tsukiji Dai Gakko [Tsukiji College] was renamed ‘Meiji Gakuin’ in 1886 and, in 1887, the Tokyo government approved a move of its campus from Tsukiji to its present location at Skirokane, Tokyo. For another card from Uehara, see our post dated Oct. 7, 2024.

森田専一（数学教師) 前田吉彦宛の明治20年のはがき

These two cards were sent to Maeda Yoshihiko on January 1, 1887, from Osaka and on August 8, 1887, from Higashi Suma, Settsu, by Morita Senichi (森田専一). He is mentioned on a site specializing in Mori Kinseki (森琴石, 1843-1921), a Nanga painter and copperplate engraver: https://www.morikinseki.com/chousa/h1606.htm

"After dropping out of Tokushima Western School and Sumoto Nisshin School, he was appointed as an assistant instructor in mathematics and bookkeeping in July of Meiji 16 (1883). He left the position in July of Meiji 37 (1904) after 27 years of service. In Meiji 29 (1896), he became involved with the new alumni magazine "Rikuryo" as its publisher and editor since its inception. He is also said to be the designer of the "Rikuryo" school emblem."

As for the contents of these postal cards, they are illegible to us.