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.

本山彦一 (大阪毎日新聞社長) から前田吉彦宛のはがき

This postal card is postmarked in Osaka, dated September 9, 1889. It was sent by Motoyama Hikoichi (本山彦一, 1853-1934). He was a key figure in Japanese media and politics during the late 1800s and early 1900s. He helped shape modern journalism in Japan through his work with the Osaka Mainichi Shimbun, one of the country's leading newspapers. Under his leadership, the newspaper grew in importance and adopted new technologies, becoming a major player in Japanese media.

Besides his work in journalism, Motoyama was also a politician. He served in the House of Representatives in the Imperial Diet, where he used his media experience to push for press freedom and democratic values. His dual roles as a journalist and politician allowed him to make a significant impact on Japanese society, promoting the free flow of information and modernization.

Bunzaburo Watanabe (Bizan) from Goseda School in Tokyo in 1889

渡辺文三郎 (薇山) 明治22年東京五姓田塾からのはがき

The discovery of this postal card, along with other cards written by Watanabe Bunzaburō that will be introduced in time, is nothing short of remarkable. Sent to Maeda Yoshihiko and remaining unseen for 135 years, they offer invaluable insight into a crucial period of Western-style painting.

This card bears a postmark from 下谷東京 (Shitaya, Tokyo), an area near present-day Ueno Park and close to Asakusa, where Goseda Hōryū's art class was located. Sent on May 29, 1889, Bunzaburō listed his address as #68 Naka-Okachimachi, Shitaya, Tokyo. It appears he ran out of space, writing his name as 渡辺文三, omitting the 郎. 

Just a few weeks earlier on May 1, 1889, Watanabe Bunzaburô, along with Goseda Yoshimatsu (五姓田義松), Yamamoto Housui (山本芳翠), Goseda Hōryū (五姓田芳柳), Goseda Hōryū II (五姓田芳柳 二代目), Watanabe Yūkō (渡辺幽香), and three dozen other artists attended the inaugural meeting of the Meiji Art Society.

Watanabe Bunzaburō (渡辺文三郎, 1853–1936), also known as Bizan, played a pivotal role in the development of Western-style painting in Japan during the Meiji period. Born in Kanagawa Prefecture, Bunzaburō initially studied traditional Japanese art before moving to Tokyo in 1873. At that time, Japan was undergoing rapid modernization, and Western artistic influences were beginning to shape the country's cultural landscape. Like many of his contemporaries, Bunzaburō became drawn to the Western techniques that were making their way into Japan, marking a shift in his artistic journey.

In Tokyo, he joined Goseda Hōryū’s art school, Goseda Juku (五姓田塾), where he learned to blend Western techniques with traditional Japanese themes. Goseda, who had studied under British artist Charles Wirgman in Yokohama, was one of the early pioneers of Western-style painting in Japan. His school focused on the Yokohama-e style, which depicted Japan’s landscapes and people with a realistic approach, often for export purposes. Under Goseda’s mentorship, Bunzaburō was exposed to oil painting and perspective, which played a significant role in his artistic evolution.

Bunzaburō’s life took a significant turn in 1876 when he married Yūkō (幽香), the daughter of Goseda Hōryū. Yūkō was a talented artist in her own right, known for her delicate depictions of nature, especially flowers and portraits. Though her work was rooted in traditional Japanese aesthetics, it also reflected the influence of Western styles, bridging the two worlds in a way that was characteristic of the era. Her contributions to the Western-style painting movement were significant, and her collaboration with Bunzaburō further solidified their role in the broader artistic shift of the time.

The couple’s partnership had a lasting impact on Bunzaburō’s work, and Yūkō’s influence helped him gain prominence in the art world. Their shared passion for art and mutual support led to a fruitful artistic environment, one that played a key role in the cultural and artistic exchanges of the Meiji period. Bunzaburō’s leadership at Goseda Juku, which he took over in 1880 after Goseda Hōryū’s health began to decline, marked another important chapter in his career. As head of the school, Bunzaburō continued teaching his students how to fuse Western techniques with traditional Japanese themes, passing on the skills he had learned.

One of his most notable disciples was Yokoyama Taikan, a future leader of the Nihonga movement. Taikan studied under Bunzaburō at the Tokyo English School in 1885, focusing on pencil drawing. Although Taikan would later become famous for his contributions to Nihonga, a style rooted in traditional Japanese aesthetics, Bunzaburō’s influence on his early artistic development was undeniable. Bunzaburō’s other students, many of whom also embraced the fusion of Western and Japanese styles, played key roles in shaping the future of modern Japanese painting.

In 1889, Bunzaburō was one of the founding members of the Meiji Bijutsu Kai (明治美術会), an art association that aimed to promote Western-style painting in Japan. This organization played a crucial role in legitimizing Western techniques in the Japanese art world and provided a platform for artists like Bunzaburō to showcase their work. His involvement underscored his role in advocating for the acceptance of Western-style painting during a time of great cultural change.

Bunzaburō’s legacy extends far beyond his own artwork. As both an artist and a teacher, he helped shape the course of modern Japanese painting by blending Western techniques with traditional Japanese themes. His leadership at Goseda Juku and his influence on artists such as Yokoyama Taikan ensured that his teachings would continue to resonate in the generations that followed. Through his efforts to bridge Eastern and Western artistic traditions, Bunzaburō’s impact on Japanese art remains significant, and his contributions to the Meiji-era art movement continue to be celebrated.

Newly Discovered 1889 Artwork by Shinzo Kawai

河合新蔵のイラスト新発見、明治22年の前田吉彦宛の年賀状

From our review of the available correspondence, it appears that Kawai Shinzo preferred using the name 河合新造 rather than 河合新蔵, at least prior to his emergence as a prominent artist.

This postal card bears the postmark of Osaka, dated January 2, 1889. It was sent from Minami-honmachi, Osaka (大阪 南本町１丁目) by  Kawai Shinzo (河合新蔵, 1867–1936) prior to his rise to prominence as a Western-style painter, while he was still studying under the guidance of Maeda Yoshihiko (前田吉彦) in Kobe. 

This New Year's greeting card features an extensive message, which, while potentially of historical significance, remains inaccessible due to the complexities of the Meiji period script. Nevertheless, the card is notable for Kawai's ink drawing of a young dandy—likely a self-portrait—dressed in a double-breasted tunic. The figure is depicted in a slightly bowed stance, removing his derby hat as a mark of respect. This image offers valuable insight into Kawai's early artistic style. Given that this collection includes other postcards written by Kawai to Maeda after he relocated to Tokyo in 1891 to continue his studies, this particular card serves as an important link in understanding his development during that time.

Kawai Shinzō (1867–1936)

Introduction

Kawai Shinzō (1867–1936) was a prominent Japanese painter who made significant contributions to the development of modern Japanese art, particularly in the realm of watercolor painting. Throughout his life, Kawai was influenced by both traditional Japanese artistic methods and Western techniques, which he encountered during his studies abroad. His involvement with various art societies and exhibitions, as well as his innovations in watercolor, solidified his place in the history of Japanese art during the Meiji and Taishō periods. This post explores Kawai Shinzō’s life, education, career, and artistic achievements, focusing on the key milestones that shaped his work.

Early Life and Education

Kawai Shinzō was born on May 27, 1867, in Osaka, Japan, during the Keiō era. His initial artistic education was grounded in Japanese traditional painting. He studied under the guidance of two notable artists of the time: Suzuki Raisai and Maeda Yoshihiko, both of whom introduced him to Western-style painting. This early exposure to Western techniques would influence Kawai’s later work, as he blended Japanese and Western styles in his practice.

In 1891, at the age of 24, Kawai moved to Tokyo to continue his artistic education. He studied at Goseda Yoshiryu’s (五姓田芳柳) studio and later with Koyama Shōtarō at the Futōsha (不同舎). These mentors helped him refine his skills in Western-style oil painting while also encouraging a focus on realism. During his time in Tokyo, Kawai became increasingly interested in the evolving art scene, especially as Japan began to modernize and adopt more Western influences.

Studies Abroad

Kawai’s artistic development took a pivotal turn in 1900 when he, along with other artists such as Mitsutani Kunishirō and Kanokogi Takashiro, traveled to America. The trip marked the beginning of Kawai’s international exposure, which would further shape his work. In 1901, Kawai moved to France to study at the prestigious Académie Julian and Académie Colarossi in Paris. These institutions were instrumental in providing him with a solid foundation in Western academic painting, allowing him to master various techniques, including realism and impressionism.

Kawai's time in Europe exposed him to the Parisian avant-garde and a variety of Western art movements, but his work remained distinctly Japanese in its use of traditional subject matter, including landscapes and nature. After spending several years in Europe, Kawai returned to Japan in 1904, settling in Kyoto. He continued to pursue his interest in modern painting while maintaining his connection to traditional Japanese art forms.

Return to Japan and Career Developments

Upon returning to Japan, Kawai became involved in the burgeoning Japanese modern art scene. He joined the Pacific Painting Society (太平洋画会) in 1904, exhibiting his works at the society’s third exhibition. Kawai’s involvement in such societies helped solidify his reputation as a member of the new generation of Japanese artists who sought to incorporate Western techniques into their work while retaining elements of traditional Japanese aesthetics.

In 1906, Kawai co-founded the Japanese Watercolor Painting Research Institute (日本水彩画研究所) alongside prominent figures like Ōshita Tōjirō. This organization was dedicated to promoting watercolor as a legitimate and respected medium in Japan, and it played a key role in the rise of watercolor painting during the late Meiji and Taishō periods. Kawai’s own work during this time was characterized by his ability to capture the nuances of nature, often using watercolors to depict landscapes, flora, and animals with a delicate yet expressive touch.

Kawai was also active in major exhibitions in Japan. He participated in the Bunten (文展) and Teiten (帝展) exhibitions, which were important government-sponsored events that helped establish the careers of many artists. In 1907, he exhibited his piece “Mori” (Forest) at the first Bunten exhibition, followed by another important watercolor piece, “Ryokuin” (Green Shade), at the second Bunten exhibition in 1908. His continued success in these exhibitions confirmed his place as one of Japan’s leading watercolor painters.

Involvement in Art Societies and Achievements

Kawai Shinzō’s commitment to watercolor painting led him to become a founding member of the Japanese Watercolor Painting Association (日本水彩画会) in 1913. His active participation in this organization and his success in exhibitions further cemented his reputation as one of the leading figures of Japan’s watercolor movement. In the same year, Kawai received third prize at the 7th Bunten Exhibition for his work “Poplar and Summer Oranges” (ポプラ―と夏蜜柑). This achievement showcased his ability to combine technical skill with artistic sensitivity, a hallmark of his approach to watercolor painting.

Throughout his career, Kawai’s works continued to be featured in various official exhibitions. He was a member of the Imperial Exhibition (帝展) and the Second Division, which was a prestigious recognition within the Japanese art world. His association with these exhibitions ensured that his works were widely recognized and appreciated during his lifetime.

Later Years and Legacy

Kawai Shinzō spent his later years residing in Kyoto, in a district called Murasakino, where he continued to paint until his death. He passed away on February 15, 1936, at the age of 68. His contributions to Japanese watercolor painting and his role in the development of modern Japanese art left a lasting legacy.

Kawai’s work remains an important example of the fusion between traditional Japanese techniques and Western artistic influences. He was one of the key figures in the rise of watercolor painting in Japan, and his works are still regarded as masterpieces of the genre. Through his participation in art societies, his role as a mentor to younger artists, and his consistent output of high-quality works, Kawai Shinzō helped define the trajectory of Japanese art during a period of intense cultural and artistic transformation.

Conclusion

Kawai Shinzō’s life and career represent the transition of Japanese art from traditional practices to the embrace of modern, Western-inspired techniques. His exposure to both Japan’s rich artistic heritage and Western artistic movements, particularly during his time in France, played a central role in the development of his distinctive style. As a key member of Japan’s watercolor movement and a committed educator, Kawai left an indelible mark on the history of modern Japanese painting. His legacy continues to inspire artists and scholars today, and his work remains an integral part of Japan’s artistic canon.