The 2nd Collection Gallery Exhibition 2013-2014　List of works

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【Special Feature 2: Pan-Real Art Association】

　　“Pan-Real Art Association” is an avant-garde art group established in 1949 by a group of artists including Mikami Makoto, Yamazaki Takashi, Hoshino Shingo, Ohno Hidetaka and Shimomura Ryonosuke in order to revitalize the conventional world of Nihonga. The first Pan-Real exhibition was held in May 1949, where “Pan-Real Declaration” was listed in its catalogue. The term “Pan-Real” was coined by Mikami which consisted of 2 words – “pan” meaning “all,” and “real” signifying “realism.” However, “real” was not restricted to the narrow scope of realism, and defined as a word encompassing even the abstracts if used to express real society. Therefore, "Pan-Real" can be interpreted as art expressions rooted in real society. In those days, the primary motifs used in Nihonga were flowers and birds, and artists were expected to create works of art which would evoke rich emotions. "Pan-Real Art Association" was established in order to question and confront such conventionalized aesthetics and feudalistic art circles which were based on the conventional apprenticeship system, and it tried to pursue a new method of expression from a new perspective.

　　The predecessor to the “Pan-Real Art Association” was a group called “Pan-Real,” which included charter members such as Suzuki Osamu and Yagi Kazuo. The group "Pan-Real" was established in March 1948, as a comprehensive art group whose members engaged in all types of art irrespective of fields. Suzuki Osamu and Yagi Kazuo, however, left “Pan-Real,” and established a new group called "Sodei-sha" in July 1948. The remaining members decided to restrict their field of activity to Nihonga only, and renamed their group “Pan-Real Art Association.”

　　This section features artwork of the group “Pan-Real” which was exhibited at Maruzen Gallery, Kyoto, in 1948, and works of art which were exhibited at the earliest exhibitions after the name of the group was changed to “Pan-Real Art Association.” In the works of those Nihonga artists who were active in the same period as Suzuki Osamu, it can be seen how hard they were trying to find a new mode of expression, just as Suzuki was pursuing a new method of expression in the world of pottery. These works of art also exude the enthusiasm and passion of those Nihonga artists who strived so hard to overcome the sense of stagnation which had spread among artists just after World War II, and to find a breakthrough which would lead them to a new stage.