Currently, the Departments of Painting (Japanese Painting and Oil painting), Sculpture, and Crafts at the Tokyo University of the Arts deliver self-portraits of their graduates to the University Art Museum. This practice began with the Seiyo-ga (Western-style painting) course of the Tokyo Fine Arts School, which was established in 1896. starting with two self-portraits by KITA Renzo and SHIRATAKI Ikunosuke, who graduated in 1898, the self-portrait collection of graduates is a highly successive collection of materials that continues to this day, except for a few years after the end of World War II and about 20 years after the war.
Self-Portrait (1898) by SHIRATAKI, IkunosukeThe University Art Museum, Tokyo University of the Arts
SHIRATAKI Ikunosuke, Self-Portrait, 1898
This is one of the first known self-portraits in the Seiyo-ga (Western-style painting) course. SHIRATAKI, born in Hyogo prefecture, is known for his realistic portrait paintings.
A Lesson (1897) by SHIRATAKI, IkunosukeThe University Art Museum, Tokyo University of the Arts
SHIRATAKI Ikunosuke, A Lesson, 1897
SHIRATAKI's graduation work at the Tokyo Fine Arts School. This painting, based on daily life in downtown Tokyo, depicts children receiving shamisen and singing lessons in bright colors. This work was exhibited at the 2nd Hakuba-kai Exhibition in 1897, and then at the Paris Exposition of 1900.
Self-Portrait (1898) by KITA, RenzoThe University Art Museum, Tokyo University of the Arts
KITA Renzo, Self-Portrait, 1898
Along with a self-portrait by SHIRATAKI Ikunosuke, This is one of the first known self-portraits in the Seiyo-ga course. KITA was known not only for his activities in the art world, but also for his stage scenery, including operas.
Self-Portrait (1904) by AOKI, ShigeruThe University Art Museum, Tokyo University of the Arts
AOKI Shigeru, Self-Portrait, 1904
Self-portrait of AOKI Shigeru upon graduation from the Tokyo Fine Arts School. After graduation, AOKI became one of the leading painters of the Romantic tendency in Japan with works such as "Umi no sachi (Fruits of the Sea)" and "Wadagami no Iroko no Miya (Paradise under the Sea)".
Yomotsuhirasaka,Escape from the Land of the Dead (1903) by AOKI, ShigeruThe University Art Museum, Tokyo University of the Arts
AOKI Shigeru, Yomotsuhirasaka, Escape from the Land of the Dead, 1903
While in school, AOKI Shigeru became passionate about philosophy, religion, mythology, and literature, and began to paint mythological subjects. This work, based on the Kojiki, was the result of this passion, and was exhibited at the 8th Hakuba-kai Exhibition in 1903, where it received the first Hakuba-kai Award.
Self-Portrait (1906) by YAMAMOTO, KanaeThe University Art Museum, Tokyo University of the Arts
YAMAMOTO Kanae, Self-Portrait, 1906
Known as a creative printmaker (Sosaku-hanga printmaker) and art education activist, YAMAMOTO Kanae focused on printmaking while still in school. After graduating from the Tokyo Fine Arts School, he published the art and literature magazine "Hosun" and became an important figure in the printmaking world of the time.
Self-Portrait (1907) by Marie EastlakeThe University Art Museum, Tokyo University of the Arts
Marie EASTLAKE, Self-Portrait, 1907
Daughter of Frederick EASTLAKE (1856-1905), a linguist and English educator active in Japan. She was admitted to the Tokyo Fine Arts School in 1903 as a special exception, which was then a boys' school, and further advanced to the graduate course and joined the Hakuba-kai.
Self-Portrait (1910) by OKAMOTO, IppeiThe University Art Museum, Tokyo University of the Arts
OKAMOTO Ippei, Self-Portrait, 1910
OKAMOTO Ippei established his own style of Manga Manbun, a style of comic strips accompanied by explanatory text, and led the manga world in the Taisho and Showa periods. 1910, he married ONUKI Kano (OKAMOTO Kanoko), a poet, novelist, and Buddhist researcher. Their first son, born the following year, was OKAMOTO Taro, who later became one of the leading artists of the 20th century.
Self-Portrait (1911) by Li Shutong / Li AnThe University Art Museum, Tokyo University of the Arts
LI An, Self-Portrait, 1911
His real name was LI Shutong. During his studies in Japan from 1905 to 1911, he accepted Western culture, including art, music, and theater, and after returning to China, he had a great influence on the modernization of China. 1918, he suddenly entered the Buddhist school and contributed to the development of Buddhist exchanges between China and Japan.
Self-Portrait (1912) by YOROZU, TetsugoroThe University Art Museum, Tokyo University of the Arts
YOROZU Tetsugoro, Self-Portrait, 1912
This self-portrait was painted around the same time as his graduation work, "Nude Beauty" (Important Cultural Property, 1912, National Museum of Modern Art, Tokyo). This work is a good example of YOROZU's characteristic pursuit of original pictorial expression that was quick to embrace Western artistic movements such as Post-Impressionism and Fauvism.
Self-Portrait (1914) by KOIDE, NarashigeThe University Art Museum, Tokyo University of the Arts
KOIDE Narashige, Self-Portrait, 1914
A Western-style painter active in the Kansai art world, particularly in the Nika-kai. He first enrolled in the Japanese painting course, but later switched to Seiyo-ga course. In this work, painted realistically against a background of vaguely floating Ukiyo-e prints, KOIDE's strong interest in composition and modeling, which he showed in later years, has not yet become apparent.
Self-Portrait (1915) by KO, Hei-Tong / Hui-dongThe University Art Museum, Tokyo University of the Arts
KO Hui-dong, Self-Portrait, 1915
The first Korean to receive a government scholarship, he entered the Tokyo Fine Arts School in 1909, and returned to Korea in 1915 after graduating from the Seiyo-ga course. He was the first Western-style painter in Korea, and also worked to improve the social status of painters by forming an art organization, the Shoga-kyōkai (Calligraphy and Painting Association). In this work, he wears the costume of a Korean bureaucrat.
Self-Portrait (1916) by Kim KwanHoThe University Art Museum, Tokyo University of the Arts
KIM KwanHo, Self-Portrait, 1916
He entered the Tokyo Fine Arts School in 1911 as a Korean government-sponsored student, following KO Hui-dong. After returning to Korea, he became a member of the Shoga-kyōkai and continued his activities in Korea, including founding the Sakusei-kai in 1925. After that, he gave up painting and became a lumber merchant, but his whereabouts since then are unknown.
Sunset (1916) by Kim KwanHoThe University Art Museum, Tokyo University of the Arts
KIM KwanHo, Sunset, 1916
This is KIM KwanHo's graduation work. It depicts two women bathing in the evening by the riverside in his hometown of Pyongyang. This work was highly acclaimed, winning first place in the Seiyo-ga course and a special prize at the 10th Ministry of Education Art Exhibition (Bun-ten).
Self-Portrait (1923) by SAEKI, YuzoThe University Art Museum, Tokyo University of the Arts
SAEKI Yuzo, Self-Portrait, 1923
While in school, SAEKI studied under FUJISHIMA Takeji, and was inspired by Van Gogh's "Sunflowers" he saw at MUSHANOKOJI Saneatsu's residence, which deepened his yearning for Paris. After graduation, SAEKI and his family moved to France, where he had a chance encounter with Vlaminck and developed his own unique style of painting the streets of Paris with powerful brushstrokes.
Self-Portrait (1941) by NAKAMURA, ManpeiThe University Art Museum, Tokyo University of the Arts
NAKAMURA Manpei, Self-Portrait, 1941
While in school, NAKAMURA was a popular figure among students, so much so that NOMIYAMA Gyoji, two years his junior, called him "my superstar". After graduation in 1942, NAKAMURA left for the war, leaving behind his pregnant wife, Shimoko. His wife passed away shortly after giving birth, and NAKAMURA died in the war.
Self-portrait (1941) by HIDAKA, YasunoriThe University Art Museum, Tokyo University of the Arts
HIDAKA Yasunori, Self-Portrait, 1941
Born on Tanegashima Island, Kagoshima Prefecture, HIDAKA entered Tokyo Fine Arts School in 1937. Due to the war, he graduated early in 1941, went to Manchuria, and died on Luzon Island in the Philippines in 1945. The artist's expression in the painting does not convey any sense of hope for a bright future.